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VYTAUTAS MAGNUS UNIVERSITY MUSIC ACADEMY
Piano Department
JINHUI WANG
An analysis of prominent contemporary Chinese pianists’ career
Master thesis
Žymių šiuolaikinių Kinijos pianistų karjeros analizė
Magistro darbas
Title of the study programme: Performing arts (6211PX027)
Field of studies: MUSIC (C001)
Advisor: Assoc. Prof. Justas Dvarionas ___________ 2020 06 09
Defended: Assoc. Prof. Dr. Saulius Gerulis___________2020 06 09
Kaunas, 2020
SANTRAUKA Tyrimo aktualumas: Pastaraisiais dešimtmečiais fortepijono atlikimo meno plėtra
sulaukė vis didesnio dėmesio. Tačiau pianizmo raida Kinijoje nebuvo vienodai sklandi visuose
socialiniuose sluoksniuose ir regionuose, todėl turime nustatyti bei įvardyti esamus trūkumus. Šis
tyrimas analizuos garsių Kinijos pianistų karjerą siekiant suprasti dabartinę fortepijono meno
situaciją ir būsimas Kinijos pianizmo plėtros tendencijas.
Tyrimo problema: Fortepijono mokymas yra pati svarbiausia muzikos švietimo rinkos
dalis Kinijoje, tačiau šioje srityje yra trūkumų. Tiriant garsių Kinijos pianistų karjeros ypatybes, šis
darbas išsiaiškina ir apibūdina Kinijos fortepijono meno socialinės raidos problemas ir fortepijono
kultūros ateities perspektyvos tendencijas.
Tyrimo klausimai:
Kokios yra kinų pianistų karjeros raidos ypatybės?
Kokios yra garsių Kinijos pianistų karjeros patirties pamokos?
Kuo garsių Kinijos pianistų karjeros patirtis reikšminga plėtojant šiuolaikinę kinų pianistų
kultūrą?
Kokios yra kinų fortepijono kultūros plėtros problemos ir galimybės?
Tyrimo objektas: Kinijos fortepijono kultūros raidos būklės ir tendencijų analizė iš
Kinijos pianistų karjeros plėtros patirties perspektyvos.
Tyrimo tikslas: analizuojant Kinijos pianistų karjeros patirties ypatybes ištirti fortepijono
kultūros raidos tendencijas ateities Kinijoje.
Tyrimo uždaviniai:
Apibūdinti sėkmingos kinų pianistų karjeros ypatybes;
Išsiaiškinti dabartines kinų fortepijono kultūros problemas;
Ištirti pianizmo kultūrą ir jos ateities plėtros tendencijas Kinijoje.
Tyrimo metodai:
Literatūros tyrimo metodas;
Anketinės apklausos metodas.
Tyrimo išvados:
Kinijos fortepijono mokyme yra kokybinis atotrūkis dėl nepakankamo aukštos kokybės
kompetentingų pedagogų skaičiaus ir nusistovėjusios švietimo sistemos trūkumo.
Visų Kinijos visuomenės sluoksnių supratimas apie pianizmą ir jo vertinimas pagerės
ateityje.
Raktažodžiai: ateitis, charakteristikos, karjera, Kinija, pianistai, plėtra
SUMMARY Relevance of the research: In recent decades, the expansion of piano performance has
received increasing attention. However, the development of piano art in China has not been equally
smooth in all social strata and regions, and we need to define the existing shortcomings. This study
will analyse the careers of prominent Chinese pianists to understand the current situation of piano
art and future development trends in China.
The problem of the research: Piano teaching is the most substantial part of the music
education market in China, but there are drawbacks in this area. Investigating the career
characteristics of famous Chinese pianists, this work clarifies the problems of Chinese piano art
social development and the future progress trends of piano culture.
The research questions:
What are the characteristics of the Chinese pianists’ career development?
What are the lessons of the career experience of famous Chinese pianists?
How significant is the career experience of Chinese pianists in the development of
contemporary Chinese pianist culture?
What are the problems and opportunities for the development of Chinese piano culture?
The object of the research: analyses the state and trends of the piano culture development
in China from the perspective of Chinese pianists' career development experience..
The aim of the research: throughout the analysis of Chinese pianists' career experience
characteristics to research the development trend of piano culture in future China.
The objectives of the research:
To describe the characteristics of Chinese pianists’ successful career experience;
To find the current problems in Chinese piano culture;
To explore the piano culture and its future development trend in China.
The methods of the research:
Literature research method;
Questionnaire survey method.
Findings of the research:
There is a qualitative gap in Chinese piano education because of an insufficient number of
high-quality, competent teachers and established educational system.
The level of piano art understanding and appreciation of all Chinese society strata will be
improved in the future.
Keywords: China; pianists; career; characteristics; development; future.
TABLE OF CONTENTS
INTRODUCTION.............................................................................................................................5
1. Famous Contemporary Chinese Pianists Introduction..................................................................7
1.1. Famous Contemporary Chinese Pianists Analysis...................................................................15
1.2. Basic Personal Information Analysis.......................................................................................16
1.3. Career Development Analysis................................................................................................. 21
1.4. Summary of this chapter...........................................................................................................22
2. Questionnaire Analysis of the Acceptance of Piano Culture in China........................................24
2.1. Questionnaire Design...............................................................................................................24
2.2. Survey Results Analysis...........................................................................................................24
2.3. Summary of the Findings.........................................................................................................32
CONCLUSIONS.......... ..................................................................................................................34
REFERENCES................................................................................................................................36
APPENDICES.................................................................................................................................39
Annex 1. Questionnaire example (in English)..............................................................................39
Annex 2. Questionnaire example (in Chinese)................................................................................41
5
INTRODUCTION
Relevance of the research: The piano originated in Europe in the 18th century and was
invented by the Italian Bartolomeo Christofori. The clavichord is the forerunner of the modern
piano. It first came to China during the Wanli period of the Ming dynasty (Tao, 2001). During the
reign of emperor Kangxi of the Qing dynasty in the 17th century, Portuguese missionaries brought
Harpsichord to China. Piano is a polyphonic instrument, while Chinese people's traditional aesthetic
habit is single-tone linear thinking. Although western piano music has a strong cultural advantage, it
is difficult for Chinese people to adapt to piano music culturally in a short time due to the inertia
and constraints of traditional aesthetics. The opium war in 1840 tore open the solid door of China,
forcing a large number of foreign missionaries into China, modern piano and modern piano music
began to infiltrate into the life of the Chinese people. The piano really gained a certain social status
in China, which was originated from the development of the "school music" movement at the
beginning of last century, which was also a trend never seen in China's music road. From 1937 to
1949, the war of resistance against Japanese aggression and the civil war of liberation followed,
which made the piano education in China have to slow down the pace of progress. After the
founding of the People's Republic of China, the state attached great importance to music education,
which also made piano music creation rooted in the land. Under the guidance of chairman MAO's
musical policy of "the past serves the present, the foreign serves the Chinese", western instruments
to express the style and characteristics of the Chinese nation became the direction for composers
and pianists to explore. In recent years, due to the sustained and steady growth of China's economy,
the continuous expansion of the education market and the attention of government departments, art
education has gradually been paid attention to (Li, 2019). As the king of Musical Instruments, piano
has its unique charm and is deeply loved by the Chinese people. Piano education as the largest
category in the music education market, occupies the largest share of the market. According to the
China musicians association, at present, the proportion of piano learning in kindergartens is more
than 60 per cent, and that in primary schools is 30 per cent. More than 30 million children are now
learning the piano in China, and the number is growing by 10 per cent a year (Chen, 2019). The
number of people learning piano is increasing, and a number of excellent pianists have emerged in
Chinese society, such as Shikun Liu,Xiangdong Kong, Sa Chen, Lang Lang, Yundi Li, Yujia
Wang, and Wenyu Shen.
