# The Timbre Relationship between Piano Performance Skills and Piano Combined with Opera Music Elements in the Context of the Internet of Things

Authors: Yu Deng
Journal: Security and Communication Networks
 (2022)

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## Abstract

The “quintessence of the nation” Peking Opera is a highly comprehensive form of opera, which has a high artistic status in traditional Chinese culture. At present, the combination of the Internet of things and music can be embodied in smart devices, through a computing device that can perceive and exchange data for the purpose of music. In the more than 100 years of development of the piano art in China, many composers have used Peking Opera singing and board styles, or absorbed the essence and connotation of Peking Opera, taking Peking Opera elements as the core material and source of creation and presenting them instrumentally through piano works. For example, in terms of smart musical instruments, the Internet of things and Internet technology are combined to realize the real-time connection between the remote piano and the piano and accurately reproduce all the touch and pedal movements of the player, so that teachers and students in different spaces can listen to the course. Audiences had an immersive course experience. Taking this as an opportunity, we will carry out a series of “remote art education” such as remote master classes and remote concerts, to realize the sharing of educational resources around the world. The piano as the king of musical instruments has been loved by people. During piano performance, touch key techniques and pedaling techniques have a very important influence on the piano’s performance sound effects. Chinese opera is the essence of Chinese national art and one of the treasures of China’s traditional national music. The composers of our country also constantly apply the opera elements to the piano creation and create many kinds of piano works that conform to the traditional Chinese opera style and reflect the characteristics of the piano. Pedal skills are also an important technique in piano performance. The pedaling method is based on thinking about history and showing the player’s intentions. Only using the correct playing skills can make the music more expressive. This study briefly introduces the development of piano in China and the playing skills of the piano, and at the same time, it briefly describes the principle of piano sounding and the sound of piano. Based on the previous studies, the effects of touch key techniques and pedaling techniques on the sound of the piano are discussed. I hope to provide some references for the piano performers. The average similarity between the final music and the original music is 60% and around 70%. This article provides a reference direction for the diversified dissemination and promotion of theatrical art and provides theoretical and technical reference suggestions for the future creation, performance, and teaching of Chinese piano music.


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## Body

## 1. Introduction

Since ancient times, the piano has been known all over the world as the king of musical instruments. Since the introduction of the piano into China, many composers have created and adapted many excellent Chinese piano works, which have been distributed to the world. The Internet of things is an accelerator for the advancement of industrialization to informatization. Application in industrial production can greatly improve the core competitiveness of enterprises. The Internet of things has integrated the traditional industrial product production process from design, supply chain, production, sales, logistics, and after-sales service to maximize product quality. Economic benefits are increased, and the core competitiveness of enterprises is improved. The so-called wireless network refers to the network that can realize the interconnection of various communication devices without wiring. Wireless networking technologies cover a wide range of global voice and data networks that allow users to establish long-distance wireless connections, as well as infrared and radiofrequency technologies optimized for short-range wireless connections. At the same time, the core technologies of the Internet of things, such as radiofrequency identification technology, remote sensing technology, wireless networks, and wireless sensors, have been advanced into modern management. In the process of its historical deposition, Chinese opera has derived a wealth of operas and music, which, in a sense, provides rich creative resources for the nationalization of Chinese piano music. The Internet of things takes the Internet as an information carrier and has huge market potential. The theoretical research and key technologies involved are relatively mature, and the technical performance of related products is relatively complete. Modern and contemporary Chinese composers adopt different styles of opera materials for adaptation and creation, resulting in a large number of opera style piano works. Based on Western composing techniques, composers creatively transplanted opera elements to the piano, giving full play to the unique musical expression of the piano. It is a new breakthrough on the road of Chinese piano music creation to show the traditional and national spirit and temperament of Chinese opera with contemporary Western creative techniques. In the mid-19th century, the piano flowed into China from the West. At that time, the piano was very precious, and only the royal family was qualified to own the piano. With the development of the times, the piano has entered the private sector from the court, but only the church, the church school, and the upper class can enjoy it. After the opening of the Chinese gate, in the fast-growing cities such as Shanghai, Guangzhou, and Ningbo, there are also piano stores selling musical instruments such as piano, organ, and violin. In 1987, British businessmen opened the first Chinese piano company in Shanghai. Foreigners, churches, or Chinese residents buy the tools they need from these companies. Due to the differences between ancient Chinese music culture and European music culture for thousands of years, and the Qing Dynasty’s policy of locking the country has also seriously affected the music culture of Chinese society, the introduction of ancient piano has not affected or changed the music culture of feudal society. The piano is gradually being used in churches and new schools, so many Chinese have the opportunity to learn piano. After the Revolution of 1911, the Chinese people became very interested in European culture and strongly demanded to learn European science and culture. They not only actively established new schools and published newspapers, but also organized various cultural associations, which changed the cultural atmosphere of China at that time. In the new cultural activities, music is the most important activity of the new school. Subsequently, important Western musical instruments and musical theory knowledge (such as European pianos) gradually influenced the school music of the entire Chinese society [1]. This not only promotes the development of modern Chinese democratic music culture, but also is an important beginning for cultural exchanges between China and foreign countries in modern times. The May Fourth Movement directly influenced and promoted the formation and development of modern Chinese new music culture. After the May Fourth Movement, Chinese piano professional education developed rapidly. After the May Fourth Movement, China’s piano professional education developed rapidly. The rapid development of the piano profession is mainly due to the establishment of the first batch of professional music education institutions in China, the establishment of various music associations throughout the country, and the legislation of the national primary and secondary school piano curriculum construction. These policies, as well as the policies of independent professional music education institutions, have planned and quickly trained a group of outstanding piano talents, vigorously promoted the development of music education, especially piano education, and promoted the rapid development of piano teaching materials. After the founding of People’s Republic of China, the people’s lives are peaceful, and the cause of the motherland is renewing a new atmosphere. In particular, the state strongly supports music and cultural undertakings, and various provinces and cities have established professional music colleges. The conservatory of music develops piano teaching based on the original teaching strength, which not only breaks through the definition of teachers, but also is more extensive and professional in the application of piano teaching materials [2]. Since the reform and opening up, China’s economy has developed rapidly, the people’s living standards have been continuously improved, and the pursuit of cultural quality has become higher. The piano entered the ordinary family. More and more people are learning to play the piano, and more and more attention is paid to piano playing skills. Therefore, the art of opera has been endowed with a new form of communication and aesthetic taste, and the Western musical instrument piano is also closer to the Chinese people’s appreciation habits and emotional experience through the expression of the unique voice of Peking Opera [3, 4].The application of the Internet of things brings us infinite hopes and beautiful visions, and some preliminary results have also been achieved. However, in the process of the development of the Internet of things, various problems will inevitably arise. With the gradual maturity and comprehensive application of the Internet of things technology, we believe that the problems encountered will eventually be solved. From the perspective of economic benefits, the Internet of things has become a new growth point in the economic field [5, 6]. Promoting the development of the Internet of things can meet market needs, reduce costs, improve enterprise management, improve efficiency, and improve people’s quality of life. The piano is called the “king of musical instruments” as a musical instrument. Because of its beautiful tone and wide range [7, 8], it is very popular among the public. The piano has a high aesthetic characteristic, the volume is large and clear, the sound is different, and the range is wide. The range of pianos ranges from A0 (27.5 Hz) to C8 (4186 Hz) and is divided into 8 ranges, from weak to strong, which makes the piano play rich in content and has a strong expressive power. The piano not only appears in piano solo, but also appears in ensembles, accompaniment, and other performances. Its different sounds not only highlight its own characteristics, but also complement other instruments, perfectly reflecting the sound and characteristics of other instruments. Through skilled playing skills, piano performance can bring viewers into different musical emotions according to different music segments [9, 10] and integrate the stories in the works into the music, thus creating different musical images in different works. If the pianist wants to let the audience recognize that your performance music is recognized by the audience, the player needs to practice and repair the foundation, which is the basic point of the piano playing skills. In this process, the effective use of playing skills is crucial. An excellent and successful performer cannot do without his own efforts. It is most important for piano players to learn to master their playing skills. As a piano player, it takes a lot of effort to show a favorite piece of work [11]. In stage performances, there is no skilled playing skill, and the player cannot play the soul of music. Basic piano skills are especially important for beginners. Piano players should use their fingers flexibly to achieve a wonderful sense of music, blending their feelings into vivid music and blending with music. In performing music styles, performers need to learn to effectively control the strength of their fingers to participate in musical style performances, create musical scenes [12, 13], let the audience penetrate into the general environment, and let the performers express their feelings, and make the audience shine. Whether it is the basic skills of finger playing, the training of various playing methods, or the different levels of musical style, it will run through the entire piano [14, 15].In ten major fields such as smart grid, smart transportation, smart logistics, and finance and service industry, the Internet of things is the basis to realize intelligence. The Internet of things, smart cities, the popularization of the Internet, the increase in application development, and the birth of cloud computing will surely promote the rapid development of the opera industry. Through the unremitting pursuit and exploration of Chinese composers and pianists [16, 17], it enriches the creation and quantity of Chinese piano etudes and excavates the technical subject of Chinese piano etudes, which has great artistic value. It is worth worrying that there are obvious problems in the creation and development of Chinese piano etudes. In piano performance, performers attach great importance to the processing of sounds [18]. The change in tone directly affects the expressive power of music. As the most important part of performance, the way of touching the buttons and the way of pedals have become a special concern for pianists. This is because the way the buttons are touched and the way the pedal affects the sound is related to how well the piano is played. The main purpose of this study is to observe the changes in piano sounds by touch force, touch speed, touch angle, and pedal. Finally, the effects of different touch modes and pedal modes on the tone of the tone are analyzed [19, 20].


