The piano solo "Pihuang" is based on what kind of opera? ( )

Piano solo "Pi Huang" is based on China opera-Peking Opera.

Pihuang is a piano piece by Juck Zhang, a contemporary composer in China. According to the plate structure characteristics of Peking Opera "Xi Pi" and "Huang Er", the song is skillfully combined with the piano and incorporates a lot of Peking Opera elements. It is an excellent piano solo that is both intense and easy to understand, and it is one of the works with high artistic achievements. The songs imitate the accompaniment instruments, forms and singing rhythms in Beijing Opera, with profound contents and unique techniques.

First, the creative background of piano music "Pihuang"

Juck Zhang, born in Yunnan, is a knowledgeable and cheerful musician. Most of his works have certain national characteristics, and Pi Huang is no exception. Juck Zhang combined his childhood experience and love for natural music with the plate structure of Peking Opera.

The "original board" in the piano piece Pihuang embodies the innocence of childhood, so the author defines the beauty of this period as "original board". By the time the climax "crib board" appeared, the north-south accent was more obvious, and the characteristics of Beijing opera were the most obvious. The rhythm, rhythm and melody structure are full of the charm of Peking Opera, from slow to fast, from strong to weak, pushing the music to a climax until the end of its glory.

Second, the creative analysis of Pi Huang

(A) "Guide"-the introduction of the whole work

As the introduction of the whole song, the "guide disc" is equivalent to the accompaniment form used by the characters in Beijing Opera when they take the stage. Boeing, vibrato, leaning and arpeggio are very common in China's piano works. The guide board gives people a sense of mystery, and then ends in infinite repetition, and the story is about to begin.

(B) "Original"-the theme of the program

After the introduction, it gradually entered the theme, from "guide plate" to "original plate", which is also very common in Beijing opera. The "original board" is 2/4 beat, which is called one board at a time in Beijing opera. The "original board" in the piano piece Pi Huang is the original board of the "Xipi" sound cavity in Beijing Opera, with a quiet and peaceful theme. The melody of Beijing opera began to appear on the original board, making a transition with changeable rhythm and gradually cooling down.

(3) Twenty-six, Running Water and Fast Three Eyes-the first part of the work.

According to the theme of the "original board", the speed was accelerated, and then the "26" board gradually evolved. The beat of "26" is the same as that of "the original board". Although the beat has not changed, the speed of "26" belongs to the medium speed, which is slightly faster than the "original board" and repeats the melody of the previous paragraph in an accelerated form.

The beat of the "flowing water" part is different from the previous paragraph and becomes a beat. A little faster than "26" means that the "board" in Beijing opera is omitted, leaving the "eye", which is what we call a board without eyes.

"Quick three eyes" is the four beats in Beijing opera. The first beat is the board, and the second, third and fourth beats are the head eye, middle eye and tail eye respectively. On the spectrum, "Fast Three Eyes" is 4/8 beats, which is slightly faster and stronger than "26". It is still a theme variation, and the continuous syncopation rhythm reaches the climax of the first part, and a rising arpeggio changes from fast to slow, paving the way for the adagio behind.

(4) "Adagio"-The second part is a paragraph compared with the previous paragraph.

From this part, the Huanger Opera in Beijing Opera was adopted, and the rhythm was slowed down by adding flowers and extending the original board, which gradually formed. The repeated persistent sound in the high-pitched area of the right hand is combined with the deep Erhuang melody of the left hand, and the second half imitates the bell. The harmony of the left hand continues to set off the melody of the clock of the right hand, and then the story is explained in the order of fast four tones, which also paves the way for the next allegro.

(5) "Allegro", "Rocker" and "Stacker"-the development of the third part of the work.

Allegro is generally used to describe the scenes of fierce confrontation and disputes in Beijing opera. Allegro is to change the mode of Huang Er in Beijing Opera, and the mode is constantly changing. The left hand cooperates with dissonance interval five times, which makes the sense of urgency of music stronger.

"Rocking board" is the second variation of Huang Er tune in Beijing Opera, which is produced by imitating the artistic features of Beijing Opera Huqin. This passage is in the F-feather mode, and the left-hand harmony keeps swinging repeatedly, imitating the percussion music in Beijing opera, and the rhythm is crazy.

"Stacking board" is a kind of beat with clear and accurate rhythm, similar to the western emergency board. The left and right hands imitate the banjo and string-pulling of Peking Opera, and key signature's score is also different. They fused the tones of "Xipi" and "Huang Er" in Beijing Opera, and reproduced the tone of Huang Er who once appeared in Allegro, echoing the previous paragraph from beginning to end. Finally, the fast rhythm of this paragraph is like a drum that is constantly being knocked. Through the constant change of interval, that is, the sophomore year and the third year at the end, the music gradually came to an end.

(6) "epilogue"-a wonderful and intense ending.

The "epilogue" of music reproduces the mode of Xipi in Beijing Opera, and the tonality returns to the theme. The left octave bass and the powerful chord division of the right hand complement each other, creating a brilliant dramatic effect; At the end of the music, a series of arpeggios and repeated vibrato pushed the whole music to a climax, and chords appeared constantly in the left and right hands. Finally, after three powerful octaves, the whole music ended brilliantly and shockingly.

Three. conclusion

The music adopts a combination of Chinese and Western creative techniques, and applies the elements of China traditional opera Beijing Opera, so that every part can feel the charm of Beijing Opera. When composing music, the composer did not completely copy the structural characteristics of Beijing opera, but paid attention to the emotional expression of music.

This paper analyzes the plate structure, melody rhythm, Peking Opera elements and instrumental music imitation of the works. This novel creative technique of integrating Beijing Opera into piano not only continues the culture of China, but also promotes the development of piano music, which has accumulated very valuable musical wealth for us. Pihuang is one of the outstanding works, which has important research value.

References:

Wang Yuhe. History of Modern Music in China, Beijing: People's Music Publishing House, 2004.

[2] Sibelius Biography, Beijing: People's Music Publishing House, 2002.

[3] Zhao Jin. Performance and Appreciation of Juck Zhang's Piano Music "Pihuang", 20 10.

[4] Lin Jiaxuan. On the Aesthetics and Music Creation of Peking Opera from the Creation of Juck Zhang's Piano Music Pihuang, 20 12 04.

[5] Qi Lei. On the creative characteristics of Juck Zhang's piano piece Pihuang, 20 15.

[6] Niu Wen Jian. Creative Techniques and Literary Analysis of Piano Music Pihuang, 20 14.

[7] Liu Ying. On the rhythm structure characteristics of piano music "Pi Huang", 20 12.