The aim of this study, whose theoretical framework is based on Bandura’s social cognitive theory, was to investigate the effectiveness of including a metacognitive approach in teaching expressivity at the piano. Questions addressed the perceived effect of metacognition by investigating the processes allowing young pianists to elicit an expressive musical idiom through the use of aural modeling and esthetic and stylistic mental representations, by exploring the mechanisms triggering the translation from felt emotions to expressive performance, and by assessing the resulting overall pianistic performance. A case study design was employed. Five intermediate piano students were recruited. Data were collected through teachers’ questionnaires, adjudicators’ assessments, students’ interviews, students’ diaries, and students’ performance recordings. Findings highlighted the central role played by aural modeling. The esthetic and stylistic mental representations in the metacognitive process allowed young pianists to elicit an expressive musical idiom through a mental conversion process. The constructs of aural modeling and of esthetic and stylistic mental representations, along with that of musical phraseology, appeared to function both independently and in conjunction with each other. Results also indicated a positive influence of the above constructs on the overall performance of young pianists.

本研究的理论框架基于班杜拉的社会认知理论，其目的是研究将元认知方法纳入钢琴表现力教学的有效性。问题解决了元认知的感知效果，通过调查允许年轻钢琴家通过使用听觉建模和审美和风格的心理表征来引出富有表现力的音乐习语的过程，通过探索触发从感受到的情绪转化为表现力的机制，并通过评估由此产生的整体钢琴演奏。采用案例研究设计。招收了五名中级钢琴学生。数据通过教师问卷、评委评估、学生访谈、学生日记和学生表现记录等方式收集。研究结果强调了听觉建模所起的核心作用。元认知过程中的审美和风格心理表征使年轻钢琴家能够通过心理转换过程引出富有表现力的音乐习语。听觉建模、审美和风格心理表征的构造，以及音乐用语的构造，似乎既独立发挥作用，又相互结合。结果还表明，上述结构对年轻钢琴家的整体表现有积极影响。听觉建模、审美和风格心理表征的构造，以及音乐用语的构造，似乎既独立发挥作用，又相互结合。结果还表明，上述结构对年轻钢琴家的整体表现有积极影响。听觉建模、审美和风格心理表征的构造，以及音乐用语的构造，似乎既独立发挥作用，又相互结合。结果还表明，上述结构对年轻钢琴家的整体表现有积极影响。