## 2. Piano Pronunciation Principle and Tone

### 2.1. Piano Pronunciation Principle

The power supply and its auxiliary equipment that supply the excitation current of the synchronous generator are collectively referred to as the excitation system. It generally consists of two main parts, the excitation power unit and the excitation regulator [21, 22]. The excitation power unit provides excitation current to the rotor of the synchronous generator; the excitation regulator controls the output of the excitation power unit according to the input signal and a given regulation criterion.The vocal component of the piano can be summarized as a stringed instrument, which is produced by hammering the strings and using the principle of leverage in the middle. When the keys are pressed, the felt-covered hammers are in contact with a set of strings. The key is combined with an escapement that allows the hammer to detach from the key before striking the string and return to its original position immediately after the impact [23, 24]. The strings are unimpeded from the hammer. The vibration of the string is transmitted to the soundboard through the string code, causing the soundboard to resonate and amplify the sound. Then, we adjusted the pedals, the pegs, and other tuning systems, and we heard the sound of the piano. This process has experienced the combined effects of four systems, namely the vibration system (strings), the excitation system (keys and action), the resonance system (sound, string, etc.), and the control system (pedals and their accessories, pegs). The effects of these four systems on piano acoustics are shown in Table 1.Table 1
Effect of piano acoustic composition system on piano acoustics.
Piano acoustic compositionVibration systemIncentive systemResonance systemControl systemThe degree of influence on piano sound is from strong to weakToneSound intensitySound intensitySound lengthPitchSound lengthToneIntonationIntonationToneSound lengthPitchSound intensityPitchPitchSound intensitySound lengthIntonationIntonationToneModern pianos have 88 keys and more than 200 strings [25]. Each note in the highest range is created by tapping three strings at a time. Each note in the midrange range is produced by two strings. Each note in the low range is emitted by a string, while the strings in the high range are short and thin. This structure can produce very high-frequency vibrations, resulting in higher pitch notes. A large number of strings in the same pitch can increase the vibration area and resonance effect of the string [26, 27]. The bass part of the bass is thick and long, ensuring the desired sound (loudness) for the performance. The string vibration caused by the power exchange is the source of the piano sound. This mechanically generated power exchange is produced by tapping the keys with the hand and then hitting the strings with the keys. According to the physical and mechanical principles, the force, speed, and contact point of the external force on the keyboard during the piano performance will directly affect the speed and strength of the hammer stroke. Therefore, the piano player can change the tone of the piano by controlling the force and speed of the finger and the pedal by various finger touch techniques and pedals. We present experimental results for two MPE settings. The first setting is that the number of polytones in the segment to be tested is unknown, and the experimental results are shown in Table 2.Table 2
First setting is that the number of polytones in the segment to be tested is unknown and the experimental results.
Different algorithmsP2P3P4P5Tolonen47465153Tolonen-50058595960Klapuri94928884Emiya97959291MPENet95.2993.2692.7692.21Peking Opera, also known as Ping Opera, Peking Opera, etc., is one of the quintessence of China. It is the most influential opera genre in China. It is distributed in Beijing and all over the country. The musical structure of the famous play “Silver Brocade” draws on the disc style of Peking Opera. It pays attention to “scattering, slow, medium, fast, urgent, and scattered.” The theme of the whole piece is the sixteenth note running fast in the right hand, and the accompaniment texture in the left hand is dominated by quarter notes and eighth notes, which is in obvious contrast with the fast sixteenth note in the right hand. It embodies the dramatic effect of Peking Opera's “tight pulling and slow singing.” The modal changes in “Silver Woven Brocade” are shown in Table3.Table 3
Modal changes in “Silver Woven Brocade.”
Number of starting and ending measuresDebug1–30♭A palace31–51G angle52–114G signThe theme (1 ∼ 12) of “Jibei Diyin” consists of four phrases (3 + 3+3 + 3), with a slow tempo of 40 beats per minute, and the first two phrases (1 ∼ 6) are with a beat of 4/4 beats, and the last two phrases (7 ∼ 12) are 2/4 beats. The subject material is mainly the high-voice part of the right hand, and a large number of treble and vibrato are added to express the timbre effect of the flute. The musical form of “Jibei Diyin” is shown in Table4.Table 4
Musical form of “Jibei Diyin.”
Number of starting and ending measuresDebugTheme1–12Variation 113–30Variation 231–48Variation 349–66


### 2.2. Piano Sound

Piano one-touch the sound produced by a single piano key is a musical sound produced by a harmonic string group corresponding to the key, which periodically and periodically vibrates per unit time. In addition, due to the vibration characteristics of the strings, not only the entire string vibrates but also the same string segments vibrate at 1/2, 1/3, and 1/4 at the same time, so the sound produced by the piano single button is a composite sound. After the hammer strikes the string, the vibration frequency of the whole string is the fundamental frequency, and the corresponding pitch is the pitch. The other vibrational part of the string is called overtone. The data show that some horizontal pianos can have up to 41 notes in the bass range, but due to the rigidity of the piano strings, the highest notes usually do not exceed two. The overtones and pitches are called homophonic 1, and the homophony determines the pitch of the piano. The term “tone” uses perceptual methods to describe the emotional characteristics of music from the perspective of perception and touch. This is romantic and subjective, but it also lacks the objectivity and scientific nature of the tone. The three elements of the tone are pitch, intensity, and tone. Pitch is the size of the frequency, and the intensity is the amplitude of the vibration. There is no clear data expression in the tone. It is difficult to draw conclusions and judgments. There is no consensus on the definition of the tone of the academic world: the tone has a static concept, that is, the harmonic component and its sound quality ratio; that is, the frequency-domain characteristics determine the characteristics of the sound quality. Timbre also has a dynamic concept that believes that the entire process of music changes at the beginning, steady state, and end and the temporal domain characteristics determine the sound quality characteristics. Under the static tone color observation, the frequency-domain structure of different instruments is very different. The same instrument has the same pitch and intensity, and its harmonic structure is basically the same. Static sounds are best expressed in terms of spectra. In his acoustic work, Helmholtz mentions four general rules about timbre. The concept of dynamic timbre points to changes in the sound of the music. The spectrum can only reflect the spectral structure at a certain time and does not apply to the concept of dynamic sound quality. The dynamic tone view requires real-time rendering of various harmonic states, real-time domain characteristics, and the beginning, stabilization, and decay states of the harmonic frequencies. Time-domain features of the timbre can be observed in the spectrum used to analyze the speech. The vertical axis of the spectrum is the frequency axis, the harmonics are continuously arranged from low power to high power, the horizontal axis is the time axis, and the amplitude is represented by the color depth. As seen from the piano tuning curve (shown in Figure1), the pitch of each note in the high range is at the high level, and the pitch of each note in the bass is at the low level. This is to ensure that the human auditory system perceives notes more harmoniously, but it also has mathematical and physical knowledge. Spectrum is the abbreviation of frequency spectral density, which is the frequency distribution curve. Complex oscillations are decomposed into harmonic oscillations with different amplitudes and frequencies, and the graph in which the amplitudes of these harmonic oscillations are arranged according to frequency is called a spectrum. Spectrum is widely used in optics and radio technology.Figure 1
Piano tuning curve.


### 2.3. Musical Elements of Traditional Chinese Opera

Impressionist painting is an epoch-making art school in the history of Western painting. It reached its heyday in the 1870s and 1880s. Its influence spread throughout Europe and gradually spread to all parts of the world, but it achieved the greatest success in France. Brilliant artistic achievement: opera is a traditional Chinese art form with comprehensive art forms, which has important cultural value. Chinese composers have begun to realize the study of opera culture and pay attention to the absorption and reference of opera music elements in piano music creation, so that opera art can show its unique brilliance on the piano, a Western musical instrument. Most of the opera elements are drawn from the title sketches or theme variations in folk music. The national melody is beautiful, the style is simple, and the color is bright. The application of these elements to piano works reflects their practicality and artistry and makes people grasp the style of the works more accurately and deeply. As we all know, the practice and improvement of piano skills need to be supported by etudes. Through playing and practicing piano etudes, it is very important to promote our mastery of technical skills. We can not only skillfully play the technical difficulties in the works but also have a deeper understanding of the works.Extreme hours are taken:(1)β=argminπ2βφϕ+12λβ−12,β=argmin∑γ2⋅Hβu+β−12u.The above formula can be solved component by component, and then, the objective function of each component is as follows:(2)ε=λ2βu+λ2β−1u,ϕ=ϕ2βu+λ2β−ϖk.The minimum necessary condition is as follows:(3)βmin=1λ+1.The necessary condition for taking the minimum value of the above formula is as follows:(4)β=1−γu.Opera music is the product of regional culture. Each drama represents a province, a region, and even a national culture. People with different cultural environments will form different languages because of their differences in living area, climate, and natural environment, which is often called “dialect,” and it is this kind of dialect that has become the symbol of distinguishing nationalities. Opera art is rooted in the folk soil, according to the characteristics of different folk languages, formed and developed into different types of opera, so opera music has regional characteristics and has a strong local color. The high degree of comprehensiveness of Chinese opera is also reflected in the different drama varieties of different regions and nationalities in our country. Under the background of Chinese cultural integration, the drama of different nationalities in different regions collides and blends. On the basis of mutual exclusion, mutual reference, and mutual integration, the development of Chinese opera is more mature and perfect. When talking about the high integration of Chinese opera, we must also recognize the unique style of opera, from the script, role classification, role positioning, facial makeup, stage position, etc., to the specification of stage layout in performance, as well as the singing mode of background music, etc. This unique formula is different from Western operas and musicals. At the same time, each opera of different nationalities in China is also different, and each opera has its own commonly used plate, specific musical instruments, and singing skills. The piano performance system is shown in Figure2.Figure 2
Piano performance system.


