論文 代寫-鋼琴教學原則

  本篇論文 代寫-鋼琴教學原則講了在鋼琴演奏中,與音色相關的聽覺感知對創造正確的音色和音色非常重要。根據Last和Clavier(2003)的研究,耳朵的敏感度是一個非常重要的引導因素(Bernandt 2004)。他們進一步詳述了鋼琴家、教師和指揮家的觀點。施納貝爾的原則根據沃爾夫,(1979),是集中在每個點的演員有能力在這階段涉及後直接上來就在於確保表演者聽到正確和基於形狀在傾聽的生動的想象力(1994)。因此,正如施納貝爾所強調的那樣,演奏者的內耳應該聽兩遍。本篇論文 代寫文章由美國第一論文 Assignment First輔導網整理,供大家參考閱讀。

  Tonal-Aural Awareness

  The tone related aural perception is important to create the correct sound and tone in performance of piano. According to Last and Clavier, (2003), there is much importance of ear sensitivity which acts as a factor to guide (Bernandt 2004). They further recounted the pianist, teachers and conductor’s views. Schnabel’s principle according to Wolff, (1979), is such that the performer has the ability of concentrating at each point over that phase which involves to come up and lies in directly following so as to ensure that the performer is heard properly and shaped within the listening based vivid imagination (He 1994). Therefore as often focused upon in the principle of Schnabel, the inner ear of the performer should listen to everything two times.

  Production of tone with regard to mental cognitive function

  Considerable thought process has been involved in the tonal production. Two key ideas that are stressed upon commonly are inclusive of thinking of the sound in the mind prior to playing the sound and thinking over how the sound should be produced through movement of physical nature. Gabrilowitsch, (1993), a Russian scientist stressed over the perspective that ear is as essential as the employed organs to administer touch to keyboard (Bian 1994). It is therefore essential for pianist to first thinking of the type of tone being elicited by him from his piano and understand whether this is the most specific quality of tone for properly interpreting the piece that the pianist has engaged in playing. It has also been recommended by Rowley, (1989), that thinking 8 times prior to the performance is essential (Jameson 2002). The significance of teachers of music contended as per Webster, (1993), that students require engaging in thinking over the sound in turn adding that students need to be given much scope for selectin their individual sound after they think sufficiently over it.

  Imagining the tone

  The imagination of tone is essential as tones are formed from boundless imagination responsible for representing ideas, images, senses, feelings, tastes and stories. According to Neuhaus, (1993), it was posited that music is a tone based art. It results in producing no images visually as it does not engage in speaking with works. It speaks with sounds and that is the only way it speaks but it does result in depicted essential perspectives and generating visual picture (Hill 2001). According to Nauhaus (1993), it has been argued that tone picture difference and variety presented through great performers consists of infinity due to the personality’s differences (Hill 1997). Having the ability of imagining the way in which sounds of distinct instruments in orchestra may be played over piano is commonly held as essential (Hill 2001). Researchers such as Fraser, (2003), Wolff, (1979) and Blocker, (1993), stated that piano is a tool for reproduction that can result in mimicking distinct characteristics of instrument tone (Hill 1999). According to Neuhaus (1993), it has been suggested that students are supported through imagination for producing distinct sound qualities for distinct instruments in orchestra. It has also been asserted by Rubinstein that piano of all the instruments is the best actor as it has the ability of playing even the most distinct roles inclusive of voice of humans, trombone, violin cello and French horn. The imagination of the player should have the ability of producing particular images musically for each existing share variety and fuel consistent in the voice of humans and in each instrument so as to be able to completely reveal the wealth involved when realizing the potential of piano.

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