A Study Of Guo Zurong 's Symphony

Mr. Guo Zurong, a famous composer and educator in China, has a legendary life story. His music works, especially the symphony, reaching to 28 pieces, are a miracle, which is of great significance to the symphony in China. He is an ordinary intellectual. His ideas of music origin from his own life experience in different periods of time, which endows his symphonies with profound philosophy and rich connotations. Learning how to compose music by himself makes him different from many other composers and become a unique one.Taking Guo4 s symphonies as the research object, from the perspective of composing overview and composing techniques, the author mainly explores the typical techniques in Guo4 s works and summarizes his composing ideas, composing styles and the artistic value of his works.From the perspective of historical studies, chapter 1 overviews Guo4 s symphony creation in a narrative way and proposes that his composing techniques have been through a dynamic process, which is reference, absorption, development and fusion. Guo4 s composing thoughts and humanistic thoughts are also included in this chapter. In chapter 2 to chapter 5, from the perspective of music analysis, the author analyzes and interprets symphony4 s composing techniques so as to clarify the diverse implementation means of %Chinese style4 symphonies and reveal Guo4 s idea of combining his symphony creation closely with traditional Chinese culture. Chapter 2 discusses that the musical structure of Guo4 s symphonies is not only a development and innovation of traditional structure but also a kind of absorption and reference of Chinese opera4 s structural features and the hash structure of traditional Chinese music, which shows Guo4 s open mind in structure design. Chapter 3 mainly focuses on the tonality and harmony. Through the analysis of free transverse, complex longitudinal tonality, and the five acoustic multi harmonies, diatonic scale or twelve tones and five acoustic harmonies, this chapter demonstrates Guo4 s national idea of the tonality and harmony. Chapter 4, from the angle of painting, explains that Guo refers to the laws of "ink painting" in the use of the orchestration and the color, which embodies his emphasis on the infiltration of Chinese culture. From the aspects of material source, formation of the subject and composing techniques, chapter 5 elaborates the "emotional" theme based on the five tonality is the label of Guo4 s music language and an important way to reflect %Chinese style4 in his symphonies. In the conclusion part, the author summarizes the artistic features embodied in Guo’s symphonies and evaluates his contribution to Chinese symphony history as well as contemporary symphony creation.