Frontiers in Art Research, 2024, 6(8); doi: 10.25236/FAR.2024.060814.
Long Lin
Wuchang Institute of Technology, Wuhan City, Hubei Province, 430065, China
The use of pedals in piano performance is a critical factor and an irreplaceable tool for pianists. Pedals allow for a range of expressive possibilities, from sustaining notes to creating dynamic contrasts and articulations that are otherwise unachievable. Understanding how to apply pedals appropriately requires a deep comprehension of diverse compositions and the intentions of the composers. Each composer might have a different approach to pedal use, and this understanding helps achieve a performance that is true to the spirit of the music. The nuanced use of pedals has played a pivotal role in shaping the performances of piano music across different historical periods, contributing to the richness and diversity of piano repertoires[2]. This research focuses on the piano pedal, explicitly examining its fundamental structure, the differences in pedal usage across various keyboard instruments, and the principles of proper pedal application. This research will delve into the mechanics of different types of pedals, such as the sustain pedal, soft pedal, and sostenuto pedal, and their roles in achieving various effects. This study explores the logical and scientific connections between piano compositions and pedal techniques by analyzing piano works from different periods, with a particular emphasis on the Baroque era.
Piano pedal, Classical period of piano works, Baroque period of keyboard works, Bach, Beethoven
Long Lin. The Study of Piano Pedal Use in “Secondary Creation” in Baroque and Classical Period. Frontiers in Art Research (2024) Vol. 6, Issue 8: 80-85. https://doi.org/10.25236/FAR.2024.060814.
[1] Moschos, P. (2006). Performing Classical-period music on the modern piano (Doctoral dissertation, City University London).
[2] Rosenblum, S. P. (1993). Pedaling the piano: A brief survey from the eighteenth century to the present. Performance Practice Review, 6(2), 8.
[3] Rowland, D. (1985). Early pianoforte pedalling: The evidence of the earliest printed markings. Early music, 13(1), 5-17.
[4] Liu Shengheng. (2007). On the Relation between Piano pedals and the Diversity of Musical Styles [D]. Nanjing Normal University.
[5] Rosenblum, S. P. (1995). "A History of Pianoforte Pedaling." By David Rowland. Performance Practice Review, 8(1), 11.
[6] Schmitt, H. (1893). The Pedals of the Piano-forte and Their Relation to Piano-forte Playing and the Teaching of Composition and Acoustics: Four Lectures Delivered at the Conservatory of Music, in Vienna. T. Presser.
[7] Keil, A. M. (2015). The dawn of modern piano pedaling: Early twentieth-century piano pedaling literature and techniques. Bowling Green State University.
[8] Zou M. (2003). Analysis of the use of the right pedal in the performance of Bach's works (eds.) Research on Art Education in Higher Education (pp. 354-357). Yangtze University.
[9] Jia, H. (2023). Piano Performance Techniques and Musical Expressiveness. Pacific International Journal, 6(4), 34-37.
[10] Gebhard, H., & Bernstein, L. (2012). The Art of Pedaling: A Manual for the Use of the Piano pedals. Courier Corporation.
[11] Badivuku, A., & Gumm, A. J. (2020). Moving Beyond the Traditional Piano: A Literature Review of Extended Techniques and Electronic Enhancements (University of Nevada, Reno).
[12] Liang, B. (2019). Modelling Instrumental Gestures and Techniques: A Case Study of Piano Pedalling (Doctoral dissertation, Queen Mary University of London United Kingdom).
[13] Lv, J. (2017). Exploring the Relationship between Piano Playing Skills and Piano Sound. In 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017) (pp. 336-339). Atlantis Press.
[14] Breitman, D. (1993). The damper pedal and the Beethoven piano sonatas: a historical perspective. Cornell University.
[15] Schaefer, A. (2021). The evolution of blur: a history of early piano pedaling in the late eighteenth and early nineteenth centuries (Doctoral dissertation, Boston University).
[16] Miucci, L. (2019). Beethoven’s pianoforte damper pedalling: a case of double notational style. Early Music, 47(3), 371-392.
[17] Chen Chunlan. Heart and Ear together, organic combination. (2008). On the teaching application of right pedal in Bach's piano works. Journal of West Fujian Vocational and Technical College, 10(04):75-78.
[18] Zhang Z. (2022). Application of pedal in piano teaching. Chinese Writers and Artists (11), 154-156.
[19] Yang Rong. (2021).The Importance and Application of pedal in Piano Performance. Contemporary Music, (08):128-130.
[20] Ma Jitong.(2021). Application of piano pedals in Beethoven's piano works. Art Review (08),46-48.
[21] Wu Jing.(2011). Being a Faithful Servant of Music -- Dialogue with Andrei Schiff. Piano Art (05), 12-14.
[22] Xia W. (2011). Application of finger pedal technique. Literature and Education Materials (09), 93-95.