The Localization Study Of Modern Chromaticism In Chiang Wen-yeh’s Chinese Style Music

This article takes Chiang Wen-yeh‘s piano suite Five Sketches as the object of study with the help of Bartók’s Modern Chromaticism compositional theory,and compares the musical connotations of the chromatic technique and the Chinese style through the methods of documentary research and score analysis.The study also analyses the specific compositional techniques used in Chiang Wen-yeh’s suite Five Sketches,summarises the way Chiang Wen-yeh has localised the tonal chromatic system and the aesthetic connotations behind it,and discusses the impact of Chiang Wen-yeh’s exploration of this compositional technique on his own development and that of Chinese piano music.These discussions can be divided into four specific sections.Firstly,the first chapter of the dissertation introduces the specific connotations of the tonal chromatic system and Chinese style piano music respectively.For one,the scope and manner of their use is discussed by sorting out the meaning,proposal and history of the tonal chromatic system.Secondly,it discusses the stylistic and ontological characteristics as well as the historical evolution of Chinese style piano music.Secondly,the second chapter of the dissertation discusses in detail the tonal synthesis material and tonal synthesis techniques of the tonal chromatic system used by Chiang Wen-yeh in Five Sketches.The third chapter analyses the Chinese style of the five pieces in the suite in the order in which they are performed.Finally,the fourth chapter of the dissertation summarises the way in which Chiang Wen-yeh’s tonal chromatic system has been transformed into a Chinese style in relation to the content of the second and third chapters,and discusses its implications.By doing so,the author hopes to uncover the techniques used in the study of modern Chinese style piano music compositions,in an attempt to provide theoretical support for the creation of Chinese piano music.