Although the development of piano art in Chinese society is very rapid, there are still some
6
problems. Piano culture was introduced into China relatively late, piano education resources are
short, and the music system is not complete, resulting in Chinese piano culture behind foreign
countries. The number of people learning piano in China is increasing, and the limited level of
piano teachers, on the one hand, also hinders the development of China's piano level.
By analysing the characteristics of the successful career experience of outstanding
contemporary Chinese pianists, this thesis studies the development trend of Chinese piano art in the
future.
The problem of the research: Piano education as the largest category in the music
education market. But there are shortcomings in development. By studying the career characteristics
of Chinese contemporary pianists, this thesis finds out the problems existing in the development of
Chinese social piano, and explores the development trend of piano culture in the future.
The aim of this study is to analyze the characteristics of the successful career experience
of successful Chinese pianists, this thesis research the development trend of piano culture in China
in the future.
Objectives of the research:
To find the characteristics of successful career experience of Chinese pianists;
To explore the current situation of Chinese social piano culture and its future development
trend in China;
To find the current problems of Chinese piano culture.
The methods of the research:
Literature research methods;
Questionnaire survey method;
The research questions:
What are the characteristics of the career development of Chinese pianists;
What are the implications of the experience of Chinese pianists for the development of
Chinese piano culture;
What are the problems in the development of Chinese piano culture?
The structure of the research: The thesis consists of a summary (in Lithuanian and
English), introduction, two chapters, references, conclusions, appendices,.Thesis consists of 42
pages, 1 table and 14 figures. The bibliography reference consists of 42 sources.
7
1. Famous Contemporary Chinese Pianists Introduction
In the middle of the Qing dynasty, the western piano art became popular in the upper class
of China with the promotion and spread of foreign missionaries. Early missionaries tried to use
piano as a carrier, hope to open the door of the Chinese music art, however, the piano to adopt
sound more thinking for the principle of keyboard instruments and traditional Chinese music in a
linear system thinking single tone of music aesthetics exists between hard to fit into the
contradiction, therefore, this communication have not the result at that time. It was this initial
communication that led to the practice of Chinese piano education and enlightened the thinking
concept of Chinese piano education in a small scale. With the opium war in the late Qing dynasty
and a series of political events such as reform and reform, China's feudal ideology was forced to
change, which promoted the reform of the education system at that time, and also promoted the
development of China's piano education. The real social status of piano in China was realized in the
"school music" movement at the beginning of the 20th century. "School music" is an unprecedented
music trend in the history of Chinese music. School is the centre, and its influence extends to the
whole society. As an ideal accompaniment instrument, piano takes root in the land of ancient China
on the wings of "school music". Since then, many music clubs have been set up in Beijing and
Shanghai, most of which teach piano. On this basis, some colleges and universities have also set up
a more systematic and standardized piano teaching. The early Chinese piano figures in the music
world include Youmei Xiao, Zhongzi Yang, Cuizhen Li, Xianmin Li, Shande Ding and so on. In the
Chinese society at that time, their performance activities have played an extremely positive role in
promoting piano education. In modern Chinese society, outstanding pianists include Shikun Liu,
Xiangdong Kong, Sa Chen, Lang Lang, Yundi Li, Yujia Wang and Wenyu Shen, who have made
important contributions to the development of modern Chinese piano culture.
Table.1. Famous Contemporary Chinese Pianists
Name of Pianist Date of birth Representative
works
The main Prize
Shikun Liu 1939.03 《 Youth Piano
Concerto》
First runner-up of
the first
Tchaikovsky
international piano
competition
Xiangdong Kong 1968.10 《 Forever Winner of the 5th
Sydney
8
Friends》 international piano
competition
Sa Chen 1979.11 《 Chopin
Impression》
Fourth prize in the
14th Chopin
international
competition
Lang Lang 1982.06 《 New York
Rhapsody》
Winner of the
Tchaikovsky
international youth
music competition
Yundi Li 1982.10 《 Chopin's
Legendary》
Winner of the 14th
Chopin
international piano
competition
Wenyu Shen 1986.10 《 Rachmaninoff
Piano Concerto
no.3》
Winner of the
Rachmaninoff
international piano
competition
Yujia Wang 1987.02 《 Sonatas and
Etudes》
Gilmore young
artist award
(1) Shikun Liu
Shikun Liu was born into a wealthy merchant family. His father, Xiaodong Liu, was
addicted to music as a young man, after graduating from Shandong University; he enrolled in the
Shanghai national conservatory of music, where he majored in bass singing. However, instead of
entering the music scene, he entered the business world. Out of instinct, he keenly discovered the
musical talents of his son and placed his musical ideals on his son. By instinct, he keenly discovered
Liu Shikun's musical talent, and placed his musical ideal on his son. He bought four imported
pianos and tens of thousands of records at home to cultivate Shikun Liu. He purchased 4 imported
pianos and tens of thousands of records at home, and tried his best to train Shikun Liu. Shikun Liu
began to learn the piano when he was a child, but in his childhood, he was not the kind of obedient
that people imagined. It was his father's stick that forced Shikun Liu to practice the piano. Shikun’s
association with piano is partly influenced by his father.
9
Shikun Liu began to learn piano at the age of 3, and performed on stage when he was 5
years old. At the age of 10, he won the national top piano competition for children in Shanghai
Known as "Prodigy". He has successively studied in the Junior Class of Shanghai Conservatory of
Music, the Middle School of the Central Conservatory of Music, and the Central Conservatory of
Music. Due to his outstanding performance in his youth, Shikun Liu was sent to the Moscow state
Tchaikovsky conservatory for in-depth study.
In 1956, Shikun Liu won the third place and the "Hungarian Rhapsody" performance
special prize in the Liszt International Piano Competition held in Hungary. The Hungarian
government made an exception by awarding a strand of Franz Liszt’s hair. In 1958 the first
Tchaikovsky International Piano Competition was held in Moscow. This was recognized as the
world's top and most difficult piano competition at the time, and Shikun Liu won the second place
(Chen, 2004). Soviet leader Khrushchev personally telegraphed congratulations to Chairman
Zedong Mao and Premier Enlai Zhou. Shikun Liu was famous in the world music scene. He
officially launched his career. He is also an outstanding composer, and has composed many
outstanding musical works including "Youth Piano Concerto" and Piano Concerto "Battle
Typhoon". After the reform and opening up to the outside world, the despairing Liu Shikun finally
kindled the hope in his heart and prepared to start his own business, so he improved his popularity
by giving lectures and holding concerts. Due to his professional attainments and fame, he finally
established the first art centre in Hong Kong in 1992. After establishing a firm foothold in Hong
Kong, he decided to return to the mainland to develop his career. At present, there are already
dozens of educational institutions of Liu Shikun art centre in China, which have formed their own
business model.