## 2.1. Piano Pronunciation Principle

The power supply and its auxiliary equipment that supply the excitation current of the synchronous generator are collectively referred to as the excitation system. It generally consists of two main parts, the excitation power unit and the excitation regulator [21, 22]. The excitation power unit provides excitation current to the rotor of the synchronous generator; the excitation regulator controls the output of the excitation power unit according to the input signal and a given regulation criterion.The vocal component of the piano can be summarized as a stringed instrument, which is produced by hammering the strings and using the principle of leverage in the middle. When the keys are pressed, the felt-covered hammers are in contact with a set of strings. The key is combined with an escapement that allows the hammer to detach from the key before striking the string and return to its original position immediately after the impact [23, 24]. The strings are unimpeded from the hammer. The vibration of the string is transmitted to the soundboard through the string code, causing the soundboard to resonate and amplify the sound. Then, we adjusted the pedals, the pegs, and other tuning systems, and we heard the sound of the piano. This process has experienced the combined effects of four systems, namely the vibration system (strings), the excitation system (keys and action), the resonance system (sound, string, etc.), and the control system (pedals and their accessories, pegs). The effects of these four systems on piano acoustics are shown in Table 1.Table 1
Effect of piano acoustic composition system on piano acoustics.
Piano acoustic compositionVibration systemIncentive systemResonance systemControl systemThe degree of influence on piano sound is from strong to weakToneSound intensitySound intensitySound lengthPitchSound lengthToneIntonationIntonationToneSound lengthPitchSound intensityPitchPitchSound intensitySound lengthIntonationIntonationToneModern pianos have 88 keys and more than 200 strings [25]. Each note in the highest range is created by tapping three strings at a time. Each note in the midrange range is produced by two strings. Each note in the low range is emitted by a string, while the strings in the high range are short and thin. This structure can produce very high-frequency vibrations, resulting in higher pitch notes. A large number of strings in the same pitch can increase the vibration area and resonance effect of the string [26, 27]. The bass part of the bass is thick and long, ensuring the desired sound (loudness) for the performance. The string vibration caused by the power exchange is the source of the piano sound. This mechanically generated power exchange is produced by tapping the keys with the hand and then hitting the strings with the keys. According to the physical and mechanical principles, the force, speed, and contact point of the external force on the keyboard during the piano performance will directly affect the speed and strength of the hammer stroke. Therefore, the piano player can change the tone of the piano by controlling the force and speed of the finger and the pedal by various finger touch techniques and pedals. We present experimental results for two MPE settings. The first setting is that the number of polytones in the segment to be tested is unknown, and the experimental results are shown in Table 2.Table 2
First setting is that the number of polytones in the segment to be tested is unknown and the experimental results.
Different algorithmsP2P3P4P5Tolonen47465153Tolonen-50058595960Klapuri94928884Emiya97959291MPENet95.2993.2692.7692.21Peking Opera, also known as Ping Opera, Peking Opera, etc., is one of the quintessence of China. It is the most influential opera genre in China. It is distributed in Beijing and all over the country. The musical structure of the famous play “Silver Brocade” draws on the disc style of Peking Opera. It pays attention to “scattering, slow, medium, fast, urgent, and scattered.” The theme of the whole piece is the sixteenth note running fast in the right hand, and the accompaniment texture in the left hand is dominated by quarter notes and eighth notes, which is in obvious contrast with the fast sixteenth note in the right hand. It embodies the dramatic effect of Peking Opera's “tight pulling and slow singing.” The modal changes in “Silver Woven Brocade” are shown in Table3.Table 3
Modal changes in “Silver Woven Brocade.”
Number of starting and ending measuresDebug1–30♭A palace31–51G angle52–114G signThe theme (1 ∼ 12) of “Jibei Diyin” consists of four phrases (3 + 3+3 + 3), with a slow tempo of 40 beats per minute, and the first two phrases (1 ∼ 6) are with a beat of 4/4 beats, and the last two phrases (7 ∼ 12) are 2/4 beats. The subject material is mainly the high-voice part of the right hand, and a large number of treble and vibrato are added to express the timbre effect of the flute. The musical form of “Jibei Diyin” is shown in Table4.Table 4
Musical form of “Jibei Diyin.”
Number of starting and ending measuresDebugTheme1–12Variation 113–30Variation 231–48Variation 349–66


## 2.2. Piano Sound

Piano one-touch the sound produced by a single piano key is a musical sound produced by a harmonic string group corresponding to the key, which periodically and periodically vibrates per unit time. In addition, due to the vibration characteristics of the strings, not only the entire string vibrates but also the same string segments vibrate at 1/2, 1/3, and 1/4 at the same time, so the sound produced by the piano single button is a composite sound. After the hammer strikes the string, the vibration frequency of the whole string is the fundamental frequency, and the corresponding pitch is the pitch. The other vibrational part of the string is called overtone. The data show that some horizontal pianos can have up to 41 notes in the bass range, but due to the rigidity of the piano strings, the highest notes usually do not exceed two. The overtones and pitches are called homophonic 1, and the homophony determines the pitch of the piano. The term “tone” uses perceptual methods to describe the emotional characteristics of music from the perspective of perception and touch. This is romantic and subjective, but it also lacks the objectivity and scientific nature of the tone. The three elements of the tone are pitch, intensity, and tone. Pitch is the size of the frequency, and the intensity is the amplitude of the vibration. There is no clear data expression in the tone. It is difficult to draw conclusions and judgments. There is no consensus on the definition of the tone of the academic world: the tone has a static concept, that is, the harmonic component and its sound quality ratio; that is, the frequency-domain characteristics determine the characteristics of the sound quality. Timbre also has a dynamic concept that believes that the entire process of music changes at the beginning, steady state, and end and the temporal domain characteristics determine the sound quality characteristics. Under the static tone color observation, the frequency-domain structure of different instruments is very different. The same instrument has the same pitch and intensity, and its harmonic structure is basically the same. Static sounds are best expressed in terms of spectra. In his acoustic work, Helmholtz mentions four general rules about timbre. The concept of dynamic timbre points to changes in the sound of the music. The spectrum can only reflect the spectral structure at a certain time and does not apply to the concept of dynamic sound quality. The dynamic tone view requires real-time rendering of various harmonic states, real-time domain characteristics, and the beginning, stabilization, and decay states of the harmonic frequencies. Time-domain features of the timbre can be observed in the spectrum used to analyze the speech. The vertical axis of the spectrum is the frequency axis, the harmonics are continuously arranged from low power to high power, the horizontal axis is the time axis, and the amplitude is represented by the color depth. As seen from the piano tuning curve (shown in Figure1), the pitch of each note in the high range is at the high level, and the pitch of each note in the bass is at the low level. This is to ensure that the human auditory system perceives notes more harmoniously, but it also has mathematical and physical knowledge. Spectrum is the abbreviation of frequency spectral density, which is the frequency distribution curve. Complex oscillations are decomposed into harmonic oscillations with different amplitudes and frequencies, and the graph in which the amplitudes of these harmonic oscillations are arranged according to frequency is called a spectrum. Spectrum is widely used in optics and radio technology.Figure 1
Piano tuning curve.


## 2.3. Musical Elements of Traditional Chinese Opera

Impressionist painting is an epoch-making art school in the history of Western painting. It reached its heyday in the 1870s and 1880s. Its influence spread throughout Europe and gradually spread to all parts of the world, but it achieved the greatest success in France. Brilliant artistic achievement: opera is a traditional Chinese art form with comprehensive art forms, which has important cultural value. Chinese composers have begun to realize the study of opera culture and pay attention to the absorption and reference of opera music elements in piano music creation, so that opera art can show its unique brilliance on the piano, a Western musical instrument. Most of the opera elements are drawn from the title sketches or theme variations in folk music. The national melody is beautiful, the style is simple, and the color is bright. The application of these elements to piano works reflects their practicality and artistry and makes people grasp the style of the works more accurately and deeply. As we all know, the practice and improvement of piano skills need to be supported by etudes. Through playing and practicing piano etudes, it is very important to promote our mastery of technical skills. We can not only skillfully play the technical difficulties in the works but also have a deeper understanding of the works.Extreme hours are taken:(1)β=argminπ2βφϕ+12λβ−12,β=argmin∑γ2⋅Hβu+β−12u.The above formula can be solved component by component, and then, the objective function of each component is as follows:(2)ε=λ2βu+λ2β−1u,ϕ=ϕ2βu+λ2β−ϖk.The minimum necessary condition is as follows:(3)βmin=1λ+1.The necessary condition for taking the minimum value of the above formula is as follows:(4)β=1−γu.Opera music is the product of regional culture. Each drama represents a province, a region, and even a national culture. People with different cultural environments will form different languages because of their differences in living area, climate, and natural environment, which is often called “dialect,” and it is this kind of dialect that has become the symbol of distinguishing nationalities. Opera art is rooted in the folk soil, according to the characteristics of different folk languages, formed and developed into different types of opera, so opera music has regional characteristics and has a strong local color. The high degree of comprehensiveness of Chinese opera is also reflected in the different drama varieties of different regions and nationalities in our country. Under the background of Chinese cultural integration, the drama of different nationalities in different regions collides and blends. On the basis of mutual exclusion, mutual reference, and mutual integration, the development of Chinese opera is more mature and perfect. When talking about the high integration of Chinese opera, we must also recognize the unique style of opera, from the script, role classification, role positioning, facial makeup, stage position, etc., to the specification of stage layout in performance, as well as the singing mode of background music, etc. This unique formula is different from Western operas and musicals. At the same time, each opera of different nationalities in China is also different, and each opera has its own commonly used plate, specific musical instruments, and singing skills. The piano performance system is shown in Figure2.Figure 2
Piano performance system.


