In this article, Carl Czerny’s Letters to a Young Lady on the Art of Playing the Pianoforte (1837) is studied as a machine manual within the cybernetic economy of James Watt’s governor. It is argued that while the young pupil is encouraged to subject herself to a strict discipline of physical deportment at the piano, this activity is in conflict with her own desire to become a self-regulated learner. The key claim made is that although Czerny’s surveillance strategy prevents Miss Cecilia from breaking with the cybernetic ideal and appropriating the pianistic technology for purposes of virtuosic self-expression, she becomes aware of her latent agency and its potentially subversive implications for gendered music making. As such, Czerny’s piano manual addressed to the stereotypical nineteenth-century piano girl anticipates the pianistic discourse associated with the invention of the player piano at the turn of the twentieth century.

中文翻译：

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从卡尔·车尔尼 (Carl Czerny) 的塞西莉亚小姐 (Miss Cecilia) 到塞西莉安 (Cecilia)：工程、美学和性别化钢琴教学

在本文中，卡尔·车尔尼 (Carl Czerny) 写给一位年轻女士的关于演奏钢琴的艺术 (1837) 的信作为詹姆斯·瓦特 (James Watt) 州长的控制论经济中的机器手册进行了研究。有人认为，虽然鼓励年轻学生在钢琴上遵守严格的身体行为纪律，但这种活动与她自己成为自我调节学习者的愿望相冲突。提出的关键主张是，尽管 Czerny 的监视策略阻止了 Cecilia 小姐打破控制论理想并为了精湛的自我表达的目的而盗用钢琴技术，但她意识到她的潜在能动性及其对性别音乐制作的潜在颠覆性影响。因此，