Shikun Liu playing a momentum for swift and fierce, but also play in the lyrical passages
clear timbre and cantabile characteristics of water, which in Liszt's piano concerto no. 1 in E flat
major behaved most heartily happy, his rapid as disease ray octave can make the person suffocate,
the strong force, wrist, arm and waist force, make the person worry the strings of a piano is going to
be broken, Liszt music connotation is he reveals the incisively and vividly, the profound
philosophical and brilliant skills, rigorous logic between paragraphs to considerable height. Shikun
Liu played the Chopin is also very powerful. The "Polonaise in A flat major" and "Etudes in G flat
major" have complicated fingers, dazzling speed and amazing tone change (Wang, 2015). But when
he plays Mozart's sonatas, people forget the technique and focuses on the childlike innocence, the
fluidity of the sentences, the emotional beauty, and the elegance. Kovalevsky "rondo" is a modern
work that is difficult to express, but Shikun Liu handles it in a natural way. These show that Shikun
Liu not only has profound skills in classical and romantic works, but also has his unique side in
10
interpreting modern music.
(2) Xiangdong Kong
Xiangdong Kong was born in a poor family. His mother Youling Lin was fond of music
since childhood. She could play the violin, accordion and flute, and loved many Musical
Instruments (Hua, 2003). However, due to the limited family conditions, she lost the chance to take
the university entrance examination, her life ideal of becoming a musician also failed. So she placed
all her hopes on her son Xiangdong Kong. In order to cultivate his sense of music, Kong's mother
borrowed a violin and accordion and played several pieces of music for him every day. In the case
of financial constraints, Kong Xiangdong's mother borrowed money to buy a second-hand piano to
support Xiangdong's learning, and very strict treatment of Xiangdong Kong, for Xiangdong's
learning paid a huge effort. Xiangdong Kong graduated from the primary school attached to
Shanghai conservatory of music and the secondary school attached to Shanghai conservatory of
music, and then went to the Curtis institute of music in Philadelphia for in-depth study.
In the 1986 Moscow Tchaikovsky international piano competition and the 1987 Spanish
Paloma O’Shea Santander International Piano Competition, he twice became the youngest winner,
thus attracted the attention of the world music world, he officially launched his career. He has
recorded solo albums for BMG/RCA records, Walsingham Classics in Australia, Arcadia in the
United States, Wave Motion in Hong Kong, and Chinese record labels. He was the first Chinese
pianist to play at the famous Hollywood bowl. In addition, he also participated in the planning of a
large Chinese singing and dancing music and fireworks evening in Los Angeles. His popularity
increasing, but he never forget to promote Chinese piano art education, in 1997, he founded in
Shanghai "Xiang-dong Kong music art centre", dedicated to the popularization of piano education,
at present, the education institutions has been established in many cities of China, become the
largest domestic music art education institutions.
Xiangdong Kong is one of the best and most active Chinese pianists on the international
music scene. With audiences from more than 40 countries and regions to experience his passionate
performance, he was praised by western media as "only one or two truly exciting talented pianists in
a century" and "the child of a generation". Kong Xiangdong's performance has a powerful power to
conquer people's hearts. When he played Brahms's op. 118, he released the musical energy that
filled his whole body. In this late Brahms's magnum opus, the unspeakable, experienced experience
of life is poured out in a passionate yet solemn style. His rendition of Rachmaninoff's second sonata
(op. 36) gives the audience an integrated whole in a lyrical, passionate and expansive Russian
atmosphere. In terms of skills, he has developed invincible skills; he has mastered an almost infinite
11
variety of timbre blending skills. He can stretch the range of sound quality, tone and volume to the
limit. More importantly, his performance is full of individual and artistic emotional power (Wei,
1993).
(3) Sa Chen
Sa Chen was born in an art family that was not rich. Her mother was a dancer and her
father was a horn player. Under her father's enlightenment, she began to learn music at the age of 6.
In order to learn from famous teachers, the mother took Chen sa to take the train to piano lessons,
while the father was responsible for making money. She studied piano at the age of 7 and studied
with Professor Zhaoyi Dan at the affiliated middle school of Sichuan conservatory of Music at the
age of 9. She graduated from the Guildhall School of Music and Drama in London in 2001, and
won the master's degree in performance. In 2007, she obtained the doctor's degree in performance
from the Hanover conservatory of Music in Germany.
In 1994, she won the first prize in the youth group of the first China international piano
competition and the best performance award of Chinese works. In 1996, she became the youngest
winner in the history of Leeds piano competition. In 2000, she won the fourth prize and the best
performance of polonaise in the 14th Chopin international piano competition. Then she officially
launched her career. Since 2001, she have been invited to perform with many major orchestras. Sa
Chen has held concerts in more than 20 countries and performed in many music cities and centres.
In 2005, she won the crystal award in the American van Cliburn piano competition. She is
becoming more and more famous in the world, and her position in the world music industry is
becoming more and more important. After returning to China, he kept holding his own solo
concerts in various cities and gradually expanded his popularity in China.
In the process of performance, Sa Chen is composed, enthusiastic and generous, exquisite
yet generous and noble, especially in the overall music structure, voice, timbre levels; many places
have lost their subtlety, which makes people look at her with new eyes (Wang, 2017). In the
performance of Debussy's " Les Danseuses de Delphes" (Préludes, Livre I: 1), the internal and
external parts of the motive are carried out separately, highlighting the layers of the interconnecting
parts, which are in harmony and marching together, highlighting a solemn rhythm and slow speed.
In "the twilight voice and smell in the air," Sa Chen playing also showed a high quality touch and
sound, the best use of the effect of harmonic in the sound level in the vertical parts and the
harmonic colour, builds a breeze, make the melody floating in the morning is illusion, sound with a
strong proliferation, pedal with perfect. From the exquisite and unique music expression and sound
level control of Sa Chen, we can fully appreciate and feel her clear observation of music and life, as
12
well as poetic and fanciful characteristics. Her performance is not exaggerated or deliberate,
reflecting her calm and natural quality and style.
(4) Lang Lang
Lang Lang was born into a musical family. Lang's grandfather was a music teacher at a
normal school, while Lang's father was a professional erhu actor. At the age of two and a half years,
Lang Lang was attracted to Hungarian rhapsody by the Tom cat cartoon Tom and mouse, and
became interested in playing the piano with his fingers. Lang Lang's father discovered his musical
talent and began to cultivate him. When Lang Lang first began to learn the piano, his father
accompanied him to study and set a good example for him. In order to urge Lang Lang to learn the
piano, his father asked him to get up at 5 am every morning and seize all the time to practice the
piano. In order to be admitted to the primary school attached to the central conservatory of music,
Lang's father quit his job and took Lang to study in Beijing, while his mother covered all the living
expenses of the family. Parents for him, gave up their own development, especially Lang Lang's
father, in the growth of Lang Lang made contributions.
