每個音樂風格的背後，都有著其獨特的文化背景。隨著鋼琴流入中國與本土音樂文化碰撞之下，其創作的本土化也逐漸成為一個重大課題。
本研究即著眼於1913至2014年之百年來不同時期的時代背景和作品，通過作品分析研究鋼琴獨奏作品與“中國風格”相融合之發展歷程。
將這百年以重大事件與時代背景，分為五個時期，輔以歷史背景分析當時作品的創作風格即與前後時代創作風格的轉變，同時結合同一作曲家不同時期作品之對比進行研究，對於五個時期的作品分析：1949年前嘗試性以中國律制創作的簡單作品；1949年後以西方和聲技法為主，構建中國風格旋律的簡單作品；改革開放前將將西方和聲技法與五聲調式相融合構建較複雜作品；改革開放後大膽進行多種技法共同構建更多樣的作品；21世紀後嘗試以整首作品表達特殊意境；探求“中國風格”鋼琴作品，從旋律的嘗試性本土化創作，到整體曲目展現中國風格逐漸變化之過程。
Each musical style has its unique cultural background behind it. The localization of the piano's creation has become an important topic as it flows into China and the local music culture.
This study focuses on the background and works of different periods from 1913 to 2014, and analyzes the development process of the integration of piano solo works and Chinese style.
This century is divided into five periods with major events and contemporary backgrounds, supplemented by historical background analysis of the evolution of the creative style of the works at that time, that is, the transformation from the creative style of the works at that time and later, the comparison of the works of a composer at different times at the same time contract, and the analysis of the works at five periods: the simple works created by Chinese national law before 1949; the simple works constructed by western harmony after 1949; the western harmony were the main themes before the reform was launched; the western harmony were merged with the five-tone modes before the reform was launched to form a comparative work; after the reform was launched, various techniques were carried out to build more works together; after the 21 century, the modern style was constructed with more works together. Try to express the special artistic conception with the whole work; explore the "Chinese style" piano works, from the melody of the trial-oriented indigenization of the creation, to the overall repertoire to show the Chinese style gradually changing process.
