The playing emotion of the piano music

下面为大家整理一篇优秀的paper代写范文- The playing emotion of the piano music，供大家参考学习，这篇论文讨论了钢琴音乐的演奏情绪。古典钢琴作品的音色与作品的情绪密切相关，无论是强烈或暗淡，都与作品的结构密不可分。对于不同的时代产生不同的音乐作品内容，不同的作曲家因其所属的时代不同创作出来的作品也各有不同，所以在弹奏不同的钢琴作品时，要先对其所处的时期和作品的情绪有个大致的了结，这样才能更好的弹奏出原汁原味的作品。

The so-called "classical", to be exact, refers to the ancient Greek and Roman periods, the two great periods of western civilization. Many centuries later, people are still trying to borrow the essence of that era. It was not until the mid-18th century that the newly excavated temples of ancient Greece and southern Italy really began to attach importance to "classical".

Classicism is an ambiguous word with several different but related meanings. A very inappropriate use is to think of it as music other than popular music, including all kinds of serious music, regardless of when it was created and for what purpose. What we mean by "classicism" here is the music of the period from about 1750 to the death of Beethoven in 1827.

Due to the influence of excellent ancient culture, people often regard the word "classical" as the meaning of excellence. Whether it's a poem or a car, if it's "classic," it means it's the best of the best. There is also a tendency to refer to a pattern design as "classical," meaning that the ratio is in balance with nature, not exotic or unconventional, but follows normative principles.

It is because of this belief in "appropriate ratio" and "natural balance" that the style of music in the classical period is different from other periods. In fact, the composers of this period all followed this basic concept when they considered the music structure: a concept of the balance between tonality, so that the audience could clearly feel how the music was carried out; And because of the balance between passages, listeners can listen to a piece of music knowing exactly what comes next. Rather than actively creating music to fascinate or mystify the audience, the composer simply altered the system and contours of the composition.

Or we can say that there is no "classical period" in music creation, but we can call it "classical style". In this style Haydn, Mozart and Beethoven wrote their masterpieces. But it's not just in the work of the three of them, it's basically in the work of the other composers of the period.

There are also brief transitions between the baroque and classical periods. One of them is rococo, which is named after the style of the baroque, just as the historians of music named the baroque. The term was originally coined by art historians to refer specifically to decorative art in France in the late 17th and early 18th centuries. In French architecture of this period, the baroque's majestic, austere style is decomposed or softened. Thus developed a novel, beautiful, imaginative style. Like all French cultures and tastes, this style quickly spread throughout Europe, especially in southern Germany and Austria.

The other is flamboyance. On music it starts with a smooth melody and dispenses with complicated harmonic counterpoint; The melody sounds extremely clear and is usually played in a fixed or slow pattern with a bass tuner. The most ideal performing medium for gorgeous music is the voice. Composers usually divide the music into simple and regular sentences and use question-and-answer style. The voice of the singer is obscure but full of emotion. Another popular medium for performance is the flute. People especially appreciate its elegant and gentle colors. Gorgeous style also refers to the use of dance rhythm. Bach et al. used one of the additional movements in their keyboard suite, which is called "gorgeous music". It means using regular, short melodic phrases, like graceful bows and good manners.

Haydn, Mozart, Beethoven three masters, has to Vienna as the center of life, creation, they have a profound internal inheritance between the history of European music has a long impact. The "classicism" in music is generally marked by the theme creation characteristics of the Vienna classicism, which pursues the balance of three elements in the works, namely: popular music language, rigorous music structure, and profound music content. The timbre of classical piano works is closely related to the lasting appeal, artistic conception and emotion of the works. Whether it is strong or dim, bright or light, it is also inseparable from the structure of the works.

At the same time, playing the piano requires the coordinated movement of all parts of the body to complete. Some composers rely on the fingers of the rapid run to complete the works, this method played out the tone of crystal pure, clear particles; Some not only use the fingers, but also pay special attention to the use of the arm, or even the trunk of the natural weight of the sinking weight to touch the keys, that is, the so-called weight playing method, this playing method is suitable for playing bright solid, rich and brilliant works; While playing a classical piano requires only the combination of fingers and the natural weight of the arm, excessive movements of the trunk and the big arm will change the proper sound.

Different touch key mode will produce different timbre, touch the key with the tip of your finger, the sound is transparent and thin; The voice that points to face much flesh place to touch key to send out with finger is downy and plump. The timbre and emotional changes of classical piano works are rich, requiring the players to constantly change the parts where the fingers touch the keys. The transparent and round sound should use the parts at the top of the fingertip, while the soft and deep timbre should use the parts close to the fingertip. Different strength requirements should choose different finger touch key height, generally speaking, the finger touch key method sound loud, low touch key method sound gentle. Most of the classical piano works are mainly composed of the touch of keys at a low height. In order to obtain a certain timbre, playing requires the combination of various factors. The flexible relaxation and coordination of the metacarpal joint, wrist joint, elbow and even shoulder are also very important in the touch of keys. At the same time, in order to play the light, bright, pure and bright tone of classical piano works, it is necessary to have a clear point of contact with the keys. The point of contact is not only at the bottom of the keys, each depth can produce different levels of strength. The depth of the point of contact depends on the requirements of specific works, specific sections and specific phrases.

All in all, different times have different content, music works of different composers because of its different era's works also vary, this requests us, playing different piano works, and works for their first period emotions have a roughly, in order to better play the original works.

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