孔祥东音乐幼儿园,曾贤哥,春莱爱
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2.2.5 Harmony
In the classicism period, the main tone music replaced the polyphonic music, and the main tone music with the theme of "melody and harmony background" occupied the primacy (Maslen, 2013). The function harmony and its tonal relationship system became the skeleton of the music structure. Harmony has become a very important factor. The piano's texture has completely changed. There were main melody and accompaniment, rather than the pairing of several melody during the period of polyphonic music. The harmony of the romantic period was further expanded on the basis of the functional harmony of classicism (Spector et al., 2014). The harmony was diverse, through the use of chords, extended chords (seven chords, nine chords, eleven chords, etc.), complex chords (heavy genre, reorientation chords; subordinates, subordinate chords) to get a fresh harmony effect (Ying et al., 2015). At the same time, a large number of uncoordinated and unresolved uncoordinated chords have been added.
2.3 Impact on future generations
2.3.1 Provide a scientific training method
The piano performance in the period of romanticism was mainly to express emotions, and thus paid particular attention to the expression of phonology in performance (Kupana and Otacioglu, 2012). Piano players should, after fully understanding the emotions of a piece of music, by controlling the power of the fingertips to enhance the infection of the music, so as to improve the emotional contagion of the audience (Spector et al., 2014). In order to achieve this goal, the Romantic period created a series of training methods, such as high-finger training methods, which could effectively increase the strength of wrists and arms. The scientificity and effectiveness of this series of training methods have been recognized by the majority of pianists, and today it is still an important method for pianists to train (Akbulut, 2010; Maslen, 2013).
2.3.2 Pay attention to the cooperation between piano performance and other musical instruments
Due to the progress of society, more and more kinds of musical instruments have gradually entered the field of piano accompaniment. A pianist at that time could effectively control and process the piano playing techniques to make the piano sound perfectly integrated into the sound of other instruments, so that it made the emotion expressed in the music of the romanticism period more vivid (Akbulut, 2010, Chmurzynska, 2012). From the romantic period, the piano playing skills paid more and more attention to the cooperation with other instruments (Emond and Comeau, 2013). Through the cooperation with other instruments, the piano performance could express the emotions contained in the works.
2.3.3 Improve the artistic expression of piano performance
The flourishing development of piano playing techniques in the romantic period changed people's perception of piano playing (Chmurzynska, 2012). At that time, piano performers pursued higher techniques, from arm training to finger training to diversified playing skills, which improved the artistic expression of piano performance like never before. This powerful artistic expression not only provides a benchmark for piano performance and training for later pianists, but also encourages and motivates piano performers of future generations to continuously improve the playing skills of the piano (Emond and Comeau, 2013).
3.0 Conclusion
The emotional performance skills of the romantic period are a great peak in the history of piano art. Some characteristics of piano works in this period are: expressing nationalism, being imaginative, and expressing strong personal feelings, which has promoted the development and improvement of piano skills at that time, and it has been greatly improved in terms of speed, strength, beat and musical structure. The influence of the development of piano playing skills in the romantic period on the development of piano performance skills in later generations provides a series of scientific and effective training methods, which make the piano performance begin to attach importance to the cooperation with other instruments, and to promote and motivate the performers of the later generations to continuously improve the playing skills of the piano.
References
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Hou, J. et al. (2017). Mirror neuron activation of musicians and non-musicians in response to motion captured piano performances. Brain and Cognition, Volume 115, July, Pages 47-55
Kupana, M. N. and Otacioglu, S. G. (2012). Effect of the teaching piano sight reading program developed in accordance with the systematic learning on the sight reading skills of the music teacher candidates. Procedia - Social and Behavioral Sciences, 47, 886-894.
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Maslen, S. (2013). Playing like a girl: practices and performance ideals at the piano. Performance Enhancement & Health, 2(1), 3-7.
Parsons, L. M. et al. (2005). The brain basis of piano performance. Neuropsychologia, 43(2), 199-215.
Spector, J. T. et al. (2014). Biographic and behavioral factors are associated with music-related motor skills in children pianists. Human Movement Science, 37(10), 157-166.
Ying, L. F. et al. (2015). Tension release in piano playing: teaching Alexander technique to undergraduate piano majors. Procedia - Social and Behavioral Sciences, 174(12), 2413-2417.
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