## 3. Tips and Pedals for Piano Performance

In the process of piano performance, skilled keyboard touch techniques and methods are very important for the performer, which is not only what they must have, but also the initial pursuit of music by each pianist. Since the outbreak of the French Revolution in the 19th century, the style of music has changed to a certain extent and beginning to change from the original classical style to the emotional music style. In addition, in recent years, some changes have taken place in piano production techniques and public appreciation of the piano. In this diverse environment, to achieve higher performance levels, performers must be more proficient in mastering key touch techniques and pedaling techniques to improve the overall performance of the music.(5)Nxyϕ=ϕM+N∑n=1N−τγx,DxyL=JxyL2JxxLJyyL|,Lv=L2ϕ.We can only study what can be expressed by us. There are many ways to compare the performance versions. We can analyze the overall style and sound characteristics of the music from a macro-perspective and then conduct a comparative study on various musical elements such as speed, strength, and expression terms.(6)G=λ∑i=1nϕ,Q=1NN−1∑i,UKij,E=B−θ∑Mi2Q3−Q,T=M−JM2+κ,B=NTWQT+ϑ2.Touch keys and pedals are essential for piano performance. As a piano player, touch keys are one of the skills that must be solved. Because it is the key to piano sound quality, it directly affects the performance and appeal of piano works. Therefore, touch keys have always been the most important skill of many pianos. Pedal technology is an important part of piano technology. Pedal use directly affects the color and style of the sound. The title of the work directly indicates the relationship between the work and the opera, or the relationship between the work and the factors in the opera. The use of title is the most intuitive way, which can not only clearly convey the opera elements contained in the works but also directly reflect the music object of the works. At the same time, it can also be seen as a phenomenon that Chinese piano music pays attention to traditional culture, especially to opera art. The piano architecture in the IoT environment is shown in Figure3.Figure 3
Piano architecture in the IoT environment.


### 3.1. Touch Skill

Piano touch technology is usually divided into three categories: chords, jumps, and wheel fingers. The first is chord technology. In the range of this range, it usually takes five or ten degrees, and the final tone must be in order. This technique has some similarities to the waveform sounds in piano performance, but there are some differences in the specific method of playing. Therefore, in practice, the player must pay attention to the differences and similarities between the two. Secondly, jumping skills are also a common method, meaning that the performer jumps across the entire range. As a relatively advanced touch-touch technology, you can use different touch key techniques depending on the range of different ranges in your application.Therefore, we adopt another method of enumerating facts for research, that is, to list the differences in the speed and intensity of different performance versions and conduct in-depth comparative analysis convince.(7)ϕj=λRϕ,BΦN=KB,Pj=PTXZT+MN−1T,Bj=VTQYT+ZM−1P,J=∑i=1pH+∑i=1MLi.As far as the current research methods in this aspect of the piano industry are concerned, most of them are based on macroscopic research, mainly the researcher’s personal auditory experience of playing audio materials, which is restricted to a certain extent by the researcher’s own artistic appreciation ability.(8)Qt=∑i=1pCi′Lt−i+∑i=1pJi′Lt−i+D′Dt,GN=ϕχ×J3exp−VMN.One of the most effective factors in piano performance is the force comparison technique. Different designs of the force change will produce different effects, which will help the performer to design various sound levels and deeply understand the connotation of the work.(9)Qi=∑m=1MMmUmRmi,Bm=XmYκ.


### 3.2. Pedal Skill

Modern pianos have three pedals: a sustain pedal (right pedal), a soft pedal (left pedal), and a continuous tone pedal (intermediate pedal or Steinway pedal) (as shown in Figure4). For music performance, the most important thing is to use performance techniques. It is also an indispensable part, but it cannot be said that the performance skills are good, the performers will succeed in the performance, and it is not the purpose of the performance. More bluntly speaking, performance skills are just a means of musical performance. Performing arts must have better performance and skills. They must maintain unity and perfect performance in the form of artworks. Pedal technology can realize its own value.Figure 4
Classification of the pedal.Pedal skills need to master the use of some techniques, because technology is not the potential of musicians. Technology is the actual display of what a person is actually doing and what the viewer actually sees. The following is a brief analysis and introduction to the application skills of the piano pedal.


#### 3.2.1. Tips for Using the Right Pedal

The use of the right pedal on the switch should first follow the harmony principle; that is, when the harmony changes, the pedal must be switched. Although impressionist and 20th-century music composers deliberately blurred the traditional function and sound, these works are still based on the vocabulary structure of personality and sound. The pedal switching is based on the clear outline of this structure, with chords and uniform rich color (even mixed color) combinations or notes, chords, and different colors or switch between different tones. Therefore, the principle of pedal transformation can also be called structural principle. It is embodied in the classical and romantic works as the principle of harmony structure and impressionism as the principle of color structure.The use of the right pedal still requires an important principle of foundation, the style principle. In other words, the use of the pedal must be influenced by the work style attributes and the paragraph music emotional attributes. The style of the work mainly refers to the style of the times and genres, including the evolution of musical instruments and the development and differences in aesthetic concepts. The relatively general principle or general rule is that earlier works use fewer pedals and are as strict and accurate as possible in limited use. After the Romantic period, the work uses more pedals and is relatively free.


#### 3.2.2. Tips for Using the Left Pedal

The left foot pedal is controlled by the left foot, and the left foot does not need to be placed on the left foot to prepare for movement, as this will affect the balance of the entire body in the game. As long as the left foot needs to use the left foot pedal, the foot is moved near the left foot pedal. Before moving on, door is gently moved and lifted to step on the left foot pedal. The left pedal is used more for sound quality changes and is a means of creating special musical effects. So, it is usually related to musical mood, not just volume. Of course, in extreme cases, the left pedal can also be used to reduce the volume when it is difficult for the finger to reach the force required for the music. The left pedal should be pressed on the next button in the music tag or player’s personal design to ensure the consistency of the sound and tone of the following notes. Since we have explained the structure of the left pedal, we have to wait until the hammer is in place to make a sound under the action of the left pedal. This position does not necessarily mean that the hammer is sent to the farthest right side after stepping on the bottom, but the range of motion set by the player. That is, the depth of the foot can be controlled by the player to control the change in sound quality as desired. On the basis of maintaining the original melody, Chinese piano music, which integrates the elements of opera, has fully played the advantages of piano multi-voice thinking. It uses the multi-voice writing technique, or adds a full chord on the basis of single melody lines, or uses polyphonic writing to deal with the melody in multiple parts, and makes use of the broad sound range and rich intensity level of piano, and the melody presents different timbre characteristics in various sound fields, forming a rich piano fabric.


#### 3.2.3. Middle Pedal

Fewer pedals are used in practice, and on the one hand, many players are unfamiliar with their performance and operation. On the other hand, the piano continues to work on the right foot pedal and basically works on the damper pedal. The balance of the body can only be achieved by the left foot, and sometimes the left foot pedal needs to be controlled, and the pedal must also rely on his left foot control. Regardless of the time when the three pedals need to be controlled at the same time, the right pedal and the pedal have higher requirements for the action during use. It is not only the player’s feet, but also the coordination between hands and feet.The right foot pedal is released, and finger is used to touch the key to pronounce. The left foot immediately presses the middle pedal, the finger continues to play other keys, and the right foot needs to step on the right pedal and switch. The left foot should not be slightly slack during playing. Otherwise, the middle pedal will capture the other notes that the finger is playing. These notes do not need to last for a long time, the left foot is pressed until the selected continuous tone ends, the middle pedal is released, and the right foot is used to maintain the previous action. If the selected continuous tone appears again, the above operation needs to be repeated. This series of actions requires keen ear guidance in addition to the coordination of the hands and feet.


## 3.1. Touch Skill

Piano touch technology is usually divided into three categories: chords, jumps, and wheel fingers. The first is chord technology. In the range of this range, it usually takes five or ten degrees, and the final tone must be in order. This technique has some similarities to the waveform sounds in piano performance, but there are some differences in the specific method of playing. Therefore, in practice, the player must pay attention to the differences and similarities between the two. Secondly, jumping skills are also a common method, meaning that the performer jumps across the entire range. As a relatively advanced touch-touch technology, you can use different touch key techniques depending on the range of different ranges in your application.Therefore, we adopt another method of enumerating facts for research, that is, to list the differences in the speed and intensity of different performance versions and conduct in-depth comparative analysis convince.(7)ϕj=λRϕ,BΦN=KB,Pj=PTXZT+MN−1T,Bj=VTQYT+ZM−1P,J=∑i=1pH+∑i=1MLi.As far as the current research methods in this aspect of the piano industry are concerned, most of them are based on macroscopic research, mainly the researcher’s personal auditory experience of playing audio materials, which is restricted to a certain extent by the researcher’s own artistic appreciation ability.(8)Qt=∑i=1pCi′Lt−i+∑i=1pJi′Lt−i+D′Dt,GN=ϕχ×J3exp−VMN.One of the most effective factors in piano performance is the force comparison technique. Different designs of the force change will produce different effects, which will help the performer to design various sound levels and deeply understand the connotation of the work.(9)Qi=∑m=1MMmUmRmi,Bm=XmYκ.


