Prokofiev inheritance and break through traditional polyphonic thinking
|School||Capital Normal University|
|Keywords||Prokofiev sonata polyphony mind mode tonal heterophony tradition creativity|
Prokofiev (1891-1953) is a celebrated composer of Soviet, and he is also one of the masters in the world in 20th century. This paper tries to find out how Prokofiev organized his mind by studying the method of polyphony in the nine piano sonatas of Prokofiev, hoping to conclude the unique style of polyphony in his work and reflecting a number of characteristics on the development of music in the early 20th.The composing of the nine piano sonatas needled its way throughout all his artic life, clearly manifesting the development of his basic composing styles. The first stage (1908-1918): 1st work-4th work; the second stage (1919-1936): 5th work; the third stage (1936-1953): the 6th -9th.The three stages reveal that Prokofiev not only tried to avoid overusing the composing technique of" pioneer "in western Europe, which was far away from most of the audience, but he rejected the rigid composing trendy in Soviet and he found a balance way. With his gifted imagination and creativity, he composed a great number of popular compositions.Within the nine works, Prokofiev’s exploring all kinds of new techniques underlie that his compositions are of strong creativity and modernity. Based on the perspective of inheriting tradition, the polyphony in his work is as creative as his harmony. It is more salient for counterpoint in that it is easy in surface, but is of great personality in reality.This paper composes five chapters. The first chapter illustrates the character of melody about Prokofiev piano sonata. In the second chapter the author does some research on the traditional polyphony about Prokofiev piano sonata, including four components. The third chapter, the core part of this thesis, analyses polyphony that is personality and creative, composed of ten components. The fourth chapter is about analysis of polyphony technology with tradition and creativity, which is divided into two components. In the last chapter, the author summarizes the results of the study.This paper exposes the composer’s two thought skeleton that are piercing into tradition and succeeding tradition in composing polyphony through two points of view, which are "based tradition thought" and "breakthrough tradition thought".