Early Days Of Chinese Piano Transcriptions

As an adventive musical instrument,piano has been introduced into China for manyyears.In1913,according to Chinese Folk Music and Jiangnan Folk Music,the“Take eight plateand Xiangjiang wave”,composed by Zhao Yuanren during his study abroad,was the earliest pianoparaphrase in China. And in1914,this composition was recognized as soon as it was staged atCornell University.The advent of the earliest piano paraphrase in China indicated the engender ofthe new type and the new direction of composition in Chinese piano music. This was not only anenergized attempt but also a sense of renewal in creation. Henceforward,under the joined effortsof composers and pianists from generation to generation,the work of our piano is rapidly movingtowards prosperity.With the founding of the People’s Republic,As the society develops more and morestably,the development in the music enters to a new period as well. The creation of the ChinesePiano music also gets further development and presents multiplex tendency. Based onincomplete statistics,the piano music pieces composed after the establishment of PRC sum upto300pieces,including a large number of excellent piano transcriptions. The pianotranscriptions in this period showed much simplicity and contemporary in music style thanbefore. And at the same time,it also reflected the theme of Chinese piano music.The creationthought in nationalization and Chinese characteristics was more rigorous than before, drivingfurther development of Chinese piano music.In some way these works indicated thecharacteristic of Chinese music which was simple and bold. In the past endless years and underthe broad and deep background, Chinese piano paraphrase has formed a incomparable artisticfeature.This paper consists of three chapters, Using historical analysis method, sampling Analysis,aesthetic analysis and etc. and in the first chapter there is a simple introduction of thedevelopment of the piano paraphrase in the first half of the twentieth century, thus we canunderstand that the reproduce of piano paraphrase results from the law of its own and it alsounder the influence of history and politics of that time. In the second chapter, using the method of analysis of musicology and exemplification, there was a summarized study and summary forthe creation of piano paraphrase of national character in this period. In the third chapter, there isa comprehensive treatise about the history of piano paraphrase in the early days of foundationand the thoughtfulness of the historic significance. In the peroration, by making a pectination tothe train of thought, there is a summarized expound about what the piano paraphrase in the earlydays of foundation influenced on the piano paraphrase in Chinese Modern. Using the method ofunifying history and logic, on the base of pectination and exposition about the history of pianoparaphrase, in pursuit of common features and historical causes of piano paraphrase in thisperiod. And using literature search, musical analysis and comparative method, there is apectination about the success and failure of piano paraphrase and its influence and contributionon Chinese musical culture, and there is also a concrete analysis about a few Chinese pianoparaphrase songs in the hope of arising more research on Chinese piano music.