Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Aesthetic Reflection of Neutral Tone of National Mode in Accordion Music Composition Taking Dai People’s Water-splashing Festival as an Example Rong Xing Kunming University Kunming, China Abstract—In the 1960s and 1970s, more excellent works with embody the sound effect principle of national music in formal the basis of mass social music culture were presented under the aesthetics. condition of concentrating on the composition of national traditional style. It is on the premise of such rich and productive II. THE HISTORICAL OPPORTUNITY OF ACCORDION MUSIC composition that the author observes the relevant style of accordion music works and finds that polyphonic technique COMPOSITION "neutral tone" is widely used in the composition of elements of The introduction and development of accordion in China is national music. Therefore, the author tries to infer the a process of germination and development accompanied by the expression position of "neutral tone" by analyzing the melody in music life of the masses. The first reason for its popularity was the works, and further explain the use of this technique in that accordion, as an instrument accompanying the songs of national mode melody and how to embody the sound effect national salvation, was played in various propaganda principle of national music in formal aesthetics. performances of national salvation during the period of anti- Japanese aggression. This process itself embodied that as a Keywords—accordion; neutral tone; national mode; formal foreign culture and symbol, it began to blend with Chinese aesthetics culture, and from the very beginning it was closely related to the real life of China. After the founding of the People's I. INTRODUCTION Republic of China, many local cultural troupes and other Accordion, as a kind of Western musical instrument, has literary and artistic performers also equipped with professional been introduced into China, and is welcomed by the masses accordion players. Accordion as a teaching tool had also because of its diverse timbre and rich harmony. Since the entered the classroom of primary and secondary schools. More 1970s, literature and art began to flourish, which promoted the popular development was that millions of people felt the new rapid development of accordion music and produced a large era and life in the form of mass singing activities flourished number of excellent works. During this period, composers throughout the country. Accordion accompaniment seemed to began to mine the elements of traditional Chinese music, be a standard form of performance. combining accordion with Chinese national characteristics, Of course, the accordion is indeed a foreign instrument. Its and composed a number of original accordion works with twelve-tone equal temperament expresses pitch performance Chinese traditional music style. Dai People’s Water-splashing sound and it is more suitable for the performance of Western Festival is an accordion adaptation with national elements music. Of course, it has unique charm in the performance of composed by imitating Lusheng and other musical instruments foreign music. The temperament of the accordion when through sound and articulation feeling. The song vividly moving a large number of fast minor second melodies is imitates the sound of Dai people’s singing and dancing difficult for other instruments to match. However, with the accompanied by Lusheng, and ingeniously reproduces the need of New China's cultural undertakings, Chinese art in the happy scene of Dai people’s Water-splashing Festival through 1960s and 1970s experienced a history of "foreign-to-Chinese" various decorative sounds and harmony with national color. reform. From the perspective of cultural development, the The music not only retains the national melody characteristics older generation of Chinese accordionists and composers could and traditional cultural connotations of the original Dai not only be satisfied with the function of playing foreign works people’s festival, but also gives full play to the characteristics and accompaniment, but also needed to explore an innovative of accordion on the basis of national tone. It uses Western way to express music with Chinese characteristics more widely musical instruments to express the valuable neutral tone - to create diverse music of Chinese nationalization. So far, techniques in traditional music, and vividly displays the accordion art has made a breakthrough in the progress of profound national spirit and cultural context. Through the China. However, during the Cultural Revolution period from analysis of the melody in the works, the author has inferred the 1966 to 1976, along with the coincidence with the literary and expression position of "neutral tone", and further explained the artistic policy of "Wulan Muqi" at that time, it objectively use of this technique in national mode melody and how to provided a good opportunity for the popularization of Copyright © 2018, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 741 Advances in Social Science, Education and Humanities Research, volume 284 accordion in China. However, due to the Cultural Revolution, accordion is a Western equal-temperament musical instrument, the free composition of art was greatly restricted, and all the it is surprising to give an auditory feeling of "neutral tone" literary and artistic stages could only be used for "model (three-quarter microtone) in its performance. opera" and “red play“. But it did not change the significance of 1 the instrument itself. During this period, accordion played the Neutral tone originated from the special acoustics of most important role in history, accompanying revolutionary minorities, and it existed since ancient times. The beauty songs and aiming at adapting revolutionary songs and model embodied in neutral tone is also the unity of the content of the opera music, which made accordion survive in the cracks sound and the melodic form presented. From the perspective of under the suppression of literary and artistic creation and the relationship between the aesthetic subject and object, the performance. Indirectly, it has provided an opportunity for formal music beauty of neutral tone contains the expression accordion to absorb more nutrients from Chinese traditional and communication of intervals and other factors. From the culture and to combine with Chinese folk music deeply. analysis of the characteristics of the neutral tone of national music (especially southern minority music), it is helpful to Since the Third Plenary Session of the CPC Central observe the aesthetic tendencies of "neutral tone" in the Committee held in 1978, the cultural policy has been greatly composition of specific ethnic groups. Of course, it has also adjusted. At the same time, a gratifying new era of literature become an important feature for us to distinguish the and art has emerged in the Inland areas. If Chinese accordion universality of the same ethnic group. That is to say, the life works produced before 1978 were branded by the special experiences of different ethnic groups have different national social environment and cultural policies, then the reform and temperament, different aesthetic and appreciation habits. opening-up and ideological emancipation brought a new People may have different perceptions on same music situation for Chinese accordion composition in the new era. It characteristics, so aesthetic perspectives are also different for liked a sudden spring breeze overnight, and thousands of trees such a non-mainstream formal technique. Anyway, what we and pears blossomed. Artists were not satisfied with the past usually see is that we tend to seek a very deep foundation of thinking mode of "folk song plus harmony" and "theme plus national music among the ethnic groups. The musical variation", and began to go beyond the framework limit of expression of ethnic minorities uses this special tone to express simple transplantation, and gradually explored a way of their inner feelings from generation to generation, which they individualized composition of Chinese accordion works. think is beauty. During this period, a lot of high-quality works emerged, which included three types of composition: adaptation of transplanted If the sound perception of the neutral tone is arranged works, focusing on popular traditional songs; re-composition according to the mode, what we hear should be the elevated fa of traditional Chinese music with strong local national and the lowered si in the seven-tone mode. To be exact, the character based on folk music; and use of modern western difference between them is 50 cents. In fact, there is no so- composing techniques for reference, both keeping the national called semitone relationship in this seven-tone mode, which is charm and concerning works that were progressively extremely interesting in the composition of works. This synchronized with the world. provides a great assistance for the composition of instrumental music with distinctive national and regional characteristics. From a large number of creative works, the works highlighting national consciousness prominently are This paper takes the accordion work Dai People’s Water- undoubtedly the second composition of national folk music splashing Festival