Analysis of Technique Evolution and Aesthetic Value Realization Path in Piano Performance Based on Musical Hearing

Size: px

Start display at page:

Download "Analysis of Technique Evolution and Aesthetic Value Realization Path in Piano Performance Based on Musical Hearing"

Eleanor Cobb
5 years ago
Views:

1 Abstract Analysis of Technique Evolution and Aesthetic Value Realization Path in Piano Performance Based on Musical Hearing Lina Li Suzhou University Academy of Music, Suzhou , China Piano erformance technique evolution not only reflects layers music level, but is also a basic way to shows its different aesthetic values. Through the evolution in the late Baroque, Classical eriod, Romantic eriod and other stages, the fundamentality, racticality and musicality of iano erformance techniques have all been innovated; therefore, music hearing should be emloyed to further imrove them so as to exress the layers intuitive feelings. This aer, based on rhythms, musical hearing and internal resentation, attemts to construct a model using mathematical knowledge and discusses the results with the evaluation criteria. Keywords: Musical Hearing, Piano Performance, Technique Evolution, Aesthetic Value, Realization Path. 1. INTRODUCTION Piano art is full of aesthetic ideas. It is one of the ways to resent national culture, thoughts and emotions. After exeriencing historical changes, iano erformance techniquesare gradually imroving. Now layersare able to exress different moods through iano music, reflecting the unique aesthetic value of iano art. Therefore, layers need to start from the music itself, try to understand hrases and rhythms using the dialectical method through mathematical modeling and enhance musical hearing training using the trinity ercetion model to strengthen their erforming techniques and fully reflect the aesthetic value of music. 2. LITERATURE OVERVIEW In recent years, there have been a lot of studies on the iano technique evolution and aesthetic value realization ath, but few has carried out analysis in combination with musical hearing. Shen (2003) studied high- and low-itch iano erformance methods based on iano erformance evolution and musical hearing (Shen, 2003). Wang (2010) focused on the iano erformance techniques in different eriods of time and roosed the guiding roles of different erformance styles and his erformance style tends to have a strong ersonality (Wang, 2010). Wang (2016) mainly analyzed the evolution of iano techniques, and found out that there had been remarkable develoment in iano art in its long history, and ut forward the different exressions of vibrato in different eriods, which was an imortant contribution to iano techniques (Wang, 2016). Kang Qin and Du Xuan (2016) also carried out a study on the manifestation of aesthetic value in iano erformance in the same year. They ointed out that the artistic and aesthetic values of iano erformance layed an imortant role in iano erformance and should be realized to show the ontological and structural characteristics of the music. At the same time, the two also analyzed the relationshi between artistic and aesthetic values and iano erformance techniques and roosed the internal aesthetic values of music works (Kang and Du, 2016). Dong (2016) carried out research based on the iano technique evolution in the Romantic eriod and its imrovement strategies and ointed out that layers finger, arm and wrist trainings are all very imortant and that only through long-term training can layers erform wonderful music (Dong, 2016). 3. THEORETICAL BASIS HEARING AND MUSICAL HEARING Hearing is one of the main senses of a erson. It hels eole distinguish the characteristics of sounds and roduce reaction and intuitions towards different music modules in the music so that eole can truly areciate it. This ability was gradually formed and develoed over different eriods of history. From the music oint of view, eole s sense of music is a ercetion of music works, mainly focusing on ercetion, memory, imagination and so on. Music exists in eole s lives mainly because of eole s deendence on their sense of hearing. The imression that the sense of hearing leaves in eole s mind is a whole and the ercetion of music 285