At the age of 3, Lang Lang formally studied piano under Professor Yafen Zhu of Shenyang
conservatory of music. At the age of 5, he participated in the Oriental children's piano competition
and children's piano competition for the first time, and won the first prize. After the competition, he
gave his first solo concert. In 1989, when he was only 7 years old, Lang Lang took part in the first
Shenyang children's piano competition and won the first prize again. At the age of 9, he was
admitted to the primary school affiliated to the central conservatory of Music to study piano with
the highest score. In 1997, he was admitted to the Curtis Institute of Music with honours and
graduated in 2002.
In September 1995, he won the gold medal in the second Tchaikovsky international young
musician competition held in Japan. After returning to China, Lang Lang held a solo concert at the
Beijing concert hall. In 1996, he was invited to cooperate with China national symphony orchestra.
At the opening concert, attended by then-Chinese President Zemin Jiang, the 14-year-old was
assigned a piano solo. In 1997, on Mr. Grafman's recommendation, Mr. Lang passed the test and
IMG signed a contract to become a professional pianist. He officially launched his career. In 1999,
he became famous at the Chicago Ravinia music festival. He has been invited to perform with many
orchestras and held his solo concerts in many foreign countries. Its popularity abroad has been
constantly raised. When he back to China, he made his influence in China more and more popular
with the Chinese people by holding concerts, master classes and appearing on TV programs.
The distinctive feature of Lang Lang's performance is the sharp contrast and huge contrast,
no matter in the processing of speed, fast and slow, or in the processing of strength, strong and
13
weak (Deng, 2019). What is more important is that these contrasts and contrasts are not only created
on the surface effect, but are supported by its rich inner experience and abundant emotion after each
strength and speed. In Tchaikovsky's piano concerto no. 1, from the surging momentum at the
beginning of the first movement to the inner lyric of the second part, and then to the aggressive
power at the end and sentence of the fast double octave, there are many unique and distinctive
changes and treatments. This is very personal and has own unique persuasiveness.
(5) Yundi Li
Yundi Li was born in a family with a strong atmosphere of music and art. When he was
one year old, he could already learn to sing a lot of songs with the radio. By the time he was three
years old; singing could no longer satisfy his desire for music. At the age of four, he began to learn
accordion in the children's palace. When he was 7 years old, his mother decided to let him begin to
learn the piano and let him practice the piano at 7 o 'clock every night until 10 o 'clock. His mother
stood behind him, holding a knitting needle in her hand. Whenever Yundi Li made a mistake in
fingering, her mother would tap the knitting needle on the back of his hand (Jin, 2008). Li Yundi's
mother played an important role in his career.
Yundi Li studied piano with the famous professor Zhaoyi Dan since childhood. In 1994, he
was admitted to the high school affiliated to Sichuan conservatory of music with the highest score.
In 2001, he went to the Hanover academy of music and drama for further study. He graduated in
2006, with the highest diploma of performer.
In 2000, Yundi Li participated in the 14th International Frédéric Chopin Piano
Competition in Warsaw. He was the first participant to be awarded First Prize in 15 years. At 18
years of age, he was the first Chinese and the youngest winner in the competition’s history. He
officially launched his career. He has been invited to perform with many orchestras. In 2003, the
album Liszt piano collection was released, which won the German classic echo award and the New
York Times record of the year award. In 2010, he was awarded the cultural medal of honour by the
polish government. In 2012, he re-signed with universal records, returned recording for the
Deutsche Grammophon label Beethoven Sonatas, including the Moonlight, Pathétique and
Appassionata sonatas, later followed by a recording of Beethoven piano concertos, Schumann
Fantasie, The Art of Yundi, Chopin Prelude, and Chopin Ballades, Berceuse and Mazurkas. On
October 17, 2014, he was invited to adjudicate the 17th Chopin international piano competition. In
May 2017, Yundi's personal art gallery opened in Chongqing Huangjueping piano museum. In
November, he and the Dresden national orchestra toured Germany and China with Mozart's Piano
Concerto k488. In April 2018, he was invited to attend the Boao forum for Asia. He gave concerts
all over China and was recognized by the Chinese public.
14
Yundi Li can accurately locate the emotion to be expressed by music in his performance.
His performance is full of the profound sense of history of classical music, but at the same time, he
does not lose his unique personality (Deng, 2019). He has a keen sense of touch, and an equally
impeccable sense of musical body and melodic line. The music he played with his fingertips went
straight to the heart. His music is powerful, flowing like a winding stream.
(6) Wenyu Shen
Wenyu Shen was born in a civilian family. Her father is a postman who likes reading
books, and her mother is a housewife (Li, 2019). His father thought Wenyu Shen had great talent
for music, so he borrowed a piano for his son and invited Jianping Liu, chairman of the musicians
association of Wanxian county and director of Sichuan musicians association, to give him lessons.
Wenyu Shen began to study under Professor Daxin Zheng, director of the piano department of
Sichuan conservatory of music, when he was 7 years old. In 1995, at the age of nine, Wenyu Shen
gave a solo concert at the Sichuan conservatory of music.
On February 7, 1997, Wenyu Shen received a lecture from piano educator Akinski in
South Africa. South African state television did an interview for Wenyu Shen. After the broadcast
of the program, he gave eight consecutive piano recitals at the University of Pretoria, the University
of Johannesburg and the University of Cape Town. South African television also broadcast his
program. After he returned to China, he studied with professor Daxin and performed in Chongqing,
Shenyang, Japan and Hong Kong. After Daxin Zheng recommended, he became a German piano
educator, Germany Karlsruhe national conservatory of music professor hall students. During his
study abroad, he performed Beethoven and Bach's piece many times and cooperated with the bora
orchestra. He won the second place in the queen Elizabeth international piano competition in 2004
and the first place in the Rachmaninoff international piano competition in Los Angeles in 2005.
After returning to China, he performed with the Lanzhou symphony orchestra, held concerts all
over the country, and participated in TV programs, gaining popularity in China. Since 2012, Shen
has been recording free piano playing videos and uploading them to the Internet for piano lovers to
watch and learn so that his status in the domestic music industry continues to improve.
Wenyu Shen is as calm and serious as a philosopher in playing. He objectively faces the
piano music he comes into contact with and gives people the most authentic feedback. His ability to
control his music is equally impressive. "C sharp minor waltz op. 64" by Chopin, this piece of
music is the best piece of outstanding Chopin works for people who have learned the piano, so
when Wenyu Shen plays this piece of music, it can be widely recognized by piano lovers. This
waltz is generally in a melancholy mood, but he has a lot of running eighth notes into the form of
jumping, although it makes people surprised, but also makes the work become cheerful and lively.
15
He combines cool philosophical thoughts, extraordinary playing techniques and excellent changes
in timbre to form his own unique playing style (Li, 2018).
(7) Yujia Wang
Yujia Wang was born into an artistic family. Dad is a percussionist and mom is a ballerina.
When she was born, there was a piano at home, which was a wedding gift from her grandfather to
her parents. After Yujia Wang born, this piano became her most intimate toy (Yang, 2010). When
she was four and a half years old, her mother discovered her musical talent and found a teacher to
teach her to play the piano. She loved the piano to a degree that her mother could not imagine.
Yujia Wang has been very serious and hardworking since she was a child when she was learning
piano. She has her own understanding of music.
