A Comparative Study Of French Impressionist Debussy Piano Music And Chinese Modern Piano Works

Since the second half of the 19 th century to the beginning of the 20 th century, impressionist music began to rise. And impressionist painting of France played a direct role on the rise of impressionist music. The style of impressionist music is a kind of abstract, blurred fuzzy, and it also emphasizes the color perception of human. Achille-Claude Debussy created the new music genre which was called impressionist music because of the influence of the Symbolism and the impressionist painters such as Claude Monet and the like. His music was involved in a wide range of musical forms,and his piano works were also full of individualism. His piano works, Reflections in the Water in the image collection in 1905 was one of the outstanding representative impressionism works. At that time,China was in a turbulent situation. And the modern music was also in the initial and development stage.However, Chinese composer Chen Peixun still not only carried down and developed the traditional music of China, but also absorbed essence of foreign music culture. In 1975, He adapted the piano solo,Ping Hu Qiu Yue which was based on the version of Lv Wenxing who was the composer in Guang Dong. The song was created for Gao Hu, so it imitated a lot of folk tunes in the piano solo adaptation. Ping Hu Qiu Yue and Reflections in the Water achieved the same result by different methods regardless of the theme content, technique, artistic conception, key-touching, and pedals. This paper will take the two pieces of accidental similarity and difference into an active research, so as to sum up the significance of the study.In this paper, I will combine professional research methods with the collection of comprehensive literature data, network resources, and research data to research. In study of impressionism and China’s research at that time, I will narrate the creative techniques and performance techniques of these two pieces of works, summing up their similarities and differences in the aspects of different cultural backgrounds, years, regions, and composers. In the end, I will summarize the significance of these two pieces of works in the aspects of thoughts, playing and teaching. The comparative study between them not only prompts the blending and collision of eastern and western music culture, but also enhances the exchange of music culture, which brings more new ideas for the creation and performance of Chinese piano works in the future.