Reasearch On The Expressive Force Of Musical Performance In Chu Wanghua’s "the Spring Mirrored The Moon"

Chu Wanghua is a famous Chinese composer,pianist and educator.His piano piece Erquan Mirroring the Moon is of high artistic value.This paper takes the study of the expressive force of music performance as the entry point,and "Erquan Yingyue" as the research object to dig deep national cultural deposits and explore its unique aesthetic purport.First of all,the historical background and context of the Chinese piano composition are sorted out,and the music ontology of the piano composition "Erquan Yingyue" is analyzed.Secondly,visual data of music performance is obtained through Vmus platform,and in-depth analysis of music phrases is carried out from macro and micro perspectives.The third is the application of Sonic audio software to explore the intensity variation between notes and analyze the differences in the intensity of the entire music in the audio waveform generated at the same playback volume.Fourthly,Tracker software was used to capture the head,arm and leg movements of Cymbidiq,Wu Xiaofeng and He Peixun when they were playing,and to feel their common and individual characteristics in the clear rhythm of the music.Through research,it is found that the piano composition Erquan Yingyue uses special structural chord techniques such as traditional national pentatonic mode,pentatonic longitudinal harmony such as the fourth and fifth form of the three-tone chord,the minor seventh form of the four-tone chord,and the second overlaying,as well as the interpretation of theme motivation,and pentatonic linear melody structure techniques such as the constant end of the sentence and the ourobit form.Melody and harmony form a relationship of opposites and unity in structure,consolidating tonality and highlighting national color.The author uses the visual analysis method of music performance to accurately capture the internal structural changes between tones and tones at the micro level,so as to promote the diversified development of piano performance practice.Through the practice of piano music performance life,the author experienced the unique aesthetic purported interest contained in the traditional Chinese folk music "Erquan Yingyue".At the same time,the theory of music aesthetics is applied to the practice of performance.With the theoretical support of "the spirit of harmony,the form of line,and the artistic conception of the virtual" in the three questions of Li Xi ’an’s music aesthetics,the characteristics of the high and tough can be felt from the interpretation of rhythm,speed,strength and the expressive force of the performers’ music performance.The natural sound will bring the audience into the traditional folk music figurative freehand,the deep artistic conception of virtual and real life,to convey the Chinese charm of piano music."Let Piano Music Speak Chinese" can broaden the research scope of music performance,promote the spread of Chinese piano music to the spirit of the Chinese nation,and achieve the aesthetic education effect of "enhancing credibility with art".