Welcome to Scholar Publishing Group

International Journal of Educational Innovation and Science, 2020, 1(1); doi: 10.38007/IJEIS.2020.010105.

Piano Performance Style and Piano Music Teaching

Author(s)

Xiaopei Cao

Corresponding Author:
Xiaopei Cao
Affiliation(s)

Zhejiang Normal University, Zhejiang, China

Abstract

Because of its wide range, the piano shows different musical performance styles, from classicism to Romanticism, from Baroque period to Impressionism period, and then to contemporary music in the new century, all of which embody the beauty of piano performance style. The style of piano performance is not only related to the music works themselves, but also to the performers' playing skills, and also to the composers' aesthetic views. Exploring the different styles of piano playing will bring us new enlightenment in piano music teaching. This paper chooses Schubert's improvisations and musical moments as research models, and analyses and imitates the theme construction, harmony vocabulary, texture technique, musical form structure and tonal layout. It also combs the development of improvisation and briefly states the general characteristics of improvisation. Through the analysis of all Schubert's improvisations and musical moments, this paper concretely analyses and summarizes Schubert's improvisations from the aspects of musical form, texture, voice line and harmony vocabulary, studies Schubert's improvisations, teaches simulated piano improvisations, shapes and develops his musical motivation, and develops Schubert's improvisational style. The thinking process of imitation and creative thinking are summarized and summarized.

Keywords

Piano Performance, Performance Style, Piano Music Teaching, Creative Thinking

Cite This Paper

Xiaopei Cao. Piano Performance Style and Piano Music Teaching.  International Journal of Educational Innovation and Science (2020), Vol. 1, Issue 1: 59-69. https://doi.org/10.38007/IJEIS.2020.010105.

References

[1] Colombo, B., & Antonietti, Alessandro. (2017) “The Role of Metacognitive Strategies in Learning Music: A Multiple Case Study”. British Journal of Music Education, 34(1), pp. 95-113. https://doi.org/10.1017/S0265051716000267

[2] Fourie, C., van der Merwe, Liesl, & Swart, Inette (2016) “Frontal Lobe Brain Damage and the Lived Piano-Playing Experiences of an Older Adult”. Muziki, 13(2), pp. 1-22. https://doi.org/10.1080/18125980.2016.1182393

[3] Heil, & Leila. (2017) “Teaching Improvisation through Melody and Blues-Based Harmony: A Comprehensive and Sequential Approach”. Music Educators Journal, 104(1), pp. 40-46. https://doi.org/10.1177/0027432117711484

[4] Jeremy, D. (2016) “Context, Form and Style in Sterndale Bennett’S Piano Concertos”. Nineteenth-Century Music Review, 13(2), pp. 25. https://doi.org/10.1017/S1479409816000616

[5] Kilic, D. B. C. (2018) “An Investigation of Music Teacher Candidates’ Performance Anxiety Levels in Piano Examinations”. Journal of Education & Learning, 7(1), pp. 299. https://doi.org/10.5539/jel.v7n1p299

[6] Simones, L., Rodger, Matthew, & Schroeder, Franziska. (2016) “Seeing How It Sounds: Observation, Imitation, and Improved Learning in Piano Playing”. Cognition & Instruction, 35(2), pp. 125-140. https://doi.org/10.1080/07370008.2017.1282483

[7] Şirin, A. D. (2016) “Arranged Bursa Folk Songs for Fourhands Piano and Their Practice in Music Education Departments”. Educational Research & Reviews, 11(21), pp. 1986-2001. https://doi.org/10.5897/ERR2016.2891

[8] Toptas, B. (2016) “Effect of Daily Work on Student's Memorization Ability in Piano Education”. Educational Research & Reviews, 11(7), pp. 371-376. https://doi.org/10.5897/ERR2016.2664

[9] Yazici, T. (2016) “A Study of Developing Attitude Scale for Piano Teaching”. Educational Research & Reviews, 11(7), pp. 358-370. https://doi.org/10.5897/ERR2016.2654