蕭邦教學與指法理念在鋼琴技術的運用探討－以練習曲作品二十五第11首爲例

A Research on Chopin's Teaching and Fingering Principles Applied on the Technique of His Piano Etude op. 25, no. 11

黃芝宜(Tzu-Yi Huang) ； 吳雅婷(Ya-Ting Wu)

《師資培育與教師專業發展期刊》 1卷2期 (2008/12) Pp. 1-20

https://doi.org/10.6764/JTEPD.200812.0001

並列摘要

For study of Chopin Etude, it is extremely valuable to probe into his teaching and fingering concepts to illuminate the interaction between finger-activities and keyboard technique as an essential key point to the comprehension of Chopin etudes' technique and creativity. The great technique demand of Chopin Etudes could only be satisfied with a well-designed music forms which are characterized in perfect integration of skill and music Fingering is an essential code for playing Chopin Etudes, we could develop our keyboard technique through his creative patterns of fingering practices. Only Chopin's fingering could discover the secret of how his Etudes' singing and virtuosity qualities are presented.
Being an outstanding composer, Chopin assigned students with his own works in the meantime, shared students with rich secrets of his creative art. This would be the most well worth part in Chopin's piano teaching.
In this research, an attempt to, in teaching practice, elaborate the creative technical features of Chopin's Etude Op 25 No. 11 through a study of his teaching method is made. Owing to the sophistication of Chopin's teaching concepts, I can only pick up with topic-related subject matter in this article, some omissions are unavoidable.
I do hope that senior music scholars could kindly spare their precious supplements and advices to this study.

並列關鍵字

teaching and fingering principles ； etude ； Chopin