| As a Chinese famous violinist composer and music educator in the early twentieth century, Ma Si-cong has made a painstaking and pioneering attempt to explore a new trial of “making foreign things serve China, blending those of China and west” during the creation of violin music. In his ten legacy violin works, Ma has tried to show the world Chinese abundant and colorful folk music cultures by the medium of violin music to achieve the perfect combination of Chinese and western music cultures in Chinese national violin music works.Ma dedicates composing violin music as a platform, integrates the profound characteristics of variations and colorful Chinese music culture. His music works combines rich flavor of characteristic Chinese folk music in melody, form, harmony, mode, tonality, accompaniment form, and so forth, thus developing the Chinese violin music with precise professional compositional technique and characteristic flavor.The violin suite, Tibet Tone Poem in 1941, is one of is one of Ma’s representative works. In Chinese music history, it is the first western instrumental music work with the creative theme of Tibetan music. Through the combing and analysis of composition techniques, musical connotation and humanity in this work. In this paper, there will be three parts: the legacy of Ma’s journey, the art characteristics in his works, and highlights of its crucial role not only on the artistic road for the nationalization of Chinese violin music, but also in the development history of Chinese modern music. The exploration on the nationalization of Ma’s violin music creation has far-reaching significance and impact on how to carry forward and develop Chinese national art and culture for Chinese composers, and on the contemporary development of fresh culture and art with Chinese period characteristics. Meanwhile, it will contribute to promoting more brilliant practical achievements of Chinese newly born music, and also to the protection and inheritance of Tibetan music culture. |
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