Two. Semenov "don Rhapsody" Study

Russia secures a unique position in world's accordion area and the people there have gotglobal acclaim for the musical talents. Legacy coupled with present day creation is the sourcefor an ever expanding basis for the accordion performing artistry, which in turn paves the wayfor a more prosperous future. The twentieth century saw the emergence of more and moreachievements either in composition or in research. Nourishing the compositors at all level, thegreat tradition in creation and performance has been the making of a Russia as a world powerwhenever accordion artistry is concerned. The Russian accordion music gains its flourishingin light of the unique creative composing pattern and research model of the Russiancomposers. The nation's noticeable leading position in the accordion world is testified by theconsummate performing mastery, unique interpretation, and a full-fledged stage style attainedby its constellation of performers one generation after another. Viatcheslav Semyonov, as thefamous accordion composer, performer and educator in Russia, has contributed a lot to theflourishing of the arts of accordion. Among all his compositions, the two Don Rhapsodywhich adopt the Cossack folk music are his master pieces for its strong rhythm, fascinatingharmony and distinct musical idea. Among the seven rhapsodies which account for half of theSemyonovian canon, the two Don Rhapsody inspired by the Cossack folk music have becomehis masterpieces for its strong rhythm, fascinating harmony and the unique music idea. Thepresent thesis will analyze the two pieces of fantasy in three parts.The first part is an introduction to Viatcheslav Semyonov and his creation. It will beanalyzed from four aspects in order to achieve a deeper understanding on the works. First isthe introduction to the composer. Next, the present author introduces the general situation ofRussian music and the origins of music of accordion. Then the composer's affection for thenation in creating the two compositions is illustrated. The compositional background of histwo compositions is introduced at last.The second part devotes to the identity analysis and the stylistic features of the two DonRhapsody. Here is to provide detailed analyses as well as a general grasp. It is in turn dividedinto three subsections: origin and features of rhapsody;an ontologically movement-basedanalysis of such aspects as their form, melody, fabric, pulse, mode and tonality, generalizingcompositional characteristics;research on the stylistic features of the two compositions, andespecially the nationalistic and jazz trait within.The third part is about the application of the various performance techniques. Thecategorical analysis of the techniques involved in bellow shake and glides performance is firstintroduced, the alternating occurrence of parallel and chord, and the colour-centered musicidea reflected from the performing techniques and the employment of the switch arerespectively analyzed in this part.