Yujia Wang studied in the primary school attached to the central conservatory of music
and the secondary school attached to the central conservatory of music as a child. In 1999, as an
exchange student of the China-Canada "morning music bridge" cultural exchange program, she
went to Canada to study piano at the royal conservatory of music in Calgary, Canada. In 2008, she
graduated from Curtis School of Music.
In 2005, she made his major concert debut, playing Beethoven's piano concerto no. 4 with
the national arts centre orchestra in Ottawa, conducted by Zuckerman Subsequently, she began to
work with many famous orchestras around the world, including Baltimore, Beijing, Boston,
Chicago, Houston, New York, Philadelphia, San Francisco, St. Petersburg, Tokyo, and Zurich. She
signed exclusive artist contract with German DG Records in 2008. After returning to China, she
successfully held her own solo concerts in many cities in China, and her social influence in China
has been increasing.
Yujia Wang has a rigorous and serious attitude towards music, works and performance.
The music is neat, warm but not wild, and her body movements and facial expressions are moderate.
1.1. Famous Contemporary Chinese Pianists Analysis
According to the 7 Chinese contemporary pianists in this thesis, this thesis will analyze
the basic information and career of pianists.
16
1.2 Basic Personal Information Analysis
Fig.1 Age distribution of famous Chinese pianists
Among the 7 outstanding pianists in China analysed in this thesis, there are 4 pianists in
the range of 30-40 years old, with the largest number, while there are the same number of pianists
in the range of 40-50 years old, 50-60 years old and over 60 years old, with only one pianist.
Fig.2 Gender ratio of Chinese pianists
Among the outstanding Chinese pianists analysed in this thesis, there are 5 males and 2
females. In the current Chinese society, the number of pianists between 30 and 40 years old is large,
while the number of pianists over 40 years old is small.
17
According to the historical development of piano in China, in 1919, "the outbreak of the
May fourth movement brought Chinese society into a new historical stage -- the period of new
democratic revolution". The whole society raised a fierce impact on the concept of feudal thought
and culture, and made efforts to explore new ideas, new knowledge, new culture of the ideological
liberation movement. Under this historical and cultural background, China's modern new music
culture has been established and developed in a real sense. Around the 1920s, piano education in
China developed rapidly. With the outbreak of the Anti-Japanese War in 1937, the Chinese piano
curriculum entered a period of exploration.
In 1919, "Peking University music research association" was established. The music
teaching of the association improved the amateur music level of the society at that time, enriched
the spiritual and cultural life of the people, and marked the beginning of Chinese piano education.
Due to the chaos of war and the lack of peaceful creation environment, the development of Chinese
piano art was relatively slow, but some works with strong national style also appeared, which
enabled Chinese piano art to move forward. After the founding of the People's Republic of China,
piano art began to be widely communicated in the world. Many foreign pianists came to China to
give lectures and perform, which enabled Chinese piano teaching to quickly master the more
advanced piano performance technology and teaching system at that time. At the same time, the
state also sent pianists to study abroad. This period is an important period for Chinese piano art to
enter the world. In 1966, the outbreak of the cultural revolution, in the field of piano art,
professional music schools were forced to suspend classes. The development of Chinese piano art
has gradually derailed from the international level and the gap has gradually widened. In 1976, the
end of the Cultural Revolution brought vitality to the development of Chinese piano art. With the
great improvement of people's living standard, the popularization of piano education has been
carried out rapidly. In particular, the rise of "Chinese piano craze" in the 1980s led to the rapid
development of domestic piano culture. In turn, in particular, various professional schools and
departments provided a large number of excellent piano talents, which became the driving force for
the development of Chinese piano.
At the same time, international exchanges in Chinese piano art education gradually
increased, and a large number of world-class pianists came to China to perform, which broadened
the vision of the Chinese piano industry, which had been closed for a long time, and promoted the
development of Chinese piano culture to a great extent. Therefore, there are relatively more
pianists in the range of 30-40 years old, while there are relatively few pianists over 40 years old.
Pianists are born with musical talent and show it clearly. As far as piano learners are
concerned, their inherent musical talent is one of the potential conditions for becoming an
18
indispensable pianist. A gift is a talent, a growth characteristic that has already been possessed
before growth. The ability to excel in certain things or fields naturally, so that it can grow faster
than others in the same experience or even no experience, and has its uniqueness, particularity. If a
person's potential and possibilities for growth are already expressed in his or her life, then he or she
has a gift for it. It is often said that learning music requires talent, and musical talent refers to the
innate musical quality of individuals and the part of physical and psychological quality acquired by
human individuals through family inheritance. People with musical talents have an innate sense of
music, especially a strong sense of pitch. When the pianist showed his musical talent in his
childhood, he was discovered by his family in a timely manner and was given musical training,
which brought his musical talent into play in a timely manner and paved the way for his later piano
learning. Musical talent has an important influence on the success of a pianist.
Artistic atmosphere is also a prerequisite for the success of a pianist. A good artistic
atmosphere is very important for a pianist. During the childhood study period of pianists, most of
them were born in an environment full of artistic atmosphere, and their fathers or mothers had their
own love and understanding of art, so the family members could communicate with each other
through artistic knowledge. Psychological research shows that the more care and guidance children
receive from their parents in the family, the more conducive to the formation and development of
personality. In the big family full of strong artistic atmosphere, they communicate with each other
through art, which on the one hand also has a certain degree of influence on the pianist's
performance personality. For the study of the pianist to do more powerful support. To some extent,
a good artistic atmosphere plays a key role in the development of a pianist.
Family support is also a key factor in a pianist's success. In the childhood of a pianist, a
family has a profound and huge influence on piano learners. In the long process of learning the
piano, the family's contribution and support are always indispensable. The degree of dedication
determines the future development of piano learners. The family pays, including the financial aspect
and accompanies aspect. In terms of economy, among the seven pianists analysed above, only Liu
Shikun was born into a wealthy family, while the other six pianists were all born into ordinary
families. Most pianists were not from wealthy families, and their parents had average income. For
children from wealthy families, Liu Shikun's father provided him with a rich material foundation to
facilitate his piano learning, which served as the material support for his piano learning. And six
other pianists family is not rich, as parents, in order to give young pianist create better learning
conditions, at the expense of the development of their own work, don't give up even borrow money
around children's piano learning, ability to do my best on the way children learn piano material help,
all can create conditions, no matter how hard difficulty. In terms of spiritual companionship, parents
19
are not only for life, but also for piano practice. Lang Lang's father accompanied him to practice the
piano every day. During the practice, they would discuss different opinions on music. Similarly, the
parents also played a role in answering questions, which was more helpful for the children to
understand the knowledge and help them digest and absorb the teacher's teaching. Accompanied by
parents, it is easier to understand children's understanding of piano music. Because of the different
growing environment of the family, it is also conducive to the formation of musicians' own musical
style in terms of the formation of their personalities. Accompanied by their families, pianists in their
childhood will work harder and harder in piano learning, and their interest will gradually increase,
making it easier to stick to it. Through the analysis, it can be concluded that in China's current
society, although the piano culture has been developed, the popularity is not too high. In China,
learning an art requires an economic basis, which refers to the sum of the relations of production
determined by the productive forces at a certain stage of social development. The economic basis
determines the superstructure. Art, as one of the superstructures, is determined by economic basis.
