我与罗先生相识、相交始于上世纪80年代,罗先生从中央乐团调至我院任教之后,但如果说我受罗先生的影响,则要追溯到50年代我在上海音乐学院附中求学之时。钢琴课上我学习演奏了罗先生的《小奏鸣曲》,那新颖别致的调式与和声深深地吸引了我,以后就有意识地找罗先生的作品来学习。当80年代中期我开始对五声性调式及其和声感兴趣而想做专题研究时,曾向黎英海先生讨教,他说研究五声性调式的和声问题,一定要从实际出发,多研究中外有关的音乐作品,其 I met Mr. Luo. The intersection started in the 1980s. After Mr. Luo transferred from the Central Orchestra to teach in our college, but if I was influenced by Mr. Luo, it dates back to the 1950s when I studied at the Shanghai Conservatory of Music Time. In the piano class, I studied playing “Little Sonata” by Mr. Luo, and I was deeply attracted by the novel style and harmony, and later I consciously looked for Mr. Luo’s works to study. When I wanted to do a special study in the mid-1980s when I started to be interested in the pentatonic style and its harmonies, he had asked Mr. Li Yinghai for advice. He said that in studying the polyphonic harmony question, we must proceed from reality and study more Chinese and foreign related music works, its