Ethics And Aesthetics of Piano Playing

Cover Ethics And Aesthetics of Piano Playing
Ethics And Aesthetics of Piano Playing
Constantin Von Sternberg
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He unconscious- ly adjusts his breathing — and probably also his pulse (this point is still under debate among experimenting physiologists) — to the time-beats of the music. In the first few measures, or rather, as soon as he has under-- stood the rhythm^ he will begin to breathe at every beat or at every second, third, fourth beat, according to the speed and type of the rhythm. Music,therefore, in addition to affect- ing him sensuously, emotionally and mentally^ has also a physiological effect... upon the hearer.
While the precise nature of this physiological effect may not be fully known, or its extent and power not precisely measured, its verity is, nevertheless, no longer doubted by phy- siologists. It forms the basis of Prof. Chomet's musicopathic theories and practices.
This is a matter of serious significance, and should deeply concern the player at the outset.
In stating his subject, or in making the initial statement of any thought that occurs in the piece, he should strive for the greatest possible clearness of rhythm in order to make it as easy as he can for his auditor to effect the read- justment of his breathing and pulse.


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