Analysis Of Performance And Piano Accompaniment For The Pipa Concerto The Little Sister Of The Grassland

The Little Sister of the Grassland is the first Chinese pipa concerto jointly created by Liu Dehai,Wu Zuqiang and Wang Yanqiao in the 1970 s,and exerted profound influence to the domestic and overseas music history.This well-known pipa concerto,realizing the concept of “make the past serve the present and make foreign things serve China”,has perfectly integrated the quintessence of both national instruments and western instruments and contributed to going globe for Chinese national instruments.To spread the fine fruit of this essence of music widely and thoroughly,master Liu Dehai rearranged the Prairie concerto into the edition accompanied by pipa and piano.The ontology research,musical structure and performing techniques for the Little Sister of the Grassland(Piano Version)are summarized based on serious review of many literature materials and according to years of piano accompaniment experience.This paper attaches great importance to the coordination and cooperation between pipa music and piano in the field of rhythm while performing concerto.This paper mainly consists of three parts,the introduction,text and conclusion.The text is developed into four chapters.First and foremost,the source of this question,purpose and significance of research are discussed,the current domestic and overseas research status for concerto,the Little Sister of the Grassland,and other national instrument concertos are concluded and the research priority and objective,innovation point and method are proposed.The second chapter is to introduce the life of three great composers of this concerto and stresses the position of the Prairie among the Chinese traditional instrumental music creations.The third chapter simply generalizes the musical structure of the concerto and the creation process in specific chapters.The fourth and fifth chapters are the vital part of this paper,conducting thorough analysis and discussion for this concerto.The fourth chapter mainly introduces the performance technique of the Prairie from the perspective of pipa performance,which provides a effective reference for players.The fifth chapter is the center chapter and generalizes the thesis statement of this paper through analyzing the timbre intensity comparison of pipa and piano during coordinated performance and cooperated instrumental performance.