Juan Li

">
Welcome to Scholar Publishing Group

International Journal of Art Innovation and Development, 2020, 1(2); doi: 10.38007/IJAID.2020.010201.

Folk Music from the Perspective of Chinese Piano Music Culture

Author(s)

Juan Li

Corresponding Author:
Juan Li
Affiliation(s)

Shandong Jiaotong University, Shandong, China

Abstract

With the wave of globalization, more and more western music theories appear in people's eyes. More and more children have the opportunity to learn advanced and systematic western music theory, enrich themselves and create more works. However, on the other hand, the impact of foreign music on folk music is increasing. It often happens that people abandon folk music and learn foreign music. Many children do not like folk music. Therefore, it is imperative to study the folk music from the perspective of Chinese piano music culture. The purpose of this paper is how to deal with the children in the new era of the right questions, to learn the piano through the study of folk music in Chinese piano music cultural horizon, enumerate the cowboy short, "peace march", "children's suite", "first in Xinjiang dance music" four works, from the localization integration degree, national characteristic, music works awareness aspects to explore the methods and effect of music localization. Research results show that this kind of Chinese piano music cultural perspectives of the folk music study pentatonic scale used to write piano music, for the use of strength marks, the emergence of the dissonant intervals method can effectively music localization, the parents and the teacher's guide to let more children to accept the piano education, have the idea of a more tolerant to study music.

Keywords

Piano Music Culture; Folk Music; Music Localization; Music Research

Cite This Paper

Juan Li. Folk Music from the Perspective of Chinese Piano Music Culture. International Journal of Art Innovation and Development (2020), Vol. 1, Issue 2: 62-73.

References

[1] Chen Xu, The Creation and Enlightenment of Chinese Piano Music . Music Research, 2017, 9(6).:32-33.

[2] Li Mei. A Legal Analysis of the Phenomenon of Neutral Sound in Folk Music. Journal of the Central Conservatory of Music, 2018, 5(3):36-37.

[3] Zou Yanjing, Li Hai. On the Essence of Laozi's Thoughts on Musical Beauty——Analysis of Big Voice. Music Research, 2017, 10(2):20-33.

[4] Wang Tingyi, Yang Hoping. 20th Century Chinese Music Aesthetics. Music Art, 2017, 60(10):6-10.

[5] Wei Tinge. Development of China's Piano Music Creation. Music Research, 2015, 14(8):1-2.

[6] Zhou Weidman. Review and Thinking of Chinese Piano Music Creation in the 20th Century. Chinese Music, 2017, 18(1):17-25.

[7] Robert J. Griffin. Teaching Hispanic Culture through Folk Music. Hispania, 2015, 9(6):1-12.

[8] Mary Talus an. Kelantan: Gong Music from Mindanao in the Southern Philippines (2011, 23 minutes) and Marana Culture at Home and in the Diaspora (2012, 33 minutes) (review). Asian Music, 2016, 42(35):53-65.

[9] Downs L. Spanish dances and the piano music of Albeniz, Granados, Fall, Turin, and Mokpo. Ethnic Art Studies, 2015, 31(3):38-39.

[10] Sunna L. ‘Senior pop music?’ The role of folk-like stager music for elderly people. Asian Music,2017, 16(1):35-49.

[11] Thom, Time. Economic impacts of cultural events on local economies: an input–output analysis of the Folk Music Festival. Tourism Economics, 2016, 12(1):15-16.

[12] Avila J. Music in Mexico: Experiencing Music, Expressing Culture by Alejandro L. Madrid (review). People's music, 2017, 25(10):10-18.

[13] Jiao, Wei. Chinese and Western elements in contemporary Chinese composer Zhou Long’s works for solo piano Mongolian Folk-Tune Variations, Wu Koi, and Piano gongs. Philosophy of Music Education Review, 2017, 64(17):12-15.

[14] W. Komla Amok. Folk Music in the United States: An Introduction by Bruno Nettle; Helen Myers; Contemporary Music and Music Cultures by Charles Hamm; Bruno Nettle; Ronald Burnside. Black Perspective in Music, 2017, 55(10):4-9.

[15] Edelstein R. Folk City: New York and the American Folk Music Revival by Stephen Petrus and Ronald D. Cohen. Notes, 2016, 24(4):9-17.

[16] Irritant, Toshio. Learning to play music in later adulthood: A personal perspective focusing on the piano. Psych musicology A Journal of Research in Music Cognition, 2017, 115(1):9-13.

[17] Choi Y J. The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignace Jan Paderewski. Music exploration, 2018, 92(3):1-12.

[18] Lopez E G A, Lopez E G A. American Folk Traditions in Piano Concert Music. Philosophy of Music Education Review, 2019, 37(3):39-46.

[19] Sondra, Wieland, Howe. Sources of the Folk Songs in the Violin and Piano Books of Shinichi Suzuki. Notes, 2018, 39(6):11-12.

[20]. Kabuli DeMarcus Siren. Arranged Bursa folk songs for four hands piano and their practice in music education departments. Educational Research & Reviews, 2017, 16(1):8-9.