2 should also be within the range accetable to eole; in other words, as long as eole can hear,they can enjoy music, and the only difference is that they enjoy it in different ways. But there is still a difference between musical hearing and hearing. In the alication and training of musical hearing in the contemorary time, musical hearing is mostly understood in the broad sense. For ianists, musical hearing is very imortant. In fact, no matter what musical instrument is layed,erformers should all follow the logic law of music.comared with hearing, musical hearing is a secial ability, which can erceive and judge the itch, beat and melody, and finally make music become an aesthetic concetion based on musical hearing. Table 1 shows the method and urose of musical hearing training. Table 1 Methods and uroses of music aural training training method Continuous four, five degrees For more than three consecutive seconds Continuous two, three magnanimous carry on Small six degrees, small three degrees and big six degrees A change of homohone level resonse size of three degree and five of the four ure ure The size of the size of seven degrees, nine degrees, tri tone training etc. training goal Destroy the function system in three major and minor chords as standard and three degree suerimosed chord consciousness, in order to remove the tonality A whole syllable form, breaking the traditional size adjustable itch tendency in the sense of The shifting of tonality Break the traditional harmonies to give six - degree chord meaning, and the traditional inertia when the interval is shifted The tonality becomes blurred Master the combination exercises of modern music 4. EVOLUTION OF PIANO PERFORMANCE TECHNIQUES 4.1 Late Baroque eriod Piano became a solo instrument, and thus iano erformance techniques were greatly influenced. Bach was the most influential musician in the Baroque eriod. In the Late Baroque eriod, a iano erformance technique school led by Bach was formed, where most musicians comleted their musical erformance by slight finger movements in a relaxed state. At the same time, Bach also innovated erformance techniques they did not only use the three fingers in the middle, but also used thumbs and little fingers when laying the iano. Over time, the roles and use frequencies of thumbs and little fingers have been significantly imroved, which has thus enriched the iano research skills and laid a foundation for modern iano erformance techniques (Zhang, 2014). 4.2 Classical eriod In the Classical eriod, i.e. the second half of the 18 th century, iano was being more and more widely alied and gradually relacing the traditional keyboard instruments. With the develoment of the times and the advancement of technologies, many tyes of ianoshave also been gradually derived, mainly reresented by Vienna ianos and London ianos. Mozart and Beethoven were the main contributors to the formation of iano techniques during this eriod. Mozart layed the iano in a light, ure and clear fashion without any extra body movements and his music was ure and elegant.hewas a ianist in the transition of key touching skills in iano erformance. On the other hand, Beethoven layed the iano in an emotional and free way, with more body movements than Mozart s, which had a lot to do with Beethoven s life background. 4.3 Romantic eriod The iano erformance techniques were matured in the Romantic eriod, and accordingly, iano music also entered a eriod of roserity. Under this context, iano erformance techniques were in continuous develoment and reform. Reresentative musicians included Czerny, Weber, Mendelssohn and Choin (Ma, 2014). Czerny was a student of Beethoven s, who was highly recognized and areciated by Beethoven, and his erformance style was also very similar to Beethoven s. However, musicians led by Czerny focused more on 286

3 singing feature and ercussion intensity of laying skills, so beautiful melodies of iano music could be more easily manifested. The sound changes were more delicate, the laying seed was more flexible and the iano edal was used in a more unique way, so the beauty of iano wasfully and vividly dislayed. 4.4 Modern eriod In the modern eriod, iano erformance techniques were further ugraded. Players started to ay attention to ianissimo and the erformance techniques exerienced unrecedented innovations. Players were required to exress their moods with ianissimos. Those ianissimos, like gentle touches of iano keys, created hazy and ethereal effects in the iano erformance. In the beginning of the 20 th century, the ianists, reresented by Bartok, worked more on the resentation of timbres generated by keystrokes and ut more effort in creating fresh, bold and harsh iano music. Based on folk music and by adding musical harmony, they created more rimitive iano music. 4.5 Contemorary erformance eriod Since the 20 th century, ianists have been continuously exlored and gradually created more scientific erformance techniques and iano erformance has also gradually develoed towards the use of fingers. Contemorary iano erformance techniques focus more on the overall erformance and continuous relaxation. Players need to relax their hands and uer bodies and lay the iano naturally, but they also need to kee the muscles insome local arts like wrists, fingers and shoulders a little tightened.in the erformance rocess, their finger joints must exert strength, but the other artsmust be ket relaxed. 5. REALIZATION PATH FOR AESTHETIC VALUE OF PIANO 5.1Determining the rhythm tye of the hrase modeling using mathematical knowledge Modeling Phrase rhythm is the thing that needs most attention in the whole iano erformance rocess. Players must determine the correct rhythm tye according to the environment and the music content. This aer constructs 4 models indeendence, osition, time sequence and joint models according to the develoment of rhythm transformation and by reference to the existing results. The rhythm tyes are classified by music content. If the rhythm of a hrase is not related to the relude, an indeendent hrase rhythm tye should be constructed; if it is related to the relude rhythm, then a time-sequential rhythm tye should be constructed; if the rhythm and osition of the hrase are both related to the rhythm of the relude, a joint hrase rhythm tye should be constructed. According to relevant materials, it can be found that the above four models can be exressed as the robability distributions of the hrase osition and relude hrase rhythm. Let it be (osition, T i-1,t i ). Since different random variables have different relations, based on mathematical knowledge, different methods can be used to solve, i.e.: I M ( osition, 1, ) ( osotion) ( 1) ( ) (1) osition, T, T ) ( osition, T ) ( T ) (2) PM ( i 1 i i i 1 SM ( osition, ) ( osition) ( ) (3) As the three factors in the joint model are the rhythm of the hrase, the rhythm of the relude and the osition of the hrase are interrelated, the joint distribution model cannot be sread out and can only be calculated by the mathematical calculation method. However, in some hrases, some secial rhythmic hrase sequences never aear, which will lead to zero oints in the joint model robability. Therefore, in order to avoid zero oints, this aer uses the Bayesian robability estimation method to add a robability value. For examle, if there are i samleswhose value is 1 in the T samles.then the above model can be used to do estimation, i.e.: 287

4 1 t1 ( t 1) T (4) T Model evaluation When constructing the rhythm of the hrase, one needs to fully understand the relationshis between various modules; therefore, this aer will describe the evaluation method for the above models in detail, and elaborate on the relationshis between various modules in the models. At this time, this aer will utilize the traditional mathematical model assessment method and entroy evaluation criteria and cross validation method to carry out the evaluation (Jia, 2014). When using cross validation, this aer will need to use the test set model to evaluate the hyothetical model anddivide the data set into test set and training set, which will be denoted as (osition, -1, ) andq (osition, -1, ), resectively. Then it can utilize mathematical knowledge to calculate the above models and finally obtain: 1 L ) (5) N log N ( osition, ) log q( osition, ) ( osition, ) log q( osition, In Formula (5), the selected value for logarithm does not affect the conclusions drawn in the construction of the model, but in order to ensure the hysical meanings of the three modules, the background will be set to 2 in the calculation. Thus, this aer uses the definition of entroy in the information theory to measure the erformance of the model, but in the test set, i.e. the different music ieces, P is comlex to different extents, which can be measured by information entroy, so it is set as H, and the difference between the cross entroy and the information entroy and the test is set as the measure, and then you can obtain: H r q log ( logq log ) Hc H (6) According to Formula (6), the evaluation errors between models can be obtained. Similarly, the error Δ brought by cross entroy can also be tested using the above method, i.e.: H H r (7) Result analysis In order to make the results more direct, this aer selects three iano tracks, namely, Islamey, Choin Mazuka O.24/2 and Choin Mazuka O.30/2. Each iece of music is tested several times to avoid the imacts of random errors. The secific evaluation results are shown in Table 2. Islamey(1) Choin Mar Jukka O.24/2(2) Choin Mar Jukka O.30/2(3) Table 2 Results of the evaluation model Track List model Hc Hr Δ IM PM SM JM

The calculation of the above models can rovide reference for ianists in determining the rhythms of hrases and allow them to understand the relationshis between the hrase rhythm and its osition and

5 The calculation of the above models can rovide reference for ianists in determining the rhythms of hrases and allow them to understand the relationshis between the hrase rhythm and its osition and the rhythm of the relude so as to lay a good foundation for delivering wonderful music. 5.2 Enhancing musical hearing training constructing a trinity ercetion model Training musical hearing can get layers highly sensitive to iano music so that they can have the right feelings and deliver the meanings of the iano music correctly to the audience. Musical hearing training includes 3 arts. First, layers are trained on their ercetion of itch interval. Pitch interval is the bond between itches, which lays a unique role (Guo, 2014). Players can lay the iano starting from a single interval and then form indeendent itch combinations, such as racticing the fourth or fifth intervals and then gradually exanding the layers ercetion of intervals. Subsequently, layers can ractice the sequence method. The music score is shown in Figure 1. Figure 1. Exercise score of the sequence method Figure 2. Multidimensional ercetion model Second, layers are trained on their ercetion of chord resonance. By laying the iano, a layer can gradually change the tone, but he/she should make sure there is a connection between the first and following itches. Finally, layers are trained on their ercetion of the whole iano music works, so that the layers can really get into the iano works and understand the relationshis between different honemes and the dialectical relationshi between the musical note system and honemes (Zhou, 2010). Musical hearing ercetion can also be trained using the multidimensional ercetion rincile, secifically shown in Figure Consistency between artistry and technicality 5.3.1Enhancing the training on iano erformance techniques Performance technique training is an essential ste of aesthetic value realization. Only when a layer has suerb erformance techniques can he/she exress the inner feelings. Therefore, layers not only need to master the traditional erformance techniques, but also have to gras modern ones. In a non legato ractice, layers have to gras two erformance methods - uer arm staccato and forearm staccato, creating even intervals between 289

6 sounds. At this oint, the layers movements need to be consistent. In legato ractice, layers should mostly ractice laying lyrical melodies. This requires the layers to tighten their wrists but relax their bodies so as to roduce clear and gentle sounds Ensuring the inner resentation of the aesthetic values of iano erformance Table 3 List of sounds (local) E F G C# F# D# G# D B C A Bb D# E F# C F D G C# A# B G# A C# D E A# D# C F B G# A F# G G G# A# E A F# B F D D# C C# D D# F B E C# F# C A A# G G# The emotions of the layer and the audience are one of the artistic exressions of the iano erformance. The layer can stimulate the hearing of the audience and change their mood by changing the timbre and sound intensity in the iano erformance, so that the emotions can communicate in eole s consciousness, and ultimately make the audience areciate the beauty of iano music. Second, the aesthetic value needs to be reflected in the cultural level. Piano has a long history, and it changes with the develoment of human culture, which also involves the unique cultures of different ethnic grous and the ideologies of different social eriods. Everyone has a unique aesthetic ercetion. It can be said that iano is the embodiment of human civilization develoment and the resentation of human wisdom. Therefore, the works of different eriods reflect the social awareness in those different eriods. For examle, Beethoven s iano music mostly reflects his ersonal struggle (Li, 2010) while Liszt s iano music mostly shows the national customs and atriotic feelings and so on. This aer emloys the sound list to understand the use of honemes, in an effort to hel us understand the develoment of cultures, as shown in Table CONCLUSION Musical hearing is an integral art of iano erformance. This aer, based on musical hearing, analyzes the evolution of iano erformance techniques, heling eole understand the develoment history of iano art. Only by knowing iano very well can one lay the truly emotional music that touches eole s hart and show the beauty of art in iano erformance. REFERENCES Dong W.X.(2016).A study of iano laying techniques in the Romantic Period, music,(5), Guo X.W.(2014).The art of iano erformance from the ersective of aesthetics, Big stage,(10), Jia Y.H.(2014).Analysis of iano laying techniques in different eriods, Big stage,(10), Kang Q., Du X.(2016).On the embodiment of aesthetic and artistic value in iano erformance.journal of Hubei Institute of Technology,36(1), Li X.(2010).Practice and Reflection on the alication of musical aesthetics to iano erformance, Yellow river of the song,(01), Ma S.Q.(2014).Effect of evolution of the styles of the iano works of iano technique, Art technology,(8): Shen P.Y.(2003).The iano music creation and evolution of the Romantic Period, Symhony, Journal of Xi'an Conservatory of Music,(3), Wang F.F.(2016).Evolution of iano laying techniques in the Romantic Period, Ournal of Longdong University,27(3), Wang X.C.(2010).A restricted view of iano music in the Romantic Period_Analysis of the characteristics of iano music in the Romantic Period, Ability and wisdom,(24), Zhang Y.(2014).Study on the develoment of the romantic eriod iano laying techniques, music,(7): Zhou W.M.(2010).The aesthetic thinking of the art of iano laying, Chinese music,(4),

Practice Guide Sonatina in F Major, Anh. 5, No. 2, I. Allegro assai Ludwig van Beethoven

Practice Guide Sonatina in F Major, Anh 5, No, I Allegro assai Ludwig van Beethoven With its quick scalar assages and broken-chord accomaniment, the lively irst movement o the Sonatina in F Major is a