## 3.2. Pedal Skill

Modern pianos have three pedals: a sustain pedal (right pedal), a soft pedal (left pedal), and a continuous tone pedal (intermediate pedal or Steinway pedal) (as shown in Figure4). For music performance, the most important thing is to use performance techniques. It is also an indispensable part, but it cannot be said that the performance skills are good, the performers will succeed in the performance, and it is not the purpose of the performance. More bluntly speaking, performance skills are just a means of musical performance. Performing arts must have better performance and skills. They must maintain unity and perfect performance in the form of artworks. Pedal technology can realize its own value.Figure 4
Classification of the pedal.Pedal skills need to master the use of some techniques, because technology is not the potential of musicians. Technology is the actual display of what a person is actually doing and what the viewer actually sees. The following is a brief analysis and introduction to the application skills of the piano pedal.


### 3.2.1. Tips for Using the Right Pedal

The use of the right pedal on the switch should first follow the harmony principle; that is, when the harmony changes, the pedal must be switched. Although impressionist and 20th-century music composers deliberately blurred the traditional function and sound, these works are still based on the vocabulary structure of personality and sound. The pedal switching is based on the clear outline of this structure, with chords and uniform rich color (even mixed color) combinations or notes, chords, and different colors or switch between different tones. Therefore, the principle of pedal transformation can also be called structural principle. It is embodied in the classical and romantic works as the principle of harmony structure and impressionism as the principle of color structure.The use of the right pedal still requires an important principle of foundation, the style principle. In other words, the use of the pedal must be influenced by the work style attributes and the paragraph music emotional attributes. The style of the work mainly refers to the style of the times and genres, including the evolution of musical instruments and the development and differences in aesthetic concepts. The relatively general principle or general rule is that earlier works use fewer pedals and are as strict and accurate as possible in limited use. After the Romantic period, the work uses more pedals and is relatively free.


### 3.2.2. Tips for Using the Left Pedal

The left foot pedal is controlled by the left foot, and the left foot does not need to be placed on the left foot to prepare for movement, as this will affect the balance of the entire body in the game. As long as the left foot needs to use the left foot pedal, the foot is moved near the left foot pedal. Before moving on, door is gently moved and lifted to step on the left foot pedal. The left pedal is used more for sound quality changes and is a means of creating special musical effects. So, it is usually related to musical mood, not just volume. Of course, in extreme cases, the left pedal can also be used to reduce the volume when it is difficult for the finger to reach the force required for the music. The left pedal should be pressed on the next button in the music tag or player’s personal design to ensure the consistency of the sound and tone of the following notes. Since we have explained the structure of the left pedal, we have to wait until the hammer is in place to make a sound under the action of the left pedal. This position does not necessarily mean that the hammer is sent to the farthest right side after stepping on the bottom, but the range of motion set by the player. That is, the depth of the foot can be controlled by the player to control the change in sound quality as desired. On the basis of maintaining the original melody, Chinese piano music, which integrates the elements of opera, has fully played the advantages of piano multi-voice thinking. It uses the multi-voice writing technique, or adds a full chord on the basis of single melody lines, or uses polyphonic writing to deal with the melody in multiple parts, and makes use of the broad sound range and rich intensity level of piano, and the melody presents different timbre characteristics in various sound fields, forming a rich piano fabric.


### 3.2.3. Middle Pedal

Fewer pedals are used in practice, and on the one hand, many players are unfamiliar with their performance and operation. On the other hand, the piano continues to work on the right foot pedal and basically works on the damper pedal. The balance of the body can only be achieved by the left foot, and sometimes the left foot pedal needs to be controlled, and the pedal must also rely on his left foot control. Regardless of the time when the three pedals need to be controlled at the same time, the right pedal and the pedal have higher requirements for the action during use. It is not only the player’s feet, but also the coordination between hands and feet.The right foot pedal is released, and finger is used to touch the key to pronounce. The left foot immediately presses the middle pedal, the finger continues to play other keys, and the right foot needs to step on the right pedal and switch. The left foot should not be slightly slack during playing. Otherwise, the middle pedal will capture the other notes that the finger is playing. These notes do not need to last for a long time, the left foot is pressed until the selected continuous tone ends, the middle pedal is released, and the right foot is used to maintain the previous action. If the selected continuous tone appears again, the above operation needs to be repeated. This series of actions requires keen ear guidance in addition to the coordination of the hands and feet.


## 3.2.1. Tips for Using the Right Pedal

The use of the right pedal on the switch should first follow the harmony principle; that is, when the harmony changes, the pedal must be switched. Although impressionist and 20th-century music composers deliberately blurred the traditional function and sound, these works are still based on the vocabulary structure of personality and sound. The pedal switching is based on the clear outline of this structure, with chords and uniform rich color (even mixed color) combinations or notes, chords, and different colors or switch between different tones. Therefore, the principle of pedal transformation can also be called structural principle. It is embodied in the classical and romantic works as the principle of harmony structure and impressionism as the principle of color structure.The use of the right pedal still requires an important principle of foundation, the style principle. In other words, the use of the pedal must be influenced by the work style attributes and the paragraph music emotional attributes. The style of the work mainly refers to the style of the times and genres, including the evolution of musical instruments and the development and differences in aesthetic concepts. The relatively general principle or general rule is that earlier works use fewer pedals and are as strict and accurate as possible in limited use. After the Romantic period, the work uses more pedals and is relatively free.


## 3.2.2. Tips for Using the Left Pedal

The left foot pedal is controlled by the left foot, and the left foot does not need to be placed on the left foot to prepare for movement, as this will affect the balance of the entire body in the game. As long as the left foot needs to use the left foot pedal, the foot is moved near the left foot pedal. Before moving on, door is gently moved and lifted to step on the left foot pedal. The left pedal is used more for sound quality changes and is a means of creating special musical effects. So, it is usually related to musical mood, not just volume. Of course, in extreme cases, the left pedal can also be used to reduce the volume when it is difficult for the finger to reach the force required for the music. The left pedal should be pressed on the next button in the music tag or player’s personal design to ensure the consistency of the sound and tone of the following notes. Since we have explained the structure of the left pedal, we have to wait until the hammer is in place to make a sound under the action of the left pedal. This position does not necessarily mean that the hammer is sent to the farthest right side after stepping on the bottom, but the range of motion set by the player. That is, the depth of the foot can be controlled by the player to control the change in sound quality as desired. On the basis of maintaining the original melody, Chinese piano music, which integrates the elements of opera, has fully played the advantages of piano multi-voice thinking. It uses the multi-voice writing technique, or adds a full chord on the basis of single melody lines, or uses polyphonic writing to deal with the melody in multiple parts, and makes use of the broad sound range and rich intensity level of piano, and the melody presents different timbre characteristics in various sound fields, forming a rich piano fabric.


## 3.2.3. Middle Pedal

Fewer pedals are used in practice, and on the one hand, many players are unfamiliar with their performance and operation. On the other hand, the piano continues to work on the right foot pedal and basically works on the damper pedal. The balance of the body can only be achieved by the left foot, and sometimes the left foot pedal needs to be controlled, and the pedal must also rely on his left foot control. Regardless of the time when the three pedals need to be controlled at the same time, the right pedal and the pedal have higher requirements for the action during use. It is not only the player’s feet, but also the coordination between hands and feet.The right foot pedal is released, and finger is used to touch the key to pronounce. The left foot immediately presses the middle pedal, the finger continues to play other keys, and the right foot needs to step on the right pedal and switch. The left foot should not be slightly slack during playing. Otherwise, the middle pedal will capture the other notes that the finger is playing. These notes do not need to last for a long time, the left foot is pressed until the selected continuous tone ends, the middle pedal is released, and the right foot is used to maintain the previous action. If the selected continuous tone appears again, the above operation needs to be repeated. This series of actions requires keen ear guidance in addition to the coordination of the hands and feet.


## 4. The Effect of Touch and Pedal Skills on the Sound Effect in Piano Performance

The melody and harmony of piano music are inseparable from the power of the fingers on the keys. Different types of keyboard strokes, as well as their intensity and speed, cause the hammers to hit the strings with different intensities, producing different tones. The way the keys are touched involves strength, speed, and angle. These three aspects are inseparable, the way the pedals also affects the sound effect.


### 4.1. Touch Force

Touch force refers to the degree of force used when the key is touched. When you play the piano, you can have finger strength, hand strength, forearm strength, and full arm strength depending on the strength of different parts of the body. According to the difference, the division from weak to strong can be divided into four modes.


#### 4.1.1. Finger Touch

The force touch keys use the weight and strength of the first three joints. In general, the force generated by the touch keys is relatively small and the volume is relatively small. Therefore, when it is necessary to make a small piece of clear music, it is commonly used to refer to a force touch key.


#### 4.1.2. Hand Touch

The hand touch is powered by the strength and weight of the palm. It can also be used with the power of the wrist. Under the different strengths and weights of the palm and wrist, different touch patterns affect the change in the sound by changing the touch key surface. For example, if the hand touches the key at a faster rate and operates it vertically, it produces a medium-intensity clear and sharp note. The note sound at this time is crisp and bright. In addition, when you need to play a fast jump or noncontinuous sound, you can have better results if you use the hand touch.


#### 4.1.3. Forearm Touch

The forearm touches the elbow to drive the arm and then transfers the arm’s power to the finger and then to the key. When playing with the forearm touch keys, if the touch speed is fast, it is better to play fast chord staccato. This touch style is suitable for playing fast chord staccato with sharp and loud tones. At the same time, this type of touch can often be used by slow forearm touches, playing intervals, and multitone chords. With this type of touch, the touch is slow, so the strength is weak. However, the vertical contact of the forearm eliminates weak melody. At this point, if the control is not good, the sound will disappear, but if you can effectively control it, you can make a weak, concentrated sound effect.


