Synopsis :
The Act of Touch in All Its Diversity: An Analysis and Synthesis of Pianoforte Tone Production is a book written by Tobias Matthay and first published in 1903. The book is a comprehensive analysis of the techniques and methods used in pianoforte tone production. Matthay, a renowned pianist and teacher, provides a detailed examination of the various touch techniques used by pianists, including staccato, legato, and other forms of articulation. The book also includes discussions on the use of dynamics, phrasing, and pedal techniques, as well as the importance of mental and physical preparation for playing the piano. Matthay's approach to piano playing is based on a scientific understanding of the physiology of the hand and the mechanics of the piano. The book is considered a classic in the field of piano pedagogy and is still widely used today as a resource for pianists and teachers.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
Présentation de l'éditeur:
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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