鲍利斯·贝尔曼,耶鲁大学音乐系教授,国际知名的俄罗斯钢琴学派出身的演奏家兼德高望重的钢琴教育家。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。在肖邦《升c小调玛祖卡舞曲》中(谱例1),和声伴奏声部也需要编排指法,在任何可能的时候,都应 Boris Berman, a professor of music at Yale University, a performer and respected piano educator from the world-renowned Russian Piano School. 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 Chopin’s “Ascended c minor Mzuka Dance” (Scenario 1), the Harmony Accompaniment Part also needs to be choreographed and, whenever possible, should be