#### 4.1.4. Full Arm Touch

The full arm touch is poured onto the keys by the force of the entire arm or even the whole body, so that a very loud sound can be produced, which is used for quick touch. In addition, by changing the area of the touch keys, the sound becomes stronger and larger. In the case of using the entire arm touch button, only two fast vertical touch buttons and horizontal touch buttons will be produced. At this point, the weakening of the slow touch button will not work.Full arm touch keys are often used for gorgeous or tight scenes. The full arm touch can concentrate the power of the entire arm or even the entire body on the fingertips, creating tremendous explosive power and loud sound. The full arm touch is typically used for large symphonies such as Beethoven or Liszt. Because the piano can use so much arm power, the real name of the piano as percussion came into being.It can be seen from Figure5 that as the intensity applied to the piano touch keys is larger, the intensity of the generated sound increases. During the piano practice, we can adjust the size of the sound by controlling the size of the touch. The first piece of music uses the national mode to create, combined with the Western creation theory, so that the musical characteristics of the music style are vividly reflected. By studying and analyzing the tonality of the works, we can further understand the rich national emotions of the works. The tonality structure is shown in Table 5.Figure 5
Relationship between touch force and sound intensity.Table 5
Tonality structure.
ThemeBD feather (9–10)G palace (11–12)Variation 1D feather (25–26)G palace (27–28)Variation 2D feather (41–42)G palace (43–44)Variation 3D feather (57–58)G palace (59–60)Variation 4D feather (73–74)G palace (75–76)Figure6 shows the comparative analysis and analysis of the versions of “Pi Huang” played by different performers.Figure 6
Comparative analysis and analysis of the versions of “Pi Huang” played by different performers.


### 4.2. Touch Speed

The touch speed is the speed at which the finger touches the key face to the point where the key falls to the bottom. The touch speed has fast and slow keys. Fast and slow keys can also have different speed changes. Of course, different tempos and different intensities can produce different timbres.


#### 4.2.1. Quick Touch

The quick touch button is characterized by the speed at which the finger falls on the button. When using buttons, they produce bright, very sharp tones if the fingers are perpendicular to the buttons. If the finger is not perpendicular to the surface of the key, a weaker sound effect is produced. Of course, it is also possible to produce a powerful but different sound effect.The quick touch keys in the horizontal touch keys are often used to express the rigid and soft, poetic taste of music. Whether you touch a key with your finger or your hand, you can create a blurry feeling by moving horizontally.


#### 4.2.2. Slow Touch

The slow touch is relatively slow, not absolutely slow. It is only slower than the quick touch. When the keys are touched slowly, full arm strength is not required. When playing a weak staccato or legato, you can use the slow touch of the vertical touch button, which can have a faint and subtle effect.It can be seen from Figure7 that the intensity of the sound has a significant relationship with the speed of the touch. During the performance, we can express the different sounds of the piano by controlling the speed of the touch keys.Figure 7
Touch speed and sound intensity.


### 4.3. Touch Angle

The touch angle is the angle at which the finger touches the surface of the key. It depends on the direction of the finger, the vertical direction, and the horizontal direction. The angle of the touch key also varies with the direction of the touch key, and different touch angles have different sound effects.


#### 4.3.1. Vertical Touch Keys

When the first joint of the finger forms a 90° angle with the key, it is touched vertically. At this point, the finger touches the top of the key surface, producing a bright and concentrated sound. The vertical finger force and hand touch keys are adapted to play notes in a relatively fast running sound, and because the first joint of the finger is perpendicular to the key surface, the resulting sound has a strong bounce and a strong sense of graininess. When you touch the buttons quickly, the vertical forearms and full arm touch buttons are suitable for playing explosive power, strong sounds, and other wonderful channels, but you can also use the buttons to focus and soften the sound at a slower speed.


#### 4.3.2. Horizontal Touch

When the angle between the first joint of the finger and the button is less than 90°, the portion from the fingertip to the abdomen of the finger can contact the button over a wide range. At this time, the tone level of the performance is richer and the color tone is richer. Of course, different angles have different sound concentrations and rich emotions. In general, when a horizontal touch button is used, it means touching the abdomen on the button, touching a larger area, and a darker and blurry tone, and touching a smaller area, and the relatively rising sound tends to be classic. Horizontal touch is often used in romantic and impressionist works.It can be seen from Figure8 that the speed and angle of the touch keys during the piano performance affect the intensity of the sound. Different effects can be played by controlling the touch speed and angle. The practitioner can improve the performance of the piano by feeling the speed of the touch and the change in the piano sound when the angle changes.Figure 8
Impact of touch speed and angle on sound intensity.If have better hardware conditions or sufficient training time, you can modify the number of atoms accordingly and search for more parameter combinations to get better results. The comparison results of changes in the number of atoms are shown in Figure9.Figure 9
Comparison results of changes in the number of atoms.The network using dropout successfully solved the overfitting problem and achieved the highest average classification accuracy of all algorithms. The training loss curve of opera clips on the IXMAS data set is shown in Figure10.Figure 10
Training loss curve of opera clips on the IXMAS data set.After considering different types of audiences, perceptions, and characteristics, we decided to use pop as the target music type to study. The music types and number of scores of TheoryTab obtained in the experiment are shown in Table6.Table 6
Music types and number of scores of TheoryTab obtained in the experiment.
GenreNumberGenreNumberAlternative440Blues183Classical300Country203Dance629Electronic1827Experimental143Folk206Hip-hop-rap375House392Video game2500Indie357Figure11 shows the results of the second part of the hearing experiment of randomly generated music. The data show that MidiNet has a low score for melodic harmony, which is in line with its score on the melodic beauty indicator.Figure 11
Results of the second part of the hearing experiment of randomly generated music.Table7 shows the results of the four-mode hearing experiments of Dorian, Phrygian, Lydian, and Mixolydian.Table 7
Results of the four-mode hearing experiments of Dorian, Phrygian, Lydian, and Mixolydian.
ModeMinMaxMedianDorian0.0812 ± 0.09240.2829 ± 0.17090.2291 ± 0.1851Phrygian0.0725 ± 0.05510.4844 ± 0.11740.2867 ± 0.0921Lydian0.0177 ± 0.01670.2828 ± 0.14220.1766 ± 0.1626Mixolydian0.0698 ± 0.04260.4281 ± 0.06200.2648 ± 0.0657The melody similarity results between the conditionally generated music and the corresponding initialization music and other music in the training data set are shown in Table8. It can be seen from the table that when the freezing ratio is 20% and 40%, the generation process of KICCCHMGNet will “recover” about 40% and 30% of the original music on average, and the average similarity between the final music and the original music is 60% and around 70%.Table 8
Melody similarity results between the conditionally generated music and the corresponding initialization music and other music in the training data set.
Proportion (%)MinMaxMedian200.31250.21440.2678400.48440.38430.3988600.88280.28240.8965800.94530.64560.6345The comparison between the instruction and the corresponding execution function is shown in Table9.Table 9
Comparison between the instruction and the corresponding execution function.
Function nameCorresponding commandCorresponding to I/0Function (corresponding to scale)low1 ()a0Bass 1low2 ()b1Bass 2low3 ()c2Bass 3low4 ()d3Bass 4low5 ()e4Bass 5


### 4.4. Pedal

#### 4.4.1. Accent Pedal

The accent pedal is a commonly used pedal. Some people call it a rhythm pedal. The main purpose of the use is to make the sound louder and the rhythm more prominent. The accent pedal is easier to master in the playing skills. If you want to emphasize a certain sound or want to enhance a certain sound, you can use the accent technique to step on the foot while playing, so you can enhance the volume level of the sound. When using this technique to emphasize the rhythm of musical features, we can play harmony or bass, chords at the same time, before playing the next set of harmony or pedal chords. In the new sound, our feet also need to simultaneously reduce the volume, highlight the rhythm, and enhance the sound of the music throughout the performance.


#### 4.4.2. Tremolo Pedal

A tremolo pedal is often referred to as a tremolo pedal. The tremolo pedal technique is usually very light on the pedal and the pedal must be fast. Using this technique, you can produce certain sounds, such as reducing the brightness of the sound and making some sounds look blurry and frivolous.


#### 4.4.3. Liaison Pedal

Obviously, using the technology of homophone means that we should continue to complete this process step by step. This step is to quickly and clearly change the pedal between two notes or chords. The two notes or chords should be identical, with no gaps, and the effect of the notes should be clear and natural.Through the unremitting pursuit and exploration of Chinese composers and pianists, it enriches the creation and quantity of Chinese piano etudes and excavates the technical subject of Chinese piano etudes, which has great artistic value. It is worth worrying that there are obvious problems in the creation and development of Chinese piano etudes. Chinese piano etudes are lack of systematic practice methods and teaching materials, which are suitable from enlightenment to primary level. However, the teaching materials of more difficult etudes are relatively less; the music materials of Chinese piano etudes are relatively single; piano technical training lacks supporting teaching materials and lacks piano etudes with training technical characteristics and modern creative skills. Therefore, the creation and development of Chinese piano etudes have a long way to go. It is necessary to explore a wider range of Chinese folk culture and Chinese music culture and constantly enrich and innovate composition techniques, to seek a new road and new thinking for the development of Chinese piano etudes.


