Comparative Analysis Of Three Works On Chinese Symphonic Suite

Symphonic music is the crystallization of the highly developed western music.in the early of the 20s century, western music was introduced to China considerably and symphonic music was also explored and developed in China. Chinese symphonic suite was first seen in "New Chinese Symphonic Suite" by Ding Shande in the eve of the founding of New China. It has experienced three stages up to now:from the eve of new China to the prior of the Cultural Revolution; from the end of the Cultural Revolution to the end of the 1980s; from the early 1990s to now. The author selects three works, Wang Xilin’s "Poems of Yunnan", Zhu Jian-er’s "Sketches in Mountains of Guizhou" and Zhao Jiping’s "Qiao’s Grand Courtyard", as the representative works in different stages, and analyzes their individual themes, harmony, forms, and orchestration. By comparative study, the author objectively analyzes the subject matter, style, creating techniques and refining and adoption on the materials of national folk music, and believes the main tendency of our symphonic suite always relies on folk music culture, but western compositional technique is simply a tool for in-depth development of the theme of ethnic music. "Chinese Symphonic Suite" has been developed along the main line of symphonic music nationalization and it is bound to experience the dialectical process of affirmation-negation-the negation of the negation in order to stand up in the folk music eventually.In the 21st century, culture and art show the developmental situation of "letting a hundred flowers bloom, a hundred schools contend", therefore multi-level cultural consumer groups are forming. "Elegant music" in the past presents before the common populace increasingly, greatly shortened the distance between "highbrow" and "low class".Chinese symphonic suite is bound to get more healthy development in the process of "civilian" and popularity.