On Piano School Bud

The art of the piano began 300 years ago in Europe and entered into China in the 1920s. Through the development of hundreds of years, when this piano art of the west became melted with the traditional music thoughts of the Chinese who has a 5000 years' accumulation in culture and history, the Chinese School of piano art began to emerge.This thesis is devoted to study theories, performance, teaching and composition of the budding period of the Chinese School in order to reveal the intrinsic organic relationship of this period from the disciplinary perspectives. It focuses on the development course, existing conditions and characteristics of the Chinese piano art, engaging in the depiction of the school and making clear its vague theoretic framework.I . Introduction: it presents reasons and practical significance of the thesis, current research about it home and abroad and the thesis statement.II. The body of the thesis1. It presents a general introduction of the theoretical research of the Chinese school. Viewing the theoretical construction of the Chinese piano school from the musicological perspective, it concludes that the activities in the field have been widely spread, yet they lack depth and theoretical height.2. It analyzes the new explorative and innovative phenomena in the performance of the Chinese piano school, the initial characteristics of its performance style and techniques and the formative reasons and development tendency of the style.3. It discusses the height the teaching of the Chinese school attained on the western basis in the initial period, which offered a foundation for the beginning nationalization of the school. The teaching activities of the school are in a consciousstate with traditional Chinese pedagogical methodology and aesthetics.4. It conducts a review of the activities in the field of composition of the Chinese piano art school and presents the activity guiding thoughts of the school: the nationalization of the piano music and the analysis of its courses. In the end it generalizes the national elements from specific composition activities: the impact of the Chinese traditional music culture on the composition of the Chinese piano music.III. Conclusion points out, as is discussed in the body of the essay, that there is close relationship among composition, performance, teaching and research activities of the Chinese school, links the four aspects into an organic logical whole and offers a description of the budding period of the school.