#### 4.4.4. Deep Pedal and Shallow Pedal

The deep pedal means that we need to step deeply when we step on the pedal; that is, the pedal needs to be stepped from the beginning to the end. That is, the pedal is fully stepped on. Deep pedals, also known as full-tone pedals, use this technique to make sound consistent and continuous sound effects.The shallow pedal cannot be used when the pedal is full. When the pedals mainly show the consistency of the bass, the works of the bass performance are mainly for the theme. So, we need to gently pry off the pedals, and then, there will be no turbidity with the treble, the sound of the music is very comfortable, the bass can be kept for a long time, and the treble can be clearly displayed. For rich sounds, sometimes we step on the pedal in a quarter, a third or three-thirds or three-quarters of the depth, so that the tone changes. Music is made richer and more perfect. The specific works are analyzed and discussed in detail from the aspects of performance, speed, space, color, etc., and the theory and practice are combined to summarize.


## 4.1. Touch Force

Touch force refers to the degree of force used when the key is touched. When you play the piano, you can have finger strength, hand strength, forearm strength, and full arm strength depending on the strength of different parts of the body. According to the difference, the division from weak to strong can be divided into four modes.


### 4.1.1. Finger Touch

The force touch keys use the weight and strength of the first three joints. In general, the force generated by the touch keys is relatively small and the volume is relatively small. Therefore, when it is necessary to make a small piece of clear music, it is commonly used to refer to a force touch key.


### 4.1.2. Hand Touch

The hand touch is powered by the strength and weight of the palm. It can also be used with the power of the wrist. Under the different strengths and weights of the palm and wrist, different touch patterns affect the change in the sound by changing the touch key surface. For example, if the hand touches the key at a faster rate and operates it vertically, it produces a medium-intensity clear and sharp note. The note sound at this time is crisp and bright. In addition, when you need to play a fast jump or noncontinuous sound, you can have better results if you use the hand touch.


### 4.1.3. Forearm Touch

The forearm touches the elbow to drive the arm and then transfers the arm’s power to the finger and then to the key. When playing with the forearm touch keys, if the touch speed is fast, it is better to play fast chord staccato. This touch style is suitable for playing fast chord staccato with sharp and loud tones. At the same time, this type of touch can often be used by slow forearm touches, playing intervals, and multitone chords. With this type of touch, the touch is slow, so the strength is weak. However, the vertical contact of the forearm eliminates weak melody. At this point, if the control is not good, the sound will disappear, but if you can effectively control it, you can make a weak, concentrated sound effect.


### 4.1.4. Full Arm Touch

The full arm touch is poured onto the keys by the force of the entire arm or even the whole body, so that a very loud sound can be produced, which is used for quick touch. In addition, by changing the area of the touch keys, the sound becomes stronger and larger. In the case of using the entire arm touch button, only two fast vertical touch buttons and horizontal touch buttons will be produced. At this point, the weakening of the slow touch button will not work.Full arm touch keys are often used for gorgeous or tight scenes. The full arm touch can concentrate the power of the entire arm or even the entire body on the fingertips, creating tremendous explosive power and loud sound. The full arm touch is typically used for large symphonies such as Beethoven or Liszt. Because the piano can use so much arm power, the real name of the piano as percussion came into being.It can be seen from Figure5 that as the intensity applied to the piano touch keys is larger, the intensity of the generated sound increases. During the piano practice, we can adjust the size of the sound by controlling the size of the touch. The first piece of music uses the national mode to create, combined with the Western creation theory, so that the musical characteristics of the music style are vividly reflected. By studying and analyzing the tonality of the works, we can further understand the rich national emotions of the works. The tonality structure is shown in Table 5.Figure 5
Relationship between touch force and sound intensity.Table 5
Tonality structure.
ThemeBD feather (9–10)G palace (11–12)Variation 1D feather (25–26)G palace (27–28)Variation 2D feather (41–42)G palace (43–44)Variation 3D feather (57–58)G palace (59–60)Variation 4D feather (73–74)G palace (75–76)Figure6 shows the comparative analysis and analysis of the versions of “Pi Huang” played by different performers.Figure 6
Comparative analysis and analysis of the versions of “Pi Huang” played by different performers.


## 4.1.1. Finger Touch

The force touch keys use the weight and strength of the first three joints. In general, the force generated by the touch keys is relatively small and the volume is relatively small. Therefore, when it is necessary to make a small piece of clear music, it is commonly used to refer to a force touch key.


## 4.1.2. Hand Touch

The hand touch is powered by the strength and weight of the palm. It can also be used with the power of the wrist. Under the different strengths and weights of the palm and wrist, different touch patterns affect the change in the sound by changing the touch key surface. For example, if the hand touches the key at a faster rate and operates it vertically, it produces a medium-intensity clear and sharp note. The note sound at this time is crisp and bright. In addition, when you need to play a fast jump or noncontinuous sound, you can have better results if you use the hand touch.


## 4.1.3. Forearm Touch

The forearm touches the elbow to drive the arm and then transfers the arm’s power to the finger and then to the key. When playing with the forearm touch keys, if the touch speed is fast, it is better to play fast chord staccato. This touch style is suitable for playing fast chord staccato with sharp and loud tones. At the same time, this type of touch can often be used by slow forearm touches, playing intervals, and multitone chords. With this type of touch, the touch is slow, so the strength is weak. However, the vertical contact of the forearm eliminates weak melody. At this point, if the control is not good, the sound will disappear, but if you can effectively control it, you can make a weak, concentrated sound effect.


## 4.1.4. Full Arm Touch

The full arm touch is poured onto the keys by the force of the entire arm or even the whole body, so that a very loud sound can be produced, which is used for quick touch. In addition, by changing the area of the touch keys, the sound becomes stronger and larger. In the case of using the entire arm touch button, only two fast vertical touch buttons and horizontal touch buttons will be produced. At this point, the weakening of the slow touch button will not work.Full arm touch keys are often used for gorgeous or tight scenes. The full arm touch can concentrate the power of the entire arm or even the entire body on the fingertips, creating tremendous explosive power and loud sound. The full arm touch is typically used for large symphonies such as Beethoven or Liszt. Because the piano can use so much arm power, the real name of the piano as percussion came into being.It can be seen from Figure5 that as the intensity applied to the piano touch keys is larger, the intensity of the generated sound increases. During the piano practice, we can adjust the size of the sound by controlling the size of the touch. The first piece of music uses the national mode to create, combined with the Western creation theory, so that the musical characteristics of the music style are vividly reflected. By studying and analyzing the tonality of the works, we can further understand the rich national emotions of the works. The tonality structure is shown in Table 5.Figure 5
Relationship between touch force and sound intensity.Table 5
Tonality structure.
ThemeBD feather (9–10)G palace (11–12)Variation 1D feather (25–26)G palace (27–28)Variation 2D feather (41–42)G palace (43–44)Variation 3D feather (57–58)G palace (59–60)Variation 4D feather (73–74)G palace (75–76)Figure6 shows the comparative analysis and analysis of the versions of “Pi Huang” played by different performers.Figure 6
Comparative analysis and analysis of the versions of “Pi Huang” played by different performers.


## 4.2. Touch Speed

The touch speed is the speed at which the finger touches the key face to the point where the key falls to the bottom. The touch speed has fast and slow keys. Fast and slow keys can also have different speed changes. Of course, different tempos and different intensities can produce different timbres.


### 4.2.1. Quick Touch

The quick touch button is characterized by the speed at which the finger falls on the button. When using buttons, they produce bright, very sharp tones if the fingers are perpendicular to the buttons. If the finger is not perpendicular to the surface of the key, a weaker sound effect is produced. Of course, it is also possible to produce a powerful but different sound effect.The quick touch keys in the horizontal touch keys are often used to express the rigid and soft, poetic taste of music. Whether you touch a key with your finger or your hand, you can create a blurry feeling by moving horizontally.


### 4.2.2. Slow Touch

The slow touch is relatively slow, not absolutely slow. It is only slower than the quick touch. When the keys are touched slowly, full arm strength is not required. When playing a weak staccato or legato, you can use the slow touch of the vertical touch button, which can have a faint and subtle effect.It can be seen from Figure7 that the intensity of the sound has a significant relationship with the speed of the touch. During the performance, we can express the different sounds of the piano by controlling the speed of the touch keys.Figure 7
Touch speed and sound intensity.


## 4.2.1. Quick Touch

The quick touch button is characterized by the speed at which the finger falls on the button. When using buttons, they produce bright, very sharp tones if the fingers are perpendicular to the buttons. If the finger is not perpendicular to the surface of the key, a weaker sound effect is produced. Of course, it is also possible to produce a powerful but different sound effect.The quick touch keys in the horizontal touch keys are often used to express the rigid and soft, poetic taste of music. Whether you touch a key with your finger or your hand, you can create a blurry feeling by moving horizontally.


## 4.2.2. Slow Touch

The slow touch is relatively slow, not absolutely slow. It is only slower than the quick touch. When the keys are touched slowly, full arm strength is not required. When playing a weak staccato or legato, you can use the slow touch of the vertical touch button, which can have a faint and subtle effect.It can be seen from Figure7 that the intensity of the sound has a significant relationship with the speed of the touch. During the performance, we can express the different sounds of the piano by controlling the speed of the touch keys.Figure 7
Touch speed and sound intensity.


## 4.3. Touch Angle

The touch angle is the angle at which the finger touches the surface of the key. It depends on the direction of the finger, the vertical direction, and the horizontal direction. The angle of the touch key also varies with the direction of the touch key, and different touch angles have different sound effects.


