A Study on the Role of Imagination in Piano Adaptations of Chine Folk Songs Yuening QU
Jilin Academy of Art
Abstract: It is well known that piano adaptations of folk songs have always played a pivotal and important role in China’s piano repertoire, which perfectly integrates folk music into piano music. Imagination has a profound influence on the performance of piano adaptations of Chine folk songs, which can effectively improve the n of hierarchy in performance. Bad on this, this pa-per focus on the important role of imagination in the performance of piano adaptations of Chine folk songs.
Key words: Chine folk songs; Piano adaptations; Imagination; Role
DOI: 10.47297/ wsprolaadWSP 2634-786512.20200102
1. Introduction
t is well known that imagination can effectively manifest the vitality of various artis-tic acts. If imagination is flexibly applied to play piano adaptations of Chine folk songs, it can not only make the piano performance more vivid, but also give it a soul.
2. Overview of Imagination
Imagination is one of the most important abilities that human beings have. It is between rational thinking and perceptual thinking, and people can create things in their brains twice by imagination. Imagination is the main source of inspiration for human beings as it is a great driving force for inventions.
Imagination is widely ud in all kinds of artistic activities, from dance, music, literature, art and other artistic activities. For example, in the process of creating music works, the compor will first mobilize his imagination in his brain to conceive the theme of the music, and in the specific creation process, the compor can integrate his
About the author: Yuening QU(1994-05), female, Han nationality, Native place: Changchun City, Jilin Province. Jilin Academy of Arts, title: none. Postgraduate degree, rearch direction: music. I All Rights Rerved.
A Study on the Role of Imagination in Piano Adaptations of Chine Folk Songs
own emotions into the work through imagination; for example, in art works, the painter
will take materials from his real life, and then u his imagination to integrate the ma-
terials. It is clear that any artistic creation must be cloly bad on imagination, which
plays an irreplaceable role in it [1].
3. Analysis of the Relationship Between Imagination and Music
Music is by nature an auditory art, and since music has no specific form, people can only listen to it with their hearts when they enjoy it, and compors also need to
feel it with 简单插画
their hearts when they create musical works. Imagination in music is main-
ly manifested in the following aspects: First, the compor needs to conceive the theme
of the work through imagination when creating music works, so that the created music
works are more vivid and full. Secondly, the performers need to mobilize their own
imagination to perceive the emotions in the works when playing the musical works, in
order to make the works played more vital. Third, listeners need to u their imagina-
tion to feel th竹子铅笔画
e rich connotation behind the work when listening to the music, so as to
better understand the purpo of the creation of the music.
To sum up, imagination is not only an important and indispensable element in the All Rights Rerved.
process of music creation, but through imagination it can also further promote the
scope of dismination of musical works and help listeners to comprehend the meaning
behind the works.
4. Overview of Piano Adaptations of Chine Folk Songs
Chine folk songs have a long history and a very important place in the history of China’s musical culture. They are not only rich in regional culture, but also contain
the national spirit of the Chine people, which has been pasd down from generation
to generation. Under the violent collision of Chine and Western musical thinking,
China was influenced by traditional folk songs when composing piano music, so that
the creation of piano music gradually developed in the direction of nationalization,
laying the foundation for the birth of piano adaptations of Chine folk songs. A review
of a large number of sources shows that the piano art in China developed very rapidly
in the 1940s, and the development of piano adaptations of Chine folk songs was also
very rapid in this period, and a large number of piano adaptations with Chine folk
characteristics were created, such as “Flower Drum” and “Five Y unnan Folk Songs”.
Throughout the history of the development of Chine piano adaptations, a number of
excellent piano works with ethnic characteristics have emerged, such as “Xi Feng
Nian”, “Liu Yang He” and “Xinjiang Fantasia” [2].
Rearch on Literary and Art Development Vol.1 No.2 2020
The piano adaptations of Chine folk songs have the following main characteris-tics:
Firstly, the material is mainly taken from folk songs. Almost all of the materials for piano adaptations of Chine folk songs are taken from folk songs, and the com-
pors adapt them to piano pieces on the basis of folk songs, so almost all of the im-
portant features of folk songs are prerved, which to a certain extent facilitates the
spread of piano adapta玉米排骨汤
tions.
Secondly, the beauty of the lines of folk songs is prerved in the musical melody, while harmonies are added. Thus, piano adaptations of Chine folk songs have the
characteristics of fol存心的反义词
k songs while retaining the harmonies and multi-layered nature of
piano music.
Third, the folk song elements are incorporated into the song structure. The west-ern and the oriental song structures are perfectly blended, and the Chine structure is
ud to effectively innovate the piano adaptation of Chine folk songs.
