A Study Of Harmony From The Three Excerpts Of The Piano Accompaniment Red Lantern

The Piano accompaniment Red Lantern was created during the period of cultural revolution. In this particular historical background and cultural environment the new art form was created by Yin Chengzong and other artists in order to save the surviving crisis of piano artistry and was widely circulated till now. It is formed on the basis of Model Peking opera Red Lantern and adapted on the accompaniment according to the original fluctuating plot (Communist Party of China led Chinese people an Anti-Japanese armed struggle). The Piano accompaniment Red Lantern is centered on the singing melody and applies piano texture,rhythm and color into the accompaniment. In addition it is combined with traditional monophonic instrument and adapted in the opera singing. Thus it opens the piano accompaniment opera. And due to its high artistic quality and appreciation, especially in accordance with the requirements of Political propaganda at that time, the Piano accompaniment Red Lantern has been once regarded as modern revolutionary opera which contours with the Eight Model Operas. It became a model and spread fast during the period of Cultural Revolution. The Piano accompaniment Red Lantern builds a bridge between the king of western musical instruments and Chinese folk art, in which not only traditional elements of the folk art but also the theory of European classical harmony, features of late European Romanticism and Russian folk music are taken in. It makes the traditional music art creative and connected with the world. This paper begins with version and content of the Piano accompaniment Red Lantern and analyses the vocal and harmony of this work. In addition it thoroughly explores the features of its harmonic style, the theoretical significance and the thinking of the reality.