### 4.3.1. Vertical Touch Keys

When the first joint of the finger forms a 90° angle with the key, it is touched vertically. At this point, the finger touches the top of the key surface, producing a bright and concentrated sound. The vertical finger force and hand touch keys are adapted to play notes in a relatively fast running sound, and because the first joint of the finger is perpendicular to the key surface, the resulting sound has a strong bounce and a strong sense of graininess. When you touch the buttons quickly, the vertical forearms and full arm touch buttons are suitable for playing explosive power, strong sounds, and other wonderful channels, but you can also use the buttons to focus and soften the sound at a slower speed.


### 4.3.2. Horizontal Touch

When the angle between the first joint of the finger and the button is less than 90°, the portion from the fingertip to the abdomen of the finger can contact the button over a wide range. At this time, the tone level of the performance is richer and the color tone is richer. Of course, different angles have different sound concentrations and rich emotions. In general, when a horizontal touch button is used, it means touching the abdomen on the button, touching a larger area, and a darker and blurry tone, and touching a smaller area, and the relatively rising sound tends to be classic. Horizontal touch is often used in romantic and impressionist works.It can be seen from Figure8 that the speed and angle of the touch keys during the piano performance affect the intensity of the sound. Different effects can be played by controlling the touch speed and angle. The practitioner can improve the performance of the piano by feeling the speed of the touch and the change in the piano sound when the angle changes.Figure 8
Impact of touch speed and angle on sound intensity.If have better hardware conditions or sufficient training time, you can modify the number of atoms accordingly and search for more parameter combinations to get better results. The comparison results of changes in the number of atoms are shown in Figure9.Figure 9
Comparison results of changes in the number of atoms.The network using dropout successfully solved the overfitting problem and achieved the highest average classification accuracy of all algorithms. The training loss curve of opera clips on the IXMAS data set is shown in Figure10.Figure 10
Training loss curve of opera clips on the IXMAS data set.After considering different types of audiences, perceptions, and characteristics, we decided to use pop as the target music type to study. The music types and number of scores of TheoryTab obtained in the experiment are shown in Table6.Table 6
Music types and number of scores of TheoryTab obtained in the experiment.
GenreNumberGenreNumberAlternative440Blues183Classical300Country203Dance629Electronic1827Experimental143Folk206Hip-hop-rap375House392Video game2500Indie357Figure11 shows the results of the second part of the hearing experiment of randomly generated music. The data show that MidiNet has a low score for melodic harmony, which is in line with its score on the melodic beauty indicator.Figure 11
Results of the second part of the hearing experiment of randomly generated music.Table7 shows the results of the four-mode hearing experiments of Dorian, Phrygian, Lydian, and Mixolydian.Table 7
Results of the four-mode hearing experiments of Dorian, Phrygian, Lydian, and Mixolydian.
ModeMinMaxMedianDorian0.0812 ± 0.09240.2829 ± 0.17090.2291 ± 0.1851Phrygian0.0725 ± 0.05510.4844 ± 0.11740.2867 ± 0.0921Lydian0.0177 ± 0.01670.2828 ± 0.14220.1766 ± 0.1626Mixolydian0.0698 ± 0.04260.4281 ± 0.06200.2648 ± 0.0657The melody similarity results between the conditionally generated music and the corresponding initialization music and other music in the training data set are shown in Table8. It can be seen from the table that when the freezing ratio is 20% and 40%, the generation process of KICCCHMGNet will “recover” about 40% and 30% of the original music on average, and the average similarity between the final music and the original music is 60% and around 70%.Table 8
Melody similarity results between the conditionally generated music and the corresponding initialization music and other music in the training data set.
Proportion (%)MinMaxMedian200.31250.21440.2678400.48440.38430.3988600.88280.28240.8965800.94530.64560.6345The comparison between the instruction and the corresponding execution function is shown in Table9.Table 9
Comparison between the instruction and the corresponding execution function.
Function nameCorresponding commandCorresponding to I/0Function (corresponding to scale)low1 ()a0Bass 1low2 ()b1Bass 2low3 ()c2Bass 3low4 ()d3Bass 4low5 ()e4Bass 5


## 4.3.1. Vertical Touch Keys

When the first joint of the finger forms a 90° angle with the key, it is touched vertically. At this point, the finger touches the top of the key surface, producing a bright and concentrated sound. The vertical finger force and hand touch keys are adapted to play notes in a relatively fast running sound, and because the first joint of the finger is perpendicular to the key surface, the resulting sound has a strong bounce and a strong sense of graininess. When you touch the buttons quickly, the vertical forearms and full arm touch buttons are suitable for playing explosive power, strong sounds, and other wonderful channels, but you can also use the buttons to focus and soften the sound at a slower speed.


## 4.3.2. Horizontal Touch

When the angle between the first joint of the finger and the button is less than 90°, the portion from the fingertip to the abdomen of the finger can contact the button over a wide range. At this time, the tone level of the performance is richer and the color tone is richer. Of course, different angles have different sound concentrations and rich emotions. In general, when a horizontal touch button is used, it means touching the abdomen on the button, touching a larger area, and a darker and blurry tone, and touching a smaller area, and the relatively rising sound tends to be classic. Horizontal touch is often used in romantic and impressionist works.It can be seen from Figure8 that the speed and angle of the touch keys during the piano performance affect the intensity of the sound. Different effects can be played by controlling the touch speed and angle. The practitioner can improve the performance of the piano by feeling the speed of the touch and the change in the piano sound when the angle changes.Figure 8
Impact of touch speed and angle on sound intensity.If have better hardware conditions or sufficient training time, you can modify the number of atoms accordingly and search for more parameter combinations to get better results. The comparison results of changes in the number of atoms are shown in Figure9.Figure 9
Comparison results of changes in the number of atoms.The network using dropout successfully solved the overfitting problem and achieved the highest average classification accuracy of all algorithms. The training loss curve of opera clips on the IXMAS data set is shown in Figure10.Figure 10
Training loss curve of opera clips on the IXMAS data set.After considering different types of audiences, perceptions, and characteristics, we decided to use pop as the target music type to study. The music types and number of scores of TheoryTab obtained in the experiment are shown in Table6.Table 6
Music types and number of scores of TheoryTab obtained in the experiment.
GenreNumberGenreNumberAlternative440Blues183Classical300Country203Dance629Electronic1827Experimental143Folk206Hip-hop-rap375House392Video game2500Indie357Figure11 shows the results of the second part of the hearing experiment of randomly generated music. The data show that MidiNet has a low score for melodic harmony, which is in line with its score on the melodic beauty indicator.Figure 11
Results of the second part of the hearing experiment of randomly generated music.Table7 shows the results of the four-mode hearing experiments of Dorian, Phrygian, Lydian, and Mixolydian.Table 7
Results of the four-mode hearing experiments of Dorian, Phrygian, Lydian, and Mixolydian.
ModeMinMaxMedianDorian0.0812 ± 0.09240.2829 ± 0.17090.2291 ± 0.1851Phrygian0.0725 ± 0.05510.4844 ± 0.11740.2867 ± 0.0921Lydian0.0177 ± 0.01670.2828 ± 0.14220.1766 ± 0.1626Mixolydian0.0698 ± 0.04260.4281 ± 0.06200.2648 ± 0.0657The melody similarity results between the conditionally generated music and the corresponding initialization music and other music in the training data set are shown in Table8. It can be seen from the table that when the freezing ratio is 20% and 40%, the generation process of KICCCHMGNet will “recover” about 40% and 30% of the original music on average, and the average similarity between the final music and the original music is 60% and around 70%.Table 8
Melody similarity results between the conditionally generated music and the corresponding initialization music and other music in the training data set.
Proportion (%)MinMaxMedian200.31250.21440.2678400.48440.38430.3988600.88280.28240.8965800.94530.64560.6345The comparison between the instruction and the corresponding execution function is shown in Table9.Table 9
Comparison between the instruction and the corresponding execution function.
Function nameCorresponding commandCorresponding to I/0Function (corresponding to scale)low1 ()a0Bass 1low2 ()b1Bass 2low3 ()c2Bass 3low4 ()d3Bass 4low5 ()e4Bass 5


## 4.4. Pedal

### 4.4.1. Accent Pedal

The accent pedal is a commonly used pedal. Some people call it a rhythm pedal. The main purpose of the use is to make the sound louder and the rhythm more prominent. The accent pedal is easier to master in the playing skills. If you want to emphasize a certain sound or want to enhance a certain sound, you can use the accent technique to step on the foot while playing, so you can enhance the volume level of the sound. When using this technique to emphasize the rhythm of musical features, we can play harmony or bass, chords at the same time, before playing the next set of harmony or pedal chords. In the new sound, our feet also need to simultaneously reduce the volume, highlight the rhythm, and enhance the sound of the music throughout the performance.


### 4.4.2. Tremolo Pedal

A tremolo pedal is often referred to as a tremolo pedal. The tremolo pedal technique is usually very light on the pedal and the pedal must be fast. Using this technique, you can produce certain sounds, such as reducing the brightness of the sound and making some sounds look blurry and frivolous.


### 4.4.3. Liaison Pedal

Obviously, using the technology of homophone means that we should continue to complete this process step by step. This step is to quickly and clearly change the pedal between two notes or chords. The two notes or chords should be identical, with no gaps, and the effect of the notes should be clear and natural.Through the unremitting pursuit and exploration of Chinese composers and pianists, it enriches the creation and quantity of Chinese piano etudes and excavates the technical subject of Chinese piano etudes, which has great artistic value. It is worth worrying that there are obvious problems in the creation and development of Chinese piano etudes. Chinese piano etudes are lack of systematic practice methods and teaching materials, which are suitable from enlightenment to primary level. However, the teaching materials of more difficult etudes are relatively less; the music materials of Chinese piano etudes are relatively single; piano technical training lