本篇代写论文的网站-音乐教育讲了许多研究人员，如Casey(1993)，争论的观点是，当乐器教育是音乐教育时，一个人的音色发展需要从他们学习钢琴演奏的第一次尝试开始(Hill, 1999)。在钢琴演奏中，音质或音质的一致性是至关重要的。这是因为它是音乐艺术表现的核心。这也受到几个考虑因素的影响，可能包括实际移动的手和它移动的方式。本篇代写论文的网站文章由新西兰第一论文 Assignment First辅导网整理，供大家参考阅读。
2nd Principle: Quality of tone or production of sound
Many researchers such as Casey, (1993), have argued over the notion that when education of instruments is education of music, then development of a person’s tone needs to take place from the very first attempt that they make for learning piano performance (Hill 1999). It is essential within performance on piano for tone quality or production of sound to be aligned. This is because it lies at the core of music art performance. This is also affected by several considerations or factors that might include physically moving the hand and the way in which it is moving (He 1994). There is sufficient literature over hand movement and it will be discussed in the later part of the essay. In order to explain the process of sound production or quality of tone, the principle is explained from several perspectives constituting of singing tone subjects, awareness of tone and aural, cognition of mind with regard to production of tone and imagination of tone. Each of these will be explained in brief under this principle.
Tone of singing
Throughout history, distinct musicians have engaged in advocating the significance of a tone for singing. According to James (1993), it has been depicted that students were encouraged by Back to think in a vocal manner when they play (Hall 1997). As per Sargent, (2001), on the other hand, the composer should distinguish and think in a virtuosic manner stressing the requirement to bring out the individual voice that imitates distinct vocal timbres qualities. In the same manner, the composer and pianist for Ireland, John Field argued on the way in which fingers were used for projecting individual tone for singing (He 1994). It was also stressed by Chopin over the requirement of singing with fingers and asked the students for phrasing and breathing with wrists. Also, Chopin considered the pianistic declamation model of bel canto and tone fullness. The advantages to play with a singing tone with regard to presenting the voice difference within a work were discussed by Palmer and Sande, (1995). According to Elder, (2003b) focus was laid over the relationship that lies between tone for singing and phrases. He further asserted that phrasing consists of musical sentences unfolding and organizations that result in creating good sounds in great performances musically (Bernandt 2004). A special skill is taken by it for creating a line of singing while notes are grouped to form phrases. According to Last, (1980), it was suggested that singing in inner ear is an efficient means to create a tone gradation in a line of melodic nature that is comparative with voice rise and fall (He 1994). According to Schenker, (2000), it was stated that while performing on a piano, pianists need to use the human voice model for achieving an individual style for singing and playing. Gibbs, (1964) stated that in a performance of perfect nature, singing results is supporting proficiency technically (Hall 1997).