Nostalgia is the second song in Inner Mongolia Suite (also called Suiyuan Suite) written by Ma Sicong (19 12- 1987) in 1937. The theme song comes from Suiyuan folk song "Happy Race Up the Wall".
"Homesickness Song" fell in love with a fertile land in Inner Mongolia that the composer was familiar with. It uses a song-like melody to express the thoughts of people far away from home.
The theme of the music directly adopts the melody of the Inner Mongolia folk song "Race on the Frontier", which is composed of four short and equal phrases, each of which descends step by step in a wave-like manner, and the soft colors of the Shang mode make the melody have a nostalgic and sad artistic conception.
Music not only uses the traditional reproduction trilogy, but also uses the most commonly used variation techniques in folk creation, which embodies the structural principle of mixing trilogy and variation.
The three variations in music, on the one hand, constantly give the theme a new image, on the other hand, have the function of gradually raising emotions. The first and second variations reveal the factors contained in the theme from the aspects of mode, rhythm and range.
The third variation is the climax of music. In addition to changing the theme of the original Shang mode to Gong mode, there have been great changes in internal structure, melody density, tonality and speed, making the music vivid and clear.
The theme re-uses the transfer of sound area, and the bright high-pitched area not only shows the rich timbre of the violin, but also makes the expression of emotion more delicate. Finally, the music ends with a short ending. What makes people remember deeply is that the music finally falls on the dominant chord of feather mode, which causes a sense of expectation and makes the feelings of missing reverberate for a long time.
Ma Sicong
Ma Sicong (1965438+May 7, 2002-1May 20, 987), a violinist, composer and music educator, was born in Haifeng, Shanwei, Guangdong.
China's first generation of violin composers and performers occupy an important position in the history of modern music in China. 1945 After the victory of the Anti-Japanese War, he successively served as the conductor of the Taiwan Province Symphony Orchestra, the director of the Guangzhou Art and Music Department, the principal of the Shanghai China Conservatory of Music and the dean of the Hong Kong Chinese Conservatory of Music.
After 1950, he served as the first dean of the Central Conservatory of Music, and concurrently served as the vice chairman of the China Musicians Association and the editor-in-chief of Music Creation. 1987 On May 20th, Ma Sicong died in Philadelphia, USA.