5. Analysis of the Important Role of Imagination in the Perfor-
mance of Piano Adaptations of Chine Folk Songs
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The performance of piano adaptations of Chine folk songs is usually a complex activity that requires a great deal from the performer. In order to ensure that the player
achieves the unity of mind and body, he or she must first imagine the sound of the mu-
sic in his or her mind, and then u his or her imagination to bring out the emotion of
the piece in the performance. Therefore, the important role of imagination in the per-
formance of piano adaptations of Chine folk songs is reflected in the following two
levels:
The first is reflected in the piano playing skills. Different techniques require dif-ferent forces in order to change the sound of the piano. The piano is t up in such a
way t银行卡查询
hat the sound cannot be changed once it has been articulated, so in order to ensure
the quality of the performance, the player needs to imagine the timbre during the per-
formance with the help of imagination, so as to ensure a complete articulation of the
timbre [3].
The cond is in the image of the piano performance. In order to create a more appropriate image for the performance, the performer must first imagine the image of
the performance, and the performer can combine the title and personal life experience
to understand the piano adaptation of the folk song. It is important to note that the im-
agination of the performer must be ud throughout the performance in order to convey
A Study on the Role of Imagination in Piano Adaptations of Chine Folk Songs
the original emotion of the piece to the listener.
6. Analysis of the Specific Embodiment of Imagination in the
Performance of Piano Adaptations of Chine Folk Songs
It is well known that imagination has a profound influence on the performance of piano adaptations. The following is an example of a piano adaptation of a Chine folk
song, “Red Flowers Blooming All over the Mountain”, to discuss the specific embod-
iment of imagination in the performance of piano adaptations of folk songs. The folk
song “Red Flowers Blooming All over the Mountain” has a strong ethnic character,
which is prerved in the piano adaptation and then modified by the u of ornamenta-
tion.
When playing this song, the performer can mobilize his or her imagination to im-agine the local customs of Shanbei in combination with the content of the piece, imag-
ine a story with great characteristics according to the structure of the adaptation, and
then inject his or her own emotions into the piece in the actual performance process,
mobilizing his or经典的玄幻小说
her own emotions to control the direction of the piece [4].
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7. Specific Ways to Improve the Imagination of the Performers
of Piano Adaptations of Chine Folk Songs
First, broaden one’s life experience. Imagination is the reprocessing of what is known to the individual to form something new. Therefore, at this level, if a performer
wants to improve his or her imagination, he or she must have a very rich life experi-
ence. In order to broaden their life experiences, players can increa their life experi-
ences by reading books, watching documentaries, etc., in order to achieve the ultimate
goal of improving their imagination [5].
Second, learn a lot about folk culture. Since the piano adaptations of Chine folk songs are bad on traditional folk songs, in order to stimulate the imagination of the
performer in the performance process, the performer needs to consciously learn the
knowledge of folk culture and fully understand the cultural part of folk songs before
playing the piece, so that he can associate with it in the actual performance process.
Thirdly, you should exerci your imagination bad on the work. The formation of imagination cannot be achieved overnight, and players need to train their imagina-
tion in this area on a regular basis. For example, the performer can lect an appropri-
ate piano adaptation of a Chine folk song, listen to the content of the adaptation, and
then train his imagination by combining the title of the adaptation with his own imagi-
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nt Vol.1 No.2 2020
nation and the emotions expresd in the work to make a complete story out of it.
8. Conclusion
In conclusion, the piano adaptation of Chine folk songs is an important part of China’s musical history, and it is bad on the prervation of the esnce of the folk
songs, which not only makes the traditional national culture of China more effectively
inherited, but also promotes the national culture of China to the world through the pi-
ano adaptaaabb式的词语大全
tion of folk songs. A lot of studies have shown that imagination has a very
important influence on the performance of piano adaptations of Chine folk songs,
and pianists need to pay attention to it if they can fully mobilize their imagination in
the process of performance to further improve the dismination of the works. The pi-
ano player needs to pay attention to this. Through diversified methods to improve their
imagination, the real role of imagination can be revealed in the actual performance
process, thus further improving the artistic tension of the piano adaptation of folk
songs.
Works Cited
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[1] WEI Yaozhen. “An analysis of the characteristics of the creation of piano adaptations of
Chine folk songs - taking northern Shaanxi folk songs as an example”. J ournal of
Huabei Normal University: philosophy and social science edition, 2017(05):137-140.
[2] GUO Yanfang. “Musical characteristics of the piano piece “Jasmine Flower” adapted
by Chu Wanghua”. Contemporary Music, 2017(22):93-95.
[3] LIANG Xuancheng, Feng Dou. “A comparative study of four piano adaptations of the
folk song “Haunting the Lantern” .” Music Composition, 2019(01):113-21.
[4] ZHANG Bingling. “A review of the current situation of creation and rearch of piano
adaptations of Chine folk songs”. Music Life, 2019(03):93-96.
[5] GUO Weiting. “Experimental analysis of the performance characteristics of the Chine
piano adaptation of “Hundred Birds Chaofeng”.” Northern Music, 2020(02):100-01.
