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The History of the Evolution of Pianoforte Technique
Published online by Cambridge University Press: 01 January 2020
Extract
It will be obvious, at the outset, to everyone that Keyboard Technique has developed in accordance with the instruments which were available to the performers. I do not propose to enter into a detailed survey of the instruments: most of them are probably known to my hearers, and I need only mention those that may have anything to do with this particular subject of technique. In examining what writings there are, however, it will generally be found that the writers were almost unanimous in their desire to make technique a means to a musical end, rather than a mere mechanical display. I will point this out in the course of this paper. The only instruments I need mention are the clavichord, clavecin; harpsichord and hammerklavier, the modern piano coming under this last category (hammerklavier).
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- Copyright © Royal Musical Association, 1932
References
1 He was a historian as well, and wrote a book of biographies of musicians.Google Scholar
∗ This disposes of the claim of a modern theorist that he first solved the problem of coping with the different lengths of the fingers.Google Scholar
2 Kullak insisted on “the highest possible elevation and prolonged tarrying above the digitals, which will contribute materially to their necessary strengthening.” He gradually reduces the holding fingers in still-hand exercises to one, leading to “a natural transition to a wrist exercise.” Amy Fay says that Liszt liked pupils of Kullak because they had been well schooled.Google Scholar
3 This is interesting; it is the degree of resistance in the arm or hand which regulates the effect of the weight on the key.Google Scholar