Although this way of deciding may not be direct, but in the final analysis, what kind of economic
basis will produce what kind of art, a good economic basis can provide the necessary conditions for
the creation of art production and material security. In combination with China's current social
development, although piano culture has been developed, its popularity is not high enough, which
may be closely related to the economic basis of the family. The production of piano art needs to be
built on the basis of economy, which plays an irreplaceable role as the premise of the development
of piano art.
From the learning experience of a pianist, the success of a pianist is inseparable from
excellent teachers. A good pianist must be inseparable from his teachers who appreciate him on his
way to maturity. The role of the teacher plays a decisive role in the whole learning stage of the
piano learners. A good teacher not only has an important guiding role in teaching methods and
lecturing methods, but also exerts a subtle influence on the learners. Among the seven pianists
analysed in this paper, each pianist asked the piano teacher who was relatively famous at that time
to instruct him when he began to learn piano, so that he could receive professional piano learning
and be admitted to a professional conservatory of music for in-depth study and then go abroad to
study. Therefore, a good piano teacher is very important for a pianist. As a piano teacher, they
should have professional knowledge to satisfy students' thirst for knowledge in the learning process.
All the pianists went abroad for further study after studying the piano at home. It shows that
although piano education has been developed in Chinese society, there is still a certain gap between
it and foreign piano education. Piano is a representative instrument of modern western music. In
foreign countries, piano education is highly valued and piano learning is regarded as a means to
20
promote the all-round development of students' ability and quality. In their teaching philosophy,
they pay attention to the formation of students' thinking system of brain, vision, practice and
creation. Especially in the music education the diversified way, causes the student to achieve the
higher quality accomplishment in the piano study. Foreign countries pay attention to the basic
teaching of piano, in the primary stage of piano teaching does not pursue progress, but in the basic
playing methods and the initial understanding of music requirements are very solid and strict. The
teacher has a very accurate grasp of all kinds of basic playing methods. It also emphasizes the
singing and other musical factors to promote the formation of basic skills, so that students can
understand the piano's sound beauty and rich sense, and fully understand the characteristics of
phrases or melodies, so as to stimulate their interest in learning. Foreign piano educators believe
that the first thing to learn the piano is to cultivate their interest, so that they can feel the charm of
the piano and enjoy it. Cultivate children's creativity and imagination. According to the problems of
children in the process of learning piano, foreign teachers follow the principle of teaching students
in accordance with their aptitude and step by step, teaching piano according to the characteristics of
students, so that students can get the joy of success from every bit of challenge, and strengthen their
interest in piano learning. His way of education makes the arrangement of teaching activities from
simple to difficult in the whole teaching, step by step, so that students can continuously gain
successful experience, avoid detours and setbacks, and form good learning steps and continuous
learning motivation. Foreign countries pay attention to the cultivation of students' ability in piano
training. A perfect person not only needs to compete in social life, but also needs to enrich his
spiritual life. The cultivation of will and quality is very important in any study, and its importance
in the difficult activity of piano goes without saying. In addition to the interpretation of music,
piano education abroad promotes the development of students' abilities such as intelligence,
emotion, perseverance, self-confidence, independence and creativity through piano learning.
The foreign piano education pays more attention to the freedom of strategy and personality
while paying more attention to the popularization foundation. While the forms are rich, it pays
attention to the strict requirements of educators and innovative art. In China's piano education, the
art of piano has developed rapidly in the development history of China and gained popularity, but
there are also some problems. The number of piano learners is increasing, but the corresponding
faculty is relatively weak. The quality of students learning piano is inconsistent and unbalanced due
to the uneven quality of professional educators. At present, the teaching method of piano education
in China still attaches great importance to etudes and skills training, and the communication with
piano teaching in the world is relatively lacking, ignoring the cultivation of musical ability.
Throughout the foreign piano education, solid foundation teaching can bring us enlightenment. This
21
is the weak link of piano teaching in our country. Our country's education level is undeniable,
Chinese society in piano culture development in the future, the development of Chinese piano
education technology space will be more expansion and improvement of the education abroad the
good with the Chinese education good together, create a conforms to China's national conditions
and can make the interest and specification of the new teaching model, for the popularity of the
piano music education in our country to create a new heaven and earth.
1.3. Career Development Analysis
Among the 7 Chinese pianists analysed in this paper, 6 pianists started their careers abroad
after winning international awards, then returned to China for development. To some extent, it
shows that there are some problems in Chinese people's aesthetic and artistic appreciation of piano.
The improving of the people's cultural quality, make the enjoyment of the music in the practical life
becomes a kind of important form of popular entertainment, and with the improvement of living
standards, people demand for music, piano music appreciation gradually became a kind of life
needs, the attention of more and more people.
As an artistic way of conveying emotion and presenting beauty, people can fully perceive,
interpret and enjoy the beauty of art form through the appreciation of piano art, so as to enrich their
spiritual world. In general, the thoughts and emotions expressed by piano music during its
performance can strongly resonate with the audience. In this process of appreciation, the emotional
pleasure and spiritual comfort obtained by people are of great significance. However, in the era of
rapid development, there are some problems in the public's appreciation of piano music. First, the
public lacks the necessary knowledge of music. The necessary music knowledge is the basis for the
appreciation of music works, but in the actual appreciation of piano music, the public lacks the
basic knowledge of music. Not on the basis of the related knowledge of music for the piano works
of appreciation, made public in the appreciation of piano works to spread out under the
specialization of music works the emotional feeling is not clear and even directly not understand,
lost original music for piano art appreciation value and significance.
At the same time, some people on the basis of some music theory knowledge, lack of
necessary knowledge of history, for some pianist and piano works lack of understanding, the style
of each piano art genres also does not have an accurate understanding, make public when listening
to the piano music works and appreciate, just stay on the surface, and can't understand the
connotation of the piano works. Secondly, in the public's appreciation of piano works, too many
specific musical images are sought. In the appreciation of piano music, musical image is a must, to
22
express the image of piano works from one thing, so as to better understand the theme of the works
and bring a kind of visual image to the public. However, this thing is an idea conveyed by the work
itself. Although it is characterized by a musical image, it would be too deliberate to excessively
search for this musical image in the process of specific music appreciation. Influenced by this idea,
the public can even try their best to pursue the existence of musical images when appreciating
music. Thus affects the public to the piano works of art appreciation level. In the future
development of Chinese piano culture, the public's aesthetic appreciation of piano art will be
improved. When appreciating piano works, we should reasonably select music works according to
our own music knowledge level, and we can choose according to our personal preference and music
level. With the improvement of my ability of appreciation and perception of works, they will
gradually transfer and improve themself in the selection and appreciation of piano music works of
further difficulty. On the other hand, when appreciating the piano works to be done, we should
make full preparations. Among them, the basic information and living background of piano music
works and their authors should be understood, which can effectively help the audience understand
the ideas conveyed by piano works and gradually improve their own music appreciation level.
