The ability to play with a variety of timbres on the piano relates to advanced pianistic skills for a performer; however, little is known regarding how the skills are acquired in piano lessons. The literature review draws attention to the sound-producing/facilitating gestures, bodily awareness, and proprioceptive feelings in piano playing, suggesting the adoption of a “mind-body integration” perspective to investigate the teaching and learning of piano timbre in lessons. An observational study was conducted among three pairs of university-level teachers and students, to understand the teaching/learning process of piano timbre and teacher-student interaction in the context of higher music education. The results suggested that piano timbre is not learnt through imitation or as a ‘fixed’ and objective knowledge, but as a co-constructed conception between the teachers and the students. The meaning of timbre goals in piano lessons is enacted through ‘in-the-moment’ bodily experience and embodied through performance actions. This study sheds lights to rethink the ‘master-apprentice’ model in the learning o musical instrumental and to understand the teacher’s role in helping with student’s mind-body integration in the tone production.

中文翻译：

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钢琴音色教学中的心身整合和师生互动

在钢琴上演奏各种音色的能力与演奏者的高级钢琴演奏技巧有关。但是，关于如何在钢琴课中学习技巧知之甚少。文献综述引起人们对钢琴演奏中声音产生/促进姿势，身体意识和本体感受的关注，建议采用“心身整合”的观点来研究课程中钢琴音色的教与学。在三对大学水平的师生之间进行了一项观察性研究，以了解在高等教育音乐背景下钢琴音色的教学/学习过程以及师生互动。结果表明，钢琴音色不是通过模仿或作为“固定的”客观知识来学习的，但作为教师和学生之间共同构想的概念。钢琴课中音色目标的含义是通过“当下”身体体验来体现的，并通过演奏动作来体现。这项研究为重新思考乐器学习中的“学徒制”模式提供了启发，并了解了教师在帮助学生将身心整合到音色制作中的作用。