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<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">IEF</journal-id><journal-title-group><journal-title>International Education Forum</journal-title></journal-title-group><issn>3083-4902</issn><eissn>2981-8605</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/ief.v3i10.12792</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Research on the Integration of Piano Performance Techniques into the Keyboard System</title><url>https://artdesignp.com/journal/IEF/3/10/10.26689/ief.v3i10.12792</url><author>SongFei</author><pub-date pub-type="publication-year"><year>2025</year></pub-date><volume>3</volume><issue>10</issue><history><date date-type="pub"><published-time>2025-11-14</published-time></date></history><abstract>Piano performance is a comprehensive art form that integrates technique, music, and aesthetics. Drawing upon decades of performance and teaching practice, this paper systematically sorts out the essence of the Soviet piano school and the Western classical performance system/tradition. By synthesizing pedagogical principles from masters including Cao Ke’en, Alexander Goncharov, Steven Thomas, Liu Shikun, and Yin Chengzong, a technique training system centered on “finger-wrist-arm-weight” has been established. Research indicates that deeply integrating performance techniques with the keyboard’s physical structure, harmonic logic, and musical style is the key pathway for cultivating students’ growth from “technical craftsmen” to “artistic expressers.” This paper aims to provide theoretical reference and practical paradigms for piano pedagogy, advancing the scientific and systematic transmission of performance techniques.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Fink S, 2008, Mastering Piano Technique: A Guide for Students, Teachers, and Performers. People’s Music Publishing House, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Horowitz J, 2000, Conversation with Arrau. People’s Music Publishing House, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Alexeyev A, 1989, Piano Performance Pedagogy. Shanghai Music Publishing House, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>Neuhaus H, 2003, Neuhaus on Piano Playing. People’s Music Publishing House, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Iguchi M, 2008, The Technique of Playing the Piano. Quanyin Music Publishing House, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B6" content-type="article"><label>6</label><element-citation publication-type="journal"><p>Clementi M, 2009, Introduction to the Art of Playing the Piano. Yuansheng International Publishing House, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B7" content-type="article"><label>7</label><element-citation publication-type="journal"><p>Schnabel A, 2015, Interpretation of Piano Music. Suzhou University Press, Jiangsu.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