1.4. Summary of this chapter
From the analysis of the career of the above seven Chinese pianists, there are some
similarities among them. From the perspective of the family, the success of a pianist is inseparable
from the strong support and hard work of the family. From the perspective of education methods,
the 7 famous Chinese pianists analysed in this paper all studied with domestic piano teachers when
they were young, indicating that a suitable teacher in the piano learning stage is a key factor for the
success of piano learners. When they reach a certain level, they all choose to go abroad for in-depth
study, which indicates that there is still a gap between China's piano education level and that of
foreign countries. Foreign piano education focuses on the popularization of the basic, but also on
the promotion from the basic to the professional; the teaching form and style pay more attention to
the diversified strategy and the individual freedom; while the forms are rich, it pays attention to the
strict requirements of educators and innovative art. The development of piano art in China is very
rapid. While gaining popularity, we should also see that there is a huge amount of learning
technology but no corresponding faculty, and the level of professional educators is uneven. From
the analysis of career characteristics, the current Chinese public to the piano art of the aesthetic
problems.
Combined with the current problems existing in the piano culture of Chinese society,
23
Chinese society in the future, a popular aesthetic improves, the piano art in piano works to
appreciate, will combine their own music knowledge level, reasonable selection of music works,
can choose according to individual be fond of and their own music levels, so as to enhance the
aesthetic of piano art. The development space of China's piano education technology will be more
expanded and improved, gradually combining the good side of foreign education with the good side
of China's education, creating a new teaching model that is in line with China's national conditions
and can make interest and norms coexist, creating a new world for the popularization of piano
music education in China.
24
2. Questionnaire Analysis of the Acceptance of Piano Culture in China
2.1.Questionnaire Design
In view of the current situation of the development of piano culture in Chinese society, a
questionnaire survey was conducted. The questionnaire was conducted among 140 people. The
questionnaire included three types of questions: the popularity of piano education in China, the
level of piano appreciation in Chinese social groups and the degree of love for piano.
2.2. Survey Results Analysis
Fig.3a the sex ratio of the surveyed population
25
Fig.3b the ratio of male and female students learning piano
Among the 140 people who participated in the questionnaire, the proportion of males was
36.43% and that of females was 63.57%. Among the participants, the majority were women. In the
number of people learning piano, the number of men learning the piano is less, the number of
women learning the piano is more. According to the gender ratio of Chinese pianists analysed in
this paper, there are fewer female pianists. Analysis of the reasons for this situation, it may be that
because of the special gender of women, most of the women in the marriage to undertake daily life
chores, lack of enough time and energy in professional aspects, unable to concentrate on one thing;
In Chinese society, more women choose to become piano teachers and take teaching as their main
job, so there are not many female pianists in China.
26
Fig.4a the proportion of age groups of questionnaire participants (%)
Fig. 4b shows the age range of participants in the questionnaire and the proportion of the
number of people learning piano
Of the 140 people in the survey questionnaire, 12 years old and under the minimum
proportion of the age, at 0.71%, followed by 13 to 1.43% - the number of the age of 18, 36 years old
and above most participants in the survey, up to 62.14%. Second, age between 19 and 25 years old
in high, occupy 18.57%, and ratio between the number of 26-35 in the middle, at 17.14%.
According to the latest world health organization who age division, the majority of respondents
were young and middle-aged.
It can be found within the range of 0 to 35 years old to learn piano overall proportion is
27
larger, the number of instructions in present society in China, for piano culture of middle-aged
people accept ability is poor, weak ability to appreciate level, and the number of young people and
children in the choice to learn the piano is more, on the one hand, shows the piano culture in China
society is more popular among young people and children, young people and children for piano
culture of strong ability to accept, on the other hand also shows that the development of Chinese
piano education, piano culture has certain progress in China's current social development and charm.
Fig.5 distribution of cultural level of questionnaire respondents
Among the respondents, the proportion of those with a bachelor's degree or less was the
same at 43 per cent, while those with a doctorate or above had a minimum of 1 per cent, followed
by 13 per cent with a master's degree. On the one hand, it shows that in the current Chinese society,
the number of people who have received the postgraduate education and doctoral education is small,
accounting for a small proportion, and most of the people have only received the undergraduate
education or below. On the other hand, it also shows that in Chinese society, there is a big
difference in cultural quality and ability, so the ability to appreciate piano art is not balanced.
28
Fig.6 the proportion of participants in the questionnaire who learned piano
In the total number of participants in the questionnaire, the number of people who have
learned the piano reached 28%, and the number of people who have not learned the piano accounted
for 72%. On the one hand, it shows that in the current Chinese society, the popularization rate of
piano education is not particularly high, and the number of people who learn piano only occupies a
small part. On the other hand, it also shows that in the current Chinese society, the public's
acceptance of piano culture is not high, and they have little understanding of piano culture and lack
of knowledge.
Fig.7 the proportion of time spent on piano learning among questionnaire participants
Among the total number of people who participated in the questionnaire this time, those
29
who had been learning piano for 0-2 years accounted for the highest proportion (80.71%),
indicating that piano has a certain charm in Chinese society to some extent. A large part of people
choose to receive piano education for a short time because of their interests. In 3-5 years learning
the piano time ratio reached 2.14%, the number of time in the proportion reached 3.57%, 6-8 years
study time more than eight years the proportion of 13.57%, can be concluded from the data, while
the piano culture in China got a certain development, but the piano education must have
deficiencies in the current Chinese society, from the data point of view, only a few people insist on
down, shows that the popularity of the piano education in China is not too high, on the other hand
also shows in the piano culture development of the society in China, As a result, most people's
interest in piano culture does not last long due to the incomplete teaching system and teaching
methods.
Fig.8 the comparison of educational background and piano learning time
As we can be seen from the figure, the higher the educational level, the longer the time of
learning piano. To some extent, it shows that with the development of Chinese society, Chinese
piano culture is progressing and the level of piano education is constantly improving. In the future
development of Chinese society, the demand of Chinese social groups for piano art will continue to
increase, and the teachers in piano education will also be improved. Learners' knowledge of piano
art will continue to increase, appreciation will be deeper, and they will have a better understanding
of western music culture.
30
Fig.9 how familiar the questionnaire participants are with Chinese pianists
According to the chart, the most popular Chinese pianist in Chinese society is Lang Lang,
followed by Yundi Li. As the older generation, Shikun Liu and Xiangdong Kong are also
recognized by the Chinese public. Although Wenyu Shen, Yujia Wang and Sa Chen, as young
pianists, have achieved excellent results in foreign countries and are well known in foreign music
circles, they are not well known in Chinese society at present.
Fig.10 shows the proportion of all pianists
Among the 140 people who accepted the questionnaire, only 5% of them knew each of the
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seven pianists analysed in this paper, which to some extent indicated that the popularization degree
of piano culture in China was not high enough. The status of piano culture in Chinese society has
yet to be improved, and there is still enough room for development in the future.
Fig.11 the degree of influence of Chinese pianist's career on the public (%)
On the whole, it is helpful for most people to know the career of a famous Chinese pianist.
To some extent, it shows that the Chinese society does not reject the piano culture and it is
acceptable. It also shows that in the future society, the development of piano culture has more space,
will be more in-depth development.
Fig.12 how much the public likes to be engaged in piano profession?
For piano profession, the number of people who are very willing to take up piano
32
occupation accounts for 19.29%, while the number who are willing to take up piano occupation
accounts for 30%. The proportion of people who have a general feeling about piano occupation
reaches 30%, while the proportion of people who are unwilling or very unwilling to take up piano
occupation reaches 19.29% and 1.43% respectively. On the one hand, it shows that the employment
pressure of piano profession in China is relatively great at present, and the employment situation is
not very optimistic. There are not many suitable positions for piano professionals to find
employment, and the selection is few. On the other hand, it also shows that the current Chinese
society is short of piano education resources and the overall education system is not perfect.
2.3. Summary of the Findings
Based on the survey data in the questionnaire, it is found that in the current Chinese
society, people have different levels of education, leading to differences in understanding of piano
culture. The middle-aged and the elderly have a weak ability to accept piano culture, while the
number of teenagers learning piano is relatively large. Specifically, the higher the education level is,
the longer the piano learning time will be, the stronger the interest in piano culture will be, and the
more willing they are to accept piano culture and take the initiative to understand it. In terms of the
popularity of piano culture, although Chinese society is attaching more importance to piano culture
at present, the popularity is not strong enough. The popularity rate among teenagers is high, while
that among middle-aged and elderly people is low. Because each person has to accept the level of
education at different levels and individual knowledge area covered by different uneven cultural
quality, the piano music appreciation level is not the same. The higher is the manifestation to accept
cultural education level, the easier it is to accept the western music cultural knowledge and to
understand the history of western music. For piano art, culture and appreciation ability,
understanding of music is crucial. From the data, it can be concluded that in the current Chinese
society, the number of people who learn piano accounts for a small number, while the number who
persist in learning piano is even smaller, indicating that there are still some problems in China's
piano education methods and system.
Overall, at present, in China's society, the piano has a considerable development
possibility. In the long run, in the future development of Chinese society, the popularity of the piano
culture will be widened, and the public will more readily accept the piano culture. A long-term
study indicates that the Chinese society for piano art appreciation level increases gradually. Shortly
33
with an increasing demand for piano culture and continuous development of quality education, the
Chinese society will be a talent forge, thus promoting the spread of piano culture in China.
Therefore, the improvement of piano education in China will form a complete education system and
promote the development of Chinese piano culture.
34
CONCLUSIONS
Through the analysis of outstanding Chinese pianists' careers, we can conclude that:
due to historical factors in the development of Chinese society, there are clearly defined
differences in piano music appreciation;
after the founding of new modern China the piano was and is as one of the essential tools to
communicate with the world through cultural means;
currently, we see that young pianists constitute the majority of pianists in China.
In the analysis of 7 pianists' career in this thesis, a pattern of many similar characteristics
could be recognized. Since childhood, each pianist has shown musical talent, and their family
supported them substantially in studying piano. An excellent piano teacher is an essential condition
for successful development. After the initial years of intense study in China, all most prominent
Chinese pianists continued their study abroad (that confirms some gap in the system of Chinese
piano education and lack of competent teachers now). However, all pianists started their careers in
the homeland only after establishing themselves in foreign countries, which indicates that certain
Chinese social groups still have insufficient aesthetic appreciation of piano art and little knowledge
of piano culture.
Through the analysis of the survey data, it can be concluded that the education level of the
current social population in China is different, so there is a gap in the level of appreciation of piano
art. From the perspective of the popularity of piano culture, it has not been entirely popularized to
every social group, especially for the middle-aged and elderly population. The proportion of young
people learning piano is significant, and within this age group, the acceptance of piano culture is
high. The proportion of people who are studying piano for 0-2 years is large, which indicates that
there are problems in Chinese piano education. The teaching method and teaching system of piano
are not perfect enough, which leads to the students' insufficient interest in piano learning.
With the continuous development of Chinese society and the economy, people's living
standard is continuously improving, and art education is highly valued. Piano as a musical
instrument was imported from abroad into China. Through continuous promotion and rapid
development of Chinese piano culture level proliferated. There still is a gap in Chinese piano
education because of an insufficient number of high-quality, competent teachers and established
educational system. It must be stated that a widespread culture of piano art is a prerequisite for a
successful future development. Hereafter in China's future growth and improvement of the Chinese
society, with the establishment of piano education system, a large number of professionals and
music lovers will emerge. The level of piano art appreciation of all Chinese society strata will also
35
be improved.
36
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39
APPENDICES 1
QUESTIONNAIRE
Dear students,
I am a piano performance student at the Vytautas Magnus University Music Academy. I
would like to ask you to fill out this questionnaire. The purpose of the following questionnaire
survey is to find out the current situation and future development trend of Chinese piano culture.
Please use the sign (√) to mark the answer to each question. The questionnaire is anonymous. Thank
you!
JINHUI WANG
1. Gender:
○Male
○Female
2. What is your age?
○Under 13
○13-18
○19-25
○26-35
○36 or more
3. Educational Background:
○Undergraduate degree
○Bachelor degree
○Master degree
○Doctor of Philosophy.
4.Have you ever learned piano?
○Yes
○No
5. How long have you been studying piano?
○0-2years
○3-5years
○6-8years
○more than 8 years
40
6. What do you know about the following Chinese pianists?
○Xiangdong Kong
○Shikun Liu
○Sa Chen
○Lang Lang
○Yundi Li
○Yujia Wang
○Wenyu Shen
7. Do you think that understanding the career of an outstanding Chinese pianist is helpful to the path
of learning piano?
○Strongly agree
○Agree
○ Undecided
○ Disagree
○Strongly disagree
8. Will you continue to work on piano in the future?
○Strongly agree
○Agree
○ Undecided
○ Disagree
○Strongly disagree
9. Are you willing to become a professional pianist?
○Strongly agree
○Agree
○ Undecided
○ Disagree
○Strongly disagree
10. Who is your favorite Chinese pianist? why?
11. How do you think the study of the career of these Chinese pianists will help you?
12. If you are a pianist, what do you want to say to friends who study piano?
41
APPENDIX 2
问卷调查
亲爱的同学们:
我是立陶宛马格努斯大学音乐学院的钢琴演奏系学生。我想请您填写这份问卷。以
下问卷调查的目的是有关于中国钢琴文化目前的现状和未来发展趋势。请使用符号(√)标
记每个问题的答案。问卷是匿名的。谢谢!
王锦卉
1. 您的性别:
○男
○女
2. 您的年龄:
○12 岁及以下
○13-18 岁
○19-25 岁
○26-35 岁
○36 岁及以上
3. 您的学历:
○本科以下
○本科
○硕士
○博士及以上
4. 您学过钢琴吗?
○是
○否
5. 您学习钢琴的时间?
○0-2 年
○3-5 年
○6-8 年
42
○8 年以上
6. 以下中国钢琴家您知道哪些?(多选)
○孔祥东
○刘诗昆
○陈萨
○郎朗
○李云迪
○王羽佳
○沈文裕
7. 您认为了解中国杰出钢琴家的职业生涯对学琴之路有帮助吗?
○非常有帮助
○有帮助
○一般
○帮助不大
○没帮助
8. 您愿意今后继续从事钢琴工作吗?
○非常愿意
○愿意
○一般
○不愿意
○非常不愿意
9. 您愿意成为一名职业钢琴家吗?
○非常愿意
○愿意
○一般
○不愿意
○非常不愿意
10. 您最喜欢的中国钢琴家是谁?为什么?
11. 您觉得研究这些中国钢琴家的职业生涯对你有那些帮助?
12. 假如您是一名钢琴家,您想对学钢琴的朋友们说些什么?