The Act of Touch in All Its Diversity: An Analysis and Synthesis of Pianoforte Tone-Production (Classic Reprint)

Ability to understand and feel Music, and ability to communicate such perceptions to others by means of an instrument, are two totally distinct accomplishments. They have often been confused, owing to the fact, that it is impossible to achieve a really satisfactory musical performance without their happy combination. To become pianoforte players, we must learn Music, and must acquire Taste, but we can only succeed in expressing what we feel, musically, by means of tlve. physical act of I ceydepression. In short, the purely physical act of playing consists solely of an act ofT ouch,an act ofT one-production. All the gradations of Agility (fleetness of finger). Duration (staccato and legato), as well as all the contrasts ofT one-inflection depend solely and directly on the nature of this act; and it is therefore upon our expertness in the A et ofT ouch that the whole superstructure of Pianoforte-playing rests. The Art ofT ouch may indeed be concisely defined as :command over tJ ie Means of Ex2}ression. This Art thus forms the very Foundation (the Elements orB udiments) of Pianoforte-playing; and it can no more be a gift (as so often supposed) than is the art of articulateS peech itself ;for it can be acquired by every person of average intelligence.
(Typographical errors above are due to OCR software and don't occur in the book.)

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