DOI
10.17077/etd.958y0uxp
Document Type
Dissertation
Date of Degree
Spring 2018
Degree Name
DMA (Doctor of Musical Arts)
Degree In
Music
First Advisor
Alan Huckleberry
First Committee Member
Uriel Tsachor
Second Committee Member
Réne Lecuona
Third Committee Member
Anthony Arnone
Fourth Committee Member
Nathan Platte
Abstract
The high finger piano technique is an approach to playing the piano which focuses on training the fingers to have extreme independence. The fingers are required to function in the extreme ranges of motion, lifting high before each strike of the key. This is an outdated technique from nineteenth century Europe, where the Lebert-Stark high finger school successfully promoted this technique in European conservatories. It was introduced to China at the beginning of the twentieth century, shortly after pianos began to be imported. From that point forward, this technique became the standard for Chinese pianists. Meanwhile, the high finger technique was abandoned by most pianists in the West in the twentieth century. Instead, the modern piano technique, which focuses on anatomical and scientific analysis, became the mainstream.
In order to establish China’s place in the history of piano playing and technique, I will provide a brief overview of the history and how China developed from it. I will demonstrate evidence for why the high finger school became popular and why it persisted throughout the twentieth century. Finally, I will discuss current trends in Chinese piano pedagogy and provide a guide for how the future development of a healthy, informed technique might look.
Keywords
China, History, Piano, Technique
Pages
vi, 78 pages
Bibliography
Includes bibliographical references (pages 73-78).
Copyright
Copyright © 2018 Mo Xu
Recommended Citation
Xu, Mo. "The high finger piano technique in China: past, present, and future." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2018.
https://doi.org/10.17077/etd.958y0uxp