| In the middle and late 20 th century,the Central Nationalities Song and Dance Ensemble issued the “cadre policy”,which means that all the cadres that work on the cultural and art work of ethnic minorities should go deep into the life of the minorities and collect folk songs regularly and irregularly.Thanks to such a policy,composer Yang Bihai went to many regions inhabited by ethnic groups where he could experience the local folk music,and thus he produced his own musical works with different artistic styles of the minorities,among which there was a piano concerto called Pastoral For The Prairie featured with Mongolia style.When Mr.Yang was collecting folk songs in Mongolia,he recorded a large number of folk songs on his notebook and categorized them.Yang selected three folk song as the basis of his creation.At first,the work was just a sketch,and later he continually revised and improved it,as a result of which,this sketch had turned into a concerto which can be played together by piano and band.In 1981,first draft of the double concerto for piano adapted by the band was launched.In January 1990,this double concerto for piano received its premiere in Taiwan,and afterwards,through constant revision,it was officially published on the Piano Works of Yang Bihai in 2015.This paper delves into Yang Bihai as well as his work Pastoral for The Prairie,and it falls into different parts,that is,the introduction part and the other four parts which talk about the research content.As for the other four parts,the first part mainly elaborates Yang Bihai’s life and his master works.In this part,due to the little available information that was found,this paper tries to find some clues in the existing historical materials about Fujian National Conservatory of Music where Yang used to live and studied.From these historical materials,we can study the study and life of Yang and some works he produced,and even learn about,to some extent,Yang’s character.What is more,this part also figures out the creation background and performance information of Pastoral for The Prairie under the help of Yang’s wife called Wang Dingfan.The second part is to conduct a noumenon analysis on Pastoral for The Prairie through music score.This work is divided into three movements,all of which carry totally different characteristics,so individual noumenon analysis should be conducted according to the movements.Each movement consists of the overall information of the spectrum,the harmony characteristic,the theme melody as well as the creation techniques,so this part individually explains the folk songs that were quoted in each movement.The third part elaborates the playing skill of Pastoral for The Prairie.Firstly,the author analyzes the difficult parts in the movement according to his experience and puts forward with some corresponding suggestions for practice.Secondly,this part explains some unique ways of using the pedal.Finally,the author conducts an analysis on the characteristics of double piano collaboration given the fact that this work belongs to double piano works.The fourth part delves deep into the cultural connotation that Pastoral for The Prairie carries.After fully understanding the culture and the life of Mongolian people,Yang Bihai integrated what he had seen and what he had thought into his creation.Therefore,each movement includes different spiritual connotations and cultural backgrounds which deserve deeper exploration.The last part summarizes the suggestions given to the author from Wang Dingfan as well as some related notes on Yang’s notebook,and on the basis of this,the author gives a brief summary and conclusion of this research. |
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