Analysis And Interpretation Of The China-Style Of The Twelve-Tone Melody In Guo Zurong’s Art Songs

Guo Zurong is a well-known composer and music educator in China. In more than 60 years of writing career, he always adheres to the China-Style of the tune. Even in the 1980s, when western composing techniques pouring into China, everybody thought that the more like western works, the more to be proud of. Guo Zurong still adheres to the national style, insists on writing nationalization melody. He did not reject the new technique. In order to broaden the diversity of the China-Style of the tune, he tried to learn and study western modern techniques, continuously explore and combine the Twelve-Tone melody with the China-Style of the tune creatively, create the twelve-tone works with China’s nationalization melody.In the numerous works of Guo Zurong’s art songs, only two works are written in twelve pitches. In these two works Guo Zurong combined the Twelve-Tone melody with the China-Style of the tune creatively, created the twelve-tone works with China’s nationalization melody., which greatly enriched the hearing feeling, make sounds more diversified.This essay aims to verify the China-Style of the Twelve-Tone melody in his art songs. The purpose of this paper intends to explain China-Style of the Twelve-Tone melody in his art songs through the analysis of sequences and music performances by music ontology aesthetics.The first part focus on verifing the China-Style of the Twelve-Tone melody throngh utilizing the theory of "Field controlled by Tone".The second part intends to verify the China-Style of the Twelve-Tone melody through analyzing multi-keys in his works. The third part intends to explain China-Style of the Twelve-Tone melody through vocal performance esthetics.