An Application Of Traditional Chinese Opera Elements In Guzheng Art From The Perspective Of Look Homeward

Recently, our life is experiencing tremendous impact of western culture. With the globalization of economy, technology and culture, the horizon of artists becomes broader. Featuring rich ideas, they have adapted the huge changes of the times. However, as in professional conservatories of music, more and more “Modern Music” and even “New Fashion Music” have filled all fields of music, composers are more likely to apply western creative ideas and composition techniques to open up a new realm for Chinese traditional instrumental music. The application of new techniques and new tone enhances the expression of Guzheng and broadens the performance forms of traditional instrumental music. However, over-persisting in modern performance forms or creating with ultimate consciousness tends to reduce the aesthetic aroma of Guzheng and omit the unique musical language of Guzheng. In such circumstances, both Guzheng learners and composers who received western music education should keep their attitudes of seeking roots of nation, which refers to stick to the essences of traditional culture and music while adapting the development of the new era, to truly realize compositions sharing content and form and featuring national spirit and culture.In this article, as a Guzheng learner, the author analyzes “Look Homeward”, a Guzheng concerto of Mr. Wang Zhongshan. Under the principle of seeking the traditional music elements, the author combines with the composition and discusses the experience of performance. The article consists of introduction, text(three chapters in total) and conclusions. In Introduction, the author puts emphasis on the choice of the theme and introduces some research status. The first chapter in the text is mainly divided by time, and in this part, the author discusses the origins between traditional Chinese opera elements and Guzheng art. In Chapter Two, focusing on “Look Homeward”, traditional Chinese opera elements involved in the creation background and the composition are explored. In the third chapter, the author analyzes the performance from the perspective of her own experience. Based on the analysis of the text, the author discusses the development of the interaction between traditional Chinese opera elements and Guzheng, and the significance of applying traditional Chinese opera elements in creating music is also discussed.