ISSN: 2222-6990
Open access
This study investigates the expressive potential of piano techniques and their influence on emotional resonance within classical performance, with a specific focus on Nanchang, Jiangxi Province, China. While Western classical music is deeply rooted in emotional expression, traditional Chinese music emphasizes subtlety and spiritual reflection. This cultural divergence presents challenges for Chinese piano students and educators in harmonizing Western techniques with local sensibilities. By integrating theoretical frameworks such as Dalcroze Eurhythmics, Meyer’s Theory of Emotion and Meaning in Music, and Hofstede’s Cultural Dimensions, the research examines how piano techniques—dynamics, tempo, articulation—impact emotional expression and how cultural factors mediate this effect. A mixed-methods approach combines surveys, interviews, observational studies, and performance analysis to explore the perceptions and experiences of students, educators, and audiences. Participants include professional pianists, music educators, students, cultural scholars, and general listeners. The study also addresses gaps in current research, including the integration of emotional expression into piano pedagogy, cultural variations in audience perception, and the role of innovative technologies in teaching. Findings aim to provide actionable insights for developing culturally adaptive piano teaching strategies that balance technical mastery with emotional depth, fostering greater engagement and retention among students. This research contributes to the broader discourse on music education, emphasizing the interplay between technical skill, emotional communication, and cultural identity. By addressing these dimensions, the study aspires to enhance the emotional impact of piano performances, enrich pedagogical practices, and deepen understanding of the role of culture in shaping musical expression.
Adolphe, B. (2021). The mind’s ear: exercises for improving the musical imagination for performers, composers, and listeners. Oxford University Press.
Allingham, E. (2022). Preparing to perform: Focus of attention and slow practice in the preparation for instrumental music performance. Staats-und Universitätsbibliothek Hamburg Carl von Ossietzky.
Andreou, E. (2022). The relationship between private studio-based piano lessons and home-based private practice: Case studies of young piano students. UCL (University College London).
Barrett, K. C., Ashley, R., Strait, D. L., & Kraus, N. (2013). Art and science: how musical training shapes the brain. Frontiers in Psychology, 4, 713.
Battcock, A., & Schutz, M. (2021). Individualized interpretation: Exploring structural and interpretive effects on evaluations of emotional content in Bach’s Well Tempered Clavier. Journal of New Music Research, 50(5), 447–468.
Bauer, W. I. (2020). Music learning today: Digital pedagogy for creating, performing, and responding to music. Oxford University Press.
Bennett, A. (2017). Music, space and place: popular music and cultural identity. Routledge.
Bhatara, A., Tirovolas, A. K., Duan, L. M., Levy, B., & Levitin, D. J. (2011). Perception of emotional expression in musical performance. Journal of Experimental Psychology: Human Perception and Performance, 37(3), 921–934. https://doi.org/10.1037/a0021922
Bonnaire, S., & González-Moreno, P. (2023). Developing metacognition as an instructional approach for enhancing young pianists’ musical expressivity. International Journal of Music Education, 41(2), 199–210.
Bontempi, P., Canazza, S., Carnovalini, F., & Rodà, A. (2023). Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application? Multimodal Technologies and Interaction, 7(2). https://doi.org/10.3390/mti7020015
Bowden, J. P. (2010). The intermediate piano student: An investigation of the impact of learning material on motivation. James Cook University.
Brackett, D. (2023). Interpreting Popular Music: With a new preface by the author. Univ of California Press.
Broughton, M. C., Dimmick, J., & Dean, R. T. (2021). Affective and cognitive responses to musical performances of early 20th century classical solo piano compositions: the influence of musical expertise and audio-visual perception. Music Perception: An Interdisciplinary Journal, 38(3), 245–266.
Callahan, M. R. (2015). Teaching and learning undergraduate music theory at the keyboard: Challenges, solutions, and impacts. Music Theory Online, 21(3).
Camerlinga, L. Y., Titaley, M. M. F., & Tarumasele, J. I. (2022). The relationship between musical arts and adolescent emotional intelligence. Jurnal Ilmiah Mara Christy, 12(1), 12–22.
Cardoso, M. A., Morgado, E. M. G., & Leonido, L. (2023). Unleashing creative synergies: A mixed-method case study in music education classrooms. Applied Sciences, 13(17), 9842.
Chaffin, R., Imreh, G., Lemieux, A. F., & Chen, C. (2003). “ Seeing the Big Picture”: Piano Practice as Expert Problem Solving. Music Perception, 20(4), 465–490.
Chanda, M. L., & Levitin, D. J. (2013). The neurochemistry of music. Trends in Cognitive Sciences, 17(4), 179–193. https://doi.org/https://doi.org/10.1016/j.tics.2013.02.007
Chawke, A. (2023). An exploration of the impact of formal and non-formal teaching and learning approaches on piano students’ musical knowledge, skills, engagement and motivation: a longitudinal action research study.
Che?kowska-Zacharewicz, M., & Janowski, M. (2021). Polish adaptation of the Geneva Emotional Music Scale: Factor structure and reliability. Psychology of Music, 49(5), 1117–1131.
Cook, N. (2021). Music: A very short introduction. Oxford University Press.
Cornett, V. (2019). The mindful musician: Mental skills for peak performance. Oxford University Press.
Correia, A. I., Castro, S. L., MacGregor, C., Müllensiefen, D., Schellenberg, E. G., & Lima, C. F. (2022). Enhanced recognition of vocal emotions in individuals with naturally good musical abilities. Emotion, 22(5), 894.
Cowen, A. S., Fang, X., Sauter, D., & Keltner, D. (2020). What music makes us feel: At least 13 dimensions organize subjective experiences associated with music across different cultures. Proceedings of the National Academy of Sciences, 117(4), 1924–1934.
Hylton, K. (2020). The Renaissance Repertoire Challenge: Achieving Authentic Choral Performances Through the Application of Dalcroze Techniques. University of Maryland, College Park.
Ilmiani, A. M., Wahdah, N., & Mubarak, M. R. (2021). The application of Albert Bandura’s Social Cognitive Theory: A Process in Learning Speaking Skill. Ta’lim Al-’Arabiyyah: Jurnal Pendidikan Bahasa Arab & Kebahasaaraban, 5(2), 181–192.
James, B. (2017). Piano performance: music communication and the performer-audience shared experience. Revista Da Tulha, 3(2), 9–35.
Jensenius, A. R. (2022). Sound actions: Conceptualizing musical instruments. MIT Press.
Zheng, Y., & Leung, B.-W. (2023). Perceptions of developing creativity in piano performance and pedagogy: An interview study from the Chinese perspective. Research Studies in Music Education, 45(1), 141–156.
Xiaochen, Z., & Maniam, S. A. (2026). Exploring the Intersection of Piano Techniques and Emotional Resonance in Nanchang, China. International Journal of Academic Research in Business and Social Sciences, 16(3), 1529-1539.
Copyright: © 2026 The Author(s)
Published by HRMARS (www.hrmars.com)
This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode