中国钢琴音乐在中华优秀传统文化的熏陶之下，形成了独具特色的民族风格与思维方式。探究民族化，要认识到民族化的实质，即不同文化之间相互碰撞、冲突、融合、创新，从求同存异到相互渗透，经过时间的洗礼后，逐渐形成自己的民族音乐语言。民族化所涵盖的不仅是形式和技术的问题，也不是单纯采用民歌、戏曲音调就能解决的问题，而是要从作品的内容、形式、音调、风格、表现方法等各个方面去探索如何使作品具有更浓厚的民族气韵。随着改革开放的到来，各种西方思潮以更新更快地姿态不断涌入中国，由此促进了中西文化的碰撞与交融，从而这个时期的中国钢琴音乐民族化的进程中具有了民族性和现代性的双重特点。正是在此背景之下，中国作曲家创作出了具有民族性和现代性双重意蕴的中国钢琴音乐作品。

本文的研究对象是中国钢琴音乐，研究视角聚焦在民族化，研究涉及的时间范围是改革开放以来，主要探讨中西融合背景下形成的中国钢琴音乐。本研究从历史之维、文化之维与技术之维对改革开放以来中国钢琴音乐作客观梳理与深入分析。由远及近，从宏观到微观，探索与发掘音乐民族化其背后形成的社会背景、文化肌理、学理逻辑、融合方式与表达方法，从而更清晰地捕捉民族化的本质，形成对单一艺术风格从广度和深度的多元考察。

本文创新之处在于：第一，对改革开放以来中国钢琴音乐民族化风貌进行全方位的展现，力求挖掘其史料价值、文献价值与学理价值；第二，采用多维度的分析视角，从民族化表现特征与现代化的改造两个方面进行有机串联，多维度、深层次地挖掘出改革开放以来中国钢琴音乐民族化的特质；第三，运用跨学科的研究方法，从历史学、音乐学、艺术学、社会学等跨学科的多元角度对各类文本进行深度剖析，解读深层次的社会、历史与现实内涵；第四，研究材料的进一步拓展，本文囊括从改革开放以来至今四十余年中国钢琴音乐的代表作品，研究的作品范围与历史跨度较之前相关研究又得到进一步拓展；第五，强调民族性、现代性与世界性的三重观照，力图从民族性、现代性与世界性三个角度观照改革开放以来中国钢琴音乐的发展。

在本文的结构安排中，第一章内容是关于改革开放以前中国钢琴音乐民族化的历史景观，从历史的角度追溯民族化的发生与发展；第二章是改革开放以来中国钢琴音乐民族化的自觉与追寻，着重论述在时代革新影响下中国钢琴音乐民族化在不同的继承取向中的新选择，挖掘改革开放以来中国钢琴音乐民族化表达方式改变的根本原因；第三章内容是中国钢琴音乐民族化的表现特征，从众多的中国钢琴音乐作品中凝练出具有共通性的民族化表达特征，从民族旋律的借鉴与拓展、以京剧为代表的戏曲元素的融入、五声性调式的使用与创新、和弦结构的改良与运用四个方面进行深入分析；第四章为中国钢琴音乐民族化的四个维度，以民族素材与现代技术的逐步融合为主线进行研究，围绕民族素材的吸纳与改编、对民族素材进行深度现代加工、民族素材在现代技术中被完全吸纳、深层的中国神韵的注重与表达等四个方面，聚焦八部代表性作品，对其进行较为详细的分析；第五章是国际视野下中国钢琴音乐民族化的多维显现，从民族性、现代性与世界性三个维度，以及民族性与现代性，民族性与世界性的关系中进行辨析，深度挖掘民族化在学理层面的意义与现实层面中的价值。

Chinese piano music, under the influence of China's rich traditional culture, has developed a distinctive national style and way of thinking. To explore the process of nationalization, it's essential to understand its essence, which involves the collision, conflict, fusion, and innovation between different cultures. Over time, these interactions gradually give rise to a unique national musical language, moving from seeking common ground while preserving differences to mutual permeation. Nationalization encompasses not only issues related to form and technique but also transcends the mere adoption of folk songs or traditional opera melodies. It involves exploring how to infuse works with a stronger sense of national character, considering aspects like content, form, tonality, style, and modes of expression. With the advent of economic reforms and openness, various Western influences arrived in China at a faster pace, leading to a collision and fusion of Chinese and Western cultures. Consequently, during this period, Chinese piano music underwent a process of nationalization characterized by both a strong national identity and a modern character. It was within this context that Chinese composers created piano music pieces with a dual essence of national and modern elements.

The research subject of this article is Chinese piano music, with a focus on the perspective of nationalization. The research covers the time period since the opening-up and reform, mainly exploring the Chinese piano music formed under the background of Chinese-Western fusion. This study objectively combs through and deeply analyzes Chinese piano music since the opening-up and reform from the dimensions of history, culture, and technology. From the past to the present, from macro to micro, it explores and discovers the social background, cultural texture, theoretical logic, fusion methods, and expression styles behind the nationalization of music, in order to capture the essence of nationalization more clearly and form a breadth and depth of examination of a single artistic style with multiple perspectives.

The innovation of this article lies in several aspects. First, it presents a comprehensive display of the nationalization of Chinese piano music since the reform and opening-up, aiming to explore its historical, documentary, and theoretical values. Second, it adopts a multidimensional analytical perspective, organically linking the horizontal characteristics of nationalization with the vertical transformation of modernization, to excavate the traits of the nationalization of Chinese piano music since the reform and opening-up in a multidimensional and in-depth manner. Third, interdisciplinary research methods are utilized, with various texts being deeply analyzed from interdisciplinary perspectives, such as history, musicology, art, and sociology, to interpret the profound social, historical, and realistic connotations. Fourth, the material of the research is further expanded. This article encompasses representative works of Chinese piano music in the past 40 years since the reform and opening-up, extending the scope and historical span of previous related research. Fifth, it emphasizes a triple perspective of nationality, modernity, and universality, attempting to observe the development of Chinese piano music since the reform and opening-up from the perspectives of nationality, modernity, and universality.

In the structural arrangement of this article, the content of the first chapter is about the historical landscape of the nationalization of Chinese piano music before the reform and opening up, tracing the occurrence and development of nationalization from a historical perspective. The second chapter is about the conscious nationalization and search for Chinese piano music since the reform and opening up, focusing on the new choices of Chinese piano music nationalization in different inheritance orientations under the influence of era renewal, and exploring the fundamental reasons for the changes in the expression of Chinese piano music nationalization since the reform and opening up. The content of the third chapter is the expressive characteristics of Chinese piano music nationalization. Using horizontal thinking, it extracts common nationalization expression characteristics from numerous Chinese piano music works and conducts in-depth analysis from four aspects: borrowing and expanding of national melodies, incorporation of opera elements represented by Beijing Opera, use and innovation of pentatonic tonality, and improvement and application of chord structures. The fourth chapter is about the four dimensions of Chinese piano music nationalization. Using the gradual integration of national materials and modern technology as the main line of vertical research, it focuses on eight representative works and conducts a more detailed analysis on four aspects: absorption and adaptation of national materials, in-depth modern processing of national materials, complete absorption of national materials in modern technology, and the substitution of deep Chinese spiritual essence for surface national elements. The fifth chapter is about the multidimensional manifestation of Chinese piano music nationalization under an international perspective, analyzing it from three dimensions: national identity, modernity, and universality, as well as the relationship between national identity and modernity, and between national identity and universality, and deeply exploring the significance of nationalization at the theoretical level and its value in the practical level.