A Study On The Contemporary Chinese National Orchestral Works

Chinese national orchestra is a music art form with Chinese characteristics.It is rooted in Chinese traditional music and has grown up in the nourishment of Chinese culture.In recent ten years,the national orchestral music has developed rapidly,and more and more composers pay attention to it and devote themselves to the creation of national orchestral music.In contemporary times,a large number of influential national orchestral works have been produced.These works not only have a sense of The Times,but also deeply with the Chinese music style mark.Therefore,timely researching of contemporary chinese national orchestral works is of great significance to the development of the creation of chinese national orchestral music.Starting from the analysis of composition techniques of contemporary chinese national orchestral works,this paper studies some works by composition teachers in China Conservatory of music,and observes the positive attempts made by these creations in inheriting and developing Chinese music culture.This paper consists of six chapters.The first chapter introduces the development of national orchestral music and the exploration of China Conservatory of music in the creation of national orchestral music.Chinese instrumental ensemble has a long history.For example,"Zhong Gu Zhi Yue" and "Fang Zhong Yue" in the Qin dynasty,"Gu Chui Yue music" in the Han and Wei dynasties,and "Yan Yue" in the Sui and Tang dynasties are all important forms of instrumental ensemble in various periods of ancient China.In modern times,instrumental ensemble gradually shifted from the palace to the folk,producing string music,silk and bamboo music,advocacy music,wind and percussion music and other important music.The combination of these folk instruments later became the foundation of the formation of national orchestral music.The second chapter mainly studies the melody and pitch language in the contemporary chinese national orchestral works.In terms of mode,channel mode is one of the most main mode technique in Chinese traditional music,also is the main mode in the contemporary national orchestral music creation means,it has both explicitly and implicitly present in creation forms: dominant level is the theme of the channel mode directly to work,and the recessive level refers to the theme of the pitch material has five characteristics,namely the channel mode characteristics hidden in the theme of materials.In addition to the direct or indirect use of pentatonic modes,composers also pay attention to the modality inflection techniques in folk songs and operas in some regions.The extensive use of these inflections has enriched the acoustics of pentatonic modes.In terms of harmony,the creation of contemporary national orchestral music puts the exploration of harmony writing in Chinese style first,especially the practice of vertical harmony of five voices and parallel harmony has been further expanded.In the aspect of polyphony,the traditional Chinese polyphonic technique of supporting voice has been fully used.In the western music,the contrast of polyphony and imitation of polyphony technology and China's tight play slow singing techniques are combined skillfully,so that it has the characteristics of Chinese music style.In addition,modern polyphonic techniques such as imitation and micro-polyphony are also widely used in the creation of contemporary chinese national orchestral music,which makes the traditional Chinese art form of chinese national orchestral music keep pace with The Times and acquire a fresh flavor of The Times.The third chapter mainly studies the rhythm language in the creation of national orchestral music,which mainly discusses from four aspects: rhythmic rhythm,"Cui" and "Che" techniques,elastic rhythm,tight playing and slow singing.Rhythmic beat is a kind of rhythm rule unique to Chinese music,which ligety explains as: "it is a specific combination of long and short rhythm,light and heavy rhythm...It is more normative than scattered rhythm,but it is also more free and elastic than mechanical bisectral rhythm movement and standardized metronome stress cycle movement." this metronome technique has rich expression forms in the creation of contemporary national orchestral music."Cui" and "Che" are the main techniques of Chinese music board style change,and also the important means of theme development in the creation of contemporary chinese national orchestral music.Elastic rhythm is a kind of flexible rhythm,rhythm or speed change.Saccato in Chinese traditional music is the most important expression form of saccato,which presents diversified forms in the creation of national orchestral music.Playing fast and singing slow is a unique type of Chinese opera music,which reflects the unique rhythmic thinking of Chinese music and is reflected in many works.The fourth chapter mainly studies the orchestration technique of chinese national orchestral music.Chinese folk instrumental music has rich playing techniques,especially the special performing methods of various Musical Instruments,which bring many inspirations to contemporary composers.In addition,the timbre combination of "Qian Dang Rang Lu" in traditional Chinese instrumental music is also applied in the creation of contemporary chinese national orchestral music,which has become an important means of organizing timbre.At the same time,the creation of contemporary chinese national orchestral music also further borrows the concept of integration and unity in western instrumental methods,especially the application of mixed timbre,partial staining,timbre transfer and other techniques,which further enriches the timbre technology of ethnic instrumental music and at the same time expands the expression of chinese national orchestral music in timbre.The fifth chapter mainly studies the music structure in the creation of national orchestral music.This chapter mainly discusses from four aspects.First,the development techniques of music in Chinese traditional music,including "Yu YaoWei","Lian Huan Kou","Die","Chai Tou" and "Guo Ban Tao",are widely used in the creation of contemporary chinese national orchestral music and have become an important means for the development of music structure.The second is the statement structure of music,which enumerates the theme melodies of the types of contemporary national orchestral works such as one sentence structure,two-phrase phrase structure,multi-phrase phrase structure,section structure and group form of music collection.One sentence structure is simple and direct,which is the embodiment of plain style in Chinese music.The theme of the structure of two phrases and many phrases is often to link and cut as the echo between the phrases.The form of group is often combined with "ricking sentence",which becomes a structural model with Chinese music characteristics.The third is the application of Chinese traditional music,including the structure of han and tang song and dance daqu and the diverging structure of Chinese music.The latter is a three-part structure of "head,body and tail" composed of "Qu Pai",in which qupai plays an important role.These two structural types of Chinese music have deep applications in the creation of contemporary chinese national orchestral music.At the end of this chapter,it talks about the reference of the principle of form of western music and analyzes the application of the principle of form of sonata in these two works,taking luo maishuo's pipa concerto "ladder of heaven" and Yang qing's "cang" as examples.The sixth Chapter studies the application of minority music language in contemporary chinese national orchestral music.China has 55 ethnic minorities,whose population accounts for 8.49 percent of the country's total,and the sum of the ethnic autonomous areas accounts for more than 60 percent of the country's total area.Music culture of ethnic minorities is one of the major features of Chinese music,which has attracted more and more attention in the creation of contemporary chinese national orchestral music.This article mainly around the minority mode,rhythm and music structure are studied,some of the creations such as Jihao Quan Yue Zhi Wu with north Korea over the use mode,Lin zhu Dong Xiang,"for the use of Dong musical rhythm,Qin Xian Shang De Ye Er Qiang for mukam in the use of percussion rhythms and mukam divertimento structure model and so on are the successful practice of ethnic minority music style creation.