A Study Of The Piano Pieces Adapted From The Three National Instrumental Compositions In <The Piano Pieces Selections From 1949 To 1979>

Late 19th and early 20th century is an accelerating process of culture collision and fusion between the impact between western piano culture and native Chinese national culture.Specifically speaking,in 1914,Yuanren Zhao wrote the first published piano music "Peace March" in the journal called<Science>.Since then,piano,as a kind of western harmony and keyboard instrument,has been fusing to Oriental culture.In the "Piano competition with characteristics of Oriental music"which is held and funded by Tcherepnin,the Chinese piano music began to be brought into public' s focus,and the Chinese characteristic music style has been formed with a high integration of the piano music.Hence,Chinese cultural diversity is an inevitable trend because of the composers'constantly exploration and innovation.Moreover,a large number of excellent Chinese piano pieces have been created by those composers' unremitting efforts.Eventually,a national characteristics of Chinese piano national genre has been formed.<The piano pieces selections from 1949 to 1979>compiled to celebrate the 30th anniversary of the founding of the People's Republic of China in 1979.The work,which collected the main achievements of the piano pieces creation in the 30 years since the foundation,composed by the China association of musicians,published by the Beijing people's music publishing house for the first time in March of 1981.This paper classifiesy the piano pieces in the book to 4 groups,the piano pieces adapted from the national instrumental compositions,the piano pieces adapted from the folk songs,the piano pieces created by the national creative technique,the piano pieces created by the western technique,and selected the piano pieces adapted from the three national instrumental compositions,"Days of Emancipation","Plum-blossom in Three Movements","Autumn Moon over the Calm Lake" as main research objects.This kind of piano pieces adapted from traditional national instrumental music works,is the derivative outcome of the Chinese piano art under the specific social and historical background.To a certain extent,it has broken the barrier between piano and traditional national musical instruments,inherited a part of playing methods and timbre of the Chinese traditional national musical instruments.In addition,the"Linear thinking" in the national instrumental music and the instruments' characteristic "Harmony" in piano has become a integration,which foster a tremendous aesthetic value and increase the value of art research.This paper is divided into four chapters,including the first chapter-introduction.Chapter 2 is a summary of the development of Chinese piano music in the past thirty years,elaboratinge the historical status and significance of<The piano pieces selecti'ons from 1949 to 1979>and three piano pieces adapted from national instrumental compositions from the prospective of editors,and the publisher.Chapter 3 combines the historical background of the creation stage and carries out a detailed analysis of three piano pieces of musical structure,tonality,harmony and melody,etc.Chapter 4 is based on the previous macro and micro studies,emphatically discusses several key points in the process of playing these three piano pieces.The purpose of this study is to dig deep into the value of<The piano pieces selections from 1949 to 1979>,and show more clearly and objectively that,in context of Chinese economy,culture and politics in this period,the development of Chinese piano pieces is adapted from national instrumental compositions.Thus we can grasp the style of this kind of piano pieces better when playing or teaching,and deduce the esthetics of the Oriental rhythm of Chinese piano pieces.