Abstract

One of the best-known texts on 18th-century French harpsichord playing, Couperin’s L’art de toucher le clavecin (1716), has long been considered a valuable source for performers of French Baroque keyboard music. This article investigates the cultural contexts that shaped its text and its aesthetic preoccupations. Various passages dealing with the human body (on seating and position, and on fingering) can be related to the rules of civility and personal control taught by 17th-century etiquette books. Other passages such as the practical exercises show resemblances with vocal pedagogy and graded exercises used in school teaching of the time. Although Couperin claimed that his was the first and only method to deal with good keyboard playing, the book is shaped by a close relationship with other musical treatises (whether for harpsichord or other instruments) published in France during the previous few decades.

中文翻译：

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库珀林的《触摸艺术》的背景

摘要

Couperin的L'art de toucher le clavecin是18世纪法国大键琴演奏中最著名的作品之一（1716），长期以来一直被认为是法国巴洛克键盘音乐表演者的宝贵资源。本文研究了影响其文本和美学关注的文化背景。与人体有关的各种段落（在坐姿和姿势以及指法上）都可能与17世纪礼仪书籍所教的文明规则和个人控制有关。其他段落，例如实践练习，与当时的学校教学中使用的语音教学法和分级练习相似。尽管库珀林声称他是处理良好的键盘演奏的第一个也是唯一的方法，但本书的形成与过去几十年来在法国出版的其他音乐论文（无论是大键琴或其他乐器）有着密切的关系。