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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。在众多的技巧中,老师们通常重视以下3个基本肢体动作中的一个:(1)独立运动且能够弹出清晰声音的手指;(2)手腕和小臂的回转运动,以及这些身体部位发起的推力;(3)把小臂及上臂的重量作为钢琴家肢体活动的基础。有些指导者对其中的一项情有独钟,却忽略了其他两项。我以为,夸张地将其中任何
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. Of the many tricks, teachers often value one of the three basic limb motions: (1) a finger that moves independently and can give a clear sound; (2) a whirling motion of the wrist and the arm, as well as those initiated by these body parts Thrust; (3) the weight of the arm and upper arm as the basis for pianist physical activity. Some mentors have a soft spot for one of them, but ignore the other two. I thought, exaggerated to put any of them