剛好復習了一下 J. Hofmann 的書, 裡面有很多內容跟這個題目有關 我提個關係最密切的好了... (有興趣起查閱 Piano Playing - with Piano Questions Answered 一書, 後半部 q and a 有很多內容, 我這提的是 p.79-82 的內容 懶的找重要的文字了, 我就整段抄 有重要的沒寫到或不重要的有寫到我也不管了 XD 寫完後沒空校正內容, 拚錯字的我也懶的管了 XD) Technic is a chest of tools from which the skilled artisan draws what he needs at the right time for the right purpose. The mere possession of the tools means nothing; it is the instinct - the artistic intuition as to when and how to use the tools - that counts. It is like opening the drawer and finding what one needs at the moment. There is a technic which liberates and a technic which represses the artistic self. All technic ought to be a means of expression. It is perfectly possible to accumulate a technic that is next to useless. I recall the case of a musician in Paris who studied counterpoint, harmony and fugue for eight years, and at the end of that time he was incapable of using any of his knowledge in practical musical composition. Why? Because he had spent all of his time on the mere dry technic of composition, and none in actual composition. He told me that he had been years trying to link his technic to the artistic side of things-to write compositions that embodied real music, and not merely the reflex of uninspired technical exercises. I am a firm believer in having technic go hand in hand with veritable musical development from the start. Neither can be studied alone; one must balance the other. The teacher who gives a pupil a lcing course in strict technic unbroken by the intelligent study of real music, is producing a musical mechanic-an artisan, not an artist. "Please do not quote me as making a diatribe against technic. I believe in technic to the fullest extent in its proper place. Rosenthal, who was unquestionably one of the greatest technicians, once said to me: 'I have found that the people who claim that technic is not an important thing in piano playing simply do not possess it.' For instance, one hears now and then that scales are unnecessary in piano practice. A well-played scale is a truly beautiful thing, but few people play them well because they do not practice them enough. Scales are among the most difEcult things in piano playing; and how the student who aspires to rise above mediocrity can hope to succeed without a thorough and far-reaching drill in all kinds of scales, I do not know. I do know, however, that I was drilled unrelentingly in them, and that I have been grateful for this all my life. Do not despise scales, but rather seek to make them beautiful. 其實這段內容跟這個討論主題不完全有關. 只是覺得算是個有名的鋼琴家的看法, 就提出來分享了. 覺得內容有問題的請去找 Hofmann 不要來找我 XD (其實這裡本來是在講 pedal 的 :P) --

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