The Discussion Of "Pentatonic Thinking" Used In Traditional Chinese Piano Works

This paper attempts to take the unique music techniques (ie,"Pentatonicthinking"), thinking and ideas in the specific process of musical creation showing by ourmusical composer as the entry point, and taking Chinese traditional musical works of piano asthe specific analysis research object. Through a detailed analysis of the works of variousconstituent elements (ie,pitch, melody, rhythm, tonality, musical structure, texture, etc.), inorder to gain the different perceive of technical level, theoretical and cultural aspects of"Pentatonic thinking" which is the unique creative ideas of Chinese composers, and for thiscase to study the "localization" process of professional music field.The so-called "Pentatonic thinking" in this article refers to the techniques and thinking ofmusical works by Chinese composers with a strong Chinese style in modern times. It hasall-inclusive Chinese and Western compositional techniques and theoretical connotation,highlighting the core techniques and cultural values of "Chinese style" of "Pentatonic" onthe cultural attributes. It contains the technological thinking level of pitch, tonality, musicaldevelopment and structural aspects and rhythm and beat of the music creation.Chinese traditional piano works, especially in this paper refers to works which are by theChinese composer, based on the Western traditional composing technical theory andpenetrated the creation of law of Chinese traditional music in the creation, reflecting thestrong Chinese style and has a high artistic value. This paper takes " the Piano Gallery ofChina " series by Wei Tingge, Li Mingjun and Xu Min as the core of musical text and refersto the other set musical score of Chinese piano. The analysis is focused on the Chinesetraditional piano works since the founding of China (1949) to the1990s era, and mainlyconcentrated on the analysis and discussion of representative works created by Sang Tong,Chen Peixun, Ding Shande, Huang Huwei, Li Haiying, He Lvding and other composers.This paper contains five chapters to discuss the viewpoint. The first chapter is anintroduction. The second chapter is the musical morphological theoretical basis of "Pentatonicthinking". The third chapter is "Pentatonic thinking" of composing techniques and theory. Thefourth chapter is the practice of "Pentatonic thinking" in Chinese traditional piano works. Thefifth chapter is the conclusion. It analyses "Pentatonic thinking" in the practice and application of Chinese traditional piano works from five aspects which are the imitation ofsound chamber, musical form structure, harmonic techniques, polyphonic texture, rhythm andbeat specific analysis.The research method of this paper was based on the composing analysis method andmusic analysis methods as a supplement. It mainly used "five degrees Aioi tuning system"suggested by Zhao Songguang, national harmonic theoretical results by Li Yinghai andtheoretical research of pentatonic harmony for a specific method of analysis. Meanwhile, theauthor combined a number of Western classical music theory to interpret all aspects of thework.To face the impact of technology of traditional Western music and modern music, it ismore and more important to research our musical creation of "localization". Piano musicalcreation is the fundamental field of the creation of musical works, and "Pentatonic thinking"is the core issue of professional composing in "localization" process. Only a clearunderstanding of both, we were able to keep open, calm and confident attitude in the diversemusical culture of the world.