The Unification Of Techniques And Sensibilities In The Piano Performance Of Schumann’s Fantasie In C Maior.Op.17

Schumann is one of the most representative piano composers in the Romantic Era of the19thcentury. He has exerted his utmost effort on the Fantasie in C Major, Op.17, so thismasterpiece has been chosen as the research object in this dissertation. So far, there have been somany papers and theses on Schumann’s works and on the unification of techniques andsensibilities in piano performance. However, I always think that these studies have not beenconducted thoroughly and completely.Thus, I have decided to take the Fantasie in C Major, one of Schumann’s mostrepresentative works, as the example to conduct research about its forms, performancetechniques, composition features, music images and difficulties in performance, then furtherexpand the research on the topic of the unification of techniques and sensibilities and how tocarry the unification out.The dissertation has been divided into three chapters.Chapter One: Music form analysis on the Fantasie in C. This chapter includes three sections,and the Fantasie’s three movements will be analyzed detail by detail.Chapter Two: Performance analysis on the Fantasie in C. This chapter includes two sections.Section one: The analysis on the Fantasie’s performance styles and characters of music fromemotional factors in piano performance. Section two: The analysis on typical difficulties inperformance of the Fantasie, mainly picking up three difficult points.Chapter Three: Research on how to unify techniques and sensibilities of piano performancein practice. This chapter has four sections. Section one: Decode emotional information from themusic score; Section two: How to apply performance techniques selectively to aid expressions ofemotions. Section three: To observe a composition from a panoramic perspective; Section four:Creating situations will be helpful to reach the unification of techniques and sensibilities in pianoperformance.