Exploration,Integration,Innovation

China,as a country with multiple ethnic groups,has a wide array of music genres and rich content forms,and owns distinctive national music characteristics.As a crucial part of national culture,national folk music has been continuously referred,incorporated,and adapted by the composers,who have then created a series of piano works with national characteristics.The piano adaption Chinese Sights and Sounds studied in this article is just such a highly national work,which has selected folk song materials from six different provinces for adaption and recreation,retaining the complete folk song tunes.From the perspective of music culture,this work not only facilitates the protection and inheritance of national music culture and the cultivation of national music cultural literacy but also has great significance for reference to the teaching of national piano.Therefore,appreciating and studying this work can be regarded as an important learning approach for people to understand national music culture.In the Chinese Sights and Sounds work,the fifth suite is the only part composed of the folk song materials in East China region.The adapter vividly presents the gentle,fresh,and beautiful style of Jiangnan Water Village.Therefore,the author takes four Jiangsu folk song piano adaptions in the fifth suite of Jiangsu Folk Songs Drizzle in the South,namely,The Scenery of Wuxi,Green Willow,Pulling out a Reed Catkin,and Bamboo-flute Tune,as its research targets,to explore the local music cultural characteristics in Jiangsu province and the national characteristics shown in the piano.The author also researches on the piano teaching philosophies for these four works from the perspective of nationalization.The thesis can be divided into the following five sections:The first chapter is the introduction explains the purpose and significance of the selected topic,and sorts out the relevant research theories of the folk song piano adaptations in each region,nationalized piano teaching and the adapted version of Chinese Sights and Sounds.In the meantime,it introduces the research methods of this thesis as well as defines the related concepts of “Nationalization” and “Localization”.The second chapter is a brief introduction to Yuankai Bao and the orchestral music and piano version of Chinese Sights and Sounds;meanwhile,it gives a short material analysis on the four piano adaptions of the fifth suite of Jiangsu Folk Songs Drizzle in the South.The third chapter summarizes the national creative features from three aspects,“The Technique Fusion of Tradition and Modernization”,“Independent and Complete Work Structure” and “Aesthetic State of Meaningful,Timelessness and Exquisite” toward the fifth suite of Jiangsu Folk Songs Drizzle in the South,and then discovers the local music cultural characteristics of Jiangsu folk song piano adaptions.Chapter four is concerning the study of the nationalized piano teaching philosophy of the fifth suite Jiangsu Folk Songs Drizzle in the South,expounding from two respects,that is,“The Establishment of Language Thinking of National Music” and “The Establishment of the Aesthetic Concept of National Music”.In other words,it explains from performance technique and music aesthetics,striving to increase the public attention toward localized piano adaptions and enhance the performance and teaching method of localized piano adaptions,and thereby promote the development of nationalized piano teaching.The summary section includes the author’s thoughts and expectations on the teaching of national piano,hoping to provide some suggestions and help for nationalized piano teaching.