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就钢琴演奏本身而言,应该是一个复杂的生理、心理结合统一的过程,它要求演奏者各感官间默契地配合,以达到钢琴演奏中所谓“琴人合一”的最高境界。然而,在部分教师的教学过程中,忽视了钢琴演奏本身所需要的各感官之间的联系配合,把艺术化、科学化的钢琴教学引入了单一技术训练的歧途。作为一名钢琴教师,在对上述现象感到悲哀的同时,也试图运用科学的理论对钢琴教学法进行改良,
As far as the piano performance itself is concerned, it should be a complicated process of combining physiology and psychology. It requires tacit cooperation between the senses of the performers in order to reach the highest level of the so-called “unity of the harpist” in piano performance. However, during the teaching process of some teachers, the relationship between the various sensory organs required by the piano performance itself is neglected, and the artistic and scientific piano teaching is introduced into the single technical training. As a piano teacher, while feeling sad about the above phenomenon, he also tried to use the theory of science to improve the piano teaching method,