On The Disciplinary Construction In Improvisatorial Accompaniment Of Piano

The improvisatorial accompaniment of piano is in form of arranging and playing merely according to the giving melody. It is favored for its adaptability and artistical creativity in performing and is extensively applied in social music activities and academic music education and teaching. The needs of society and the practice of music education make people realize the key point as result of piano teaching in universities and colleges, namely, the improvisatorial accompaniment of pinao is an important symbol of reflecting the level of students'learning, as well as a quality of teacher in music.For a long period, the improvisatorial accompaniment of piano is always an appendage of piano lesson in the teaching of music education programs in univeristies and colleges. On the one hand, it is considered that if one is able to play the piano, he must be capable of performing the improvisatorial accompaniment. On the other hand, there exists bias on the understanding of it, that is, compared to the score accompaniment, the improvisatorial accompaniment is not on academic norm and strictness, even is too amateur to be used in music teaching.As a matter of fact, the improvisatorial accompaniment requires not only proper technical skills of piano performing but also knowledge on music theory, Sight -Singing and Ear-training Listening, harmony, keyboard harmony, composing theory, and so on. The ability of it embodies the synthesis on music theory, the playing technique, as well as musical creativity and sensation.Then, what on earth the improvisatorial accomaniment is a systematic and integrated subject speciality? How should it be positioned in the music speciality curriculum in universities.Under the view of discipline institutionalization, the improvisatorial accompaniment requires perfect essential technique on playing, and it is also a music performance art, in this sense, it belongs to piano subject-matter. But the synthesis, practicability and extemporary characteristic make it different from piano solo in aspect of possessing relatively independent teaching aims and system.In addition, conservatories aim at cultivating pianists and talents on piano solo, while the musical majors in universities cultivating qulified teachers for high and elementary schools and applied talents. Little of our students can make piano porforming the profession. From the practical viewpoint, the demand for the improvisatorial accompaniment performers exceeds the supply. Therefore, it's necessary to re-examining the relationship between the course of improvisatorial accompaniment and piano teaching. This paper takes the improvisatorial accompaniment of piano curriculum system construction in universities and colleges in our country as researching subject to explore the ideological line, strategic direction, and detailed construction measures, which the teaching on improvisatorial accompaniment should adhere to, in order to build an overall and the three-dimensiona teaching curriculum system, in which relative subjects can perform their functions respectively, and complement with each other. That is to say, we should break through the status quo to build a new teaching curriculum system which centers the improvisatorial accompaniment of piano, with performing techniques, music theory, harmony, form, etc. as assistant courses. Obviously, this is good at raising students'abilitis and qualities to be qualified for the future teaching jobs.The improvisatorial accompaniment of piano curriculum system construction can improve the quantity and quality of the piano performers in it, promote exchangement and discussion in music speciality, furthermore, enhance its position and the influential power in music sphere, which for soon will realize its speciallization, systemization and standardization.