Melody and Timbre in Piano Performance LES SONS ET LES TIMBRES DU PIANO
Notice bibliographique
Résumé
Abstract: Melody and timbre is a very prominent problem in lesson teaching activities nowadays. By giving examples and making comparisons, the article explored the meanings, the differences and relations between these two concepts. article also gave a detailed explanation of the unreasonable parts in the knowledge of piano performance, thus revealing the inner rule of this type of performance. It will play an active role in regulating the lesson teaching. Key words: melody, piano, performance of melody timbre Resume: Les sons et les timbres sont les deux problemes tres marques dans l'enseignement du pour l'instant. Cette these profite des exemples et des comparaisons pour decrire en profondeur les deux definitions ainsi que leurs differences et liaisons. Elle fait un resume concretement sur les aspects non raisonnables de conscience sur «la methode des sons» et elle nous revele aussi ses regles de nature, ce qui joue un role tres actif pour metter en unification l'enseignement du piano. Mots-cles Melodie, piano, execution de timbre de melodie development of lesson teaching is closely related with the development history of the manufacturing industry, as well as the natural science and social science, especially the development of the music theory. Over the years, lesson teachers, theory researchers, performers have, through their teaching practice, summarized a set of effective teaching mies and methods, thus completing the comprehensive teaching system of today. However, we should not lose sight of the fact that, there are still some problems in the teaching to various degrees, some of which need to be solved without delay, while others could only be solved by carrying out deep research. author considers that, only when more and more lesson teachers participate, research and practice in this campaign can we effectively promote the work smoothly. 1. TOUCHING AND MELODY French composer Beitene once argued: The first beauty element in art lies in its idea, and the second beauty element lies in the choice of performance method to reflect this idea. But an art work can only be created when the two elements combine together (Kara · Beitene, P19). As the second beauty element, the performance method also enjoys its own important role and status. Therefore, to freely demonstrating and expressing the beauty of music, it is necessary to thoroughly understand and master the playing techniques of the musical instalment we play, and strive to produce the melody. 1.1 How Piano Melody Comes into Being To learn about melody , we have to mention the vocal organ. When people sing, they pronounce by using the right singing method, while controlling the shape changes of such organs like the throat and mouth, changing the breathing flow, as well as using people's own sense of music. In this way, they are able to pronounce beautiful timbres, and demonstrate colorful music charm. In contrast, string music blend people's emotions and musical sense into the playing of the strings of the instalment, thus producing gorgeous timbres with strong infectious effect. creation of the above- mentioned beautiful timbres depend on the organ or instalment that makes sounds, as well as the person who uses it. When analyzing from piano's structure, we find that, it makes sound through the knocking of the tight string by the hammer that wraps around the felt pan. To put it more concretely, it depends on the force of the fingers on the board and the time of it. Then, through a series of transmissions of mechanical levers determined by the hitting power, the dynamics of the sound produced by the is also decided. single tone produced by the is different from string music and the sound pronounced by throat, whose defect lies in that the sound volume of the string hit will gradually grow weak by and by. …
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».