在《钢琴大师教学笔记》一书中,贝尔曼以自身丰富的教学经验探索了钢琴演奏技巧和音乐诠释方面的问题,还在音乐表演和音乐教学的心理学方面提出了许多深刻的见解。本刊将陆续节选该书部分内容供读者阅读。前文中我曾说过关于钢琴家具备声音想象力的必要性,就是要具备有素养的“主观之耳”。然而仅仅有这种能力是不够的,因为演奏者还必须掌握必要的技术,以实现他脑海中所听到的音响。钢琴家需要知道哪种肢体动作会对声音产生影响,以及如何影响。这里有许多不同的触键方法,均可同时运用“进”和“出”的方 In “Piano Master’s Teaching Notes,” Behrman explores piano performance techniques and interpretation of music with his rich teaching experience. He also puts forward many profound insights into the psychology of music performance and music teaching. Articles will continue to excerpt part of the book for readers to read. In the preceding article, I said that the necessity of having the voice imagination of the pianist is to have the “ear of the subjective”. However, this ability alone is not enough, as the performer must also master the necessary skills to achieve the sound that is heard in his mind. Pianists need to know which body movements affect the sound and how it affects them. There are a number of different touch-button methods, both of which can use both “In ” and “Out ”