피아노 連奏를 위한 基礎理論 硏究 = A Study on the basic principles for the performance of piano

다국어 초록 (Multilingual Abstract)

This treastise (paper) has been written in attempt to examine critically existing piano performing in order to highlight the weakness of the methods and suggest possible improvements, One of the major problems are the emphasis placed upon mechanical finger work to the detriment of spiritual and aesthetic expression. The mechanical finger work considered to be as a large and essential part of the piano playing, so much so that more attention is paid to that than to actually listening to music a to many other aspects of music. For instance, the same parsage may be repeated many times with the worn out expectancy, that the accompliment will come in the process of time. And consequently, students fail to release the potentialities of musical imagination and musical impulse.
However the true art of piano playing depends upon three factors that none of them can have a meaning without the other two, They are musical imagination phisical commitment and aural judgement. It is this invisible and obstract faculties that make music meaningful and significant to us. Therefore, more emphasis should be placed upon the importance of developing comprehensive musicianship (i. e. understanding music as a whole). And also more importance should be paid to understanding the intentions of the composer and to realizing artistic imagination of the student so that these two qualities, combined with good technique, produce a fully sounded and balanced musician.
The purpose of this study is to develop a conprehensive musicianship approach for a Keyboard performing students music educators are searching for method interpretive aspects those which are communicated from performer to listener. Because music is nonverbal, the measurement tool should likewise employ a nonverbal gesture as a tool for communicating perception of the performer initiated information.
This study is to develop a method of measuring students ability to communicate their perception of these interpretive aspects through conducting movements.
Teacher should help students to interpret on their own, not to imitate someone else's performance, Leanning the structure can lead to better insight, interpret the various symbols of the composer, based on comprehension of the music.

목차 (Table of Contents)

• I. 序 論
• II. 本 論
• 1. 피아노 樂器의 特性
• 2. 소리를 어떻게 내어야 하는가?
• 3. 表現의 여러가지 方法
• 4. 演 習
• 5. 初 見
• 6. 메트로놈의 使用에 관해서
• 7. 피아노 演奏法의 時代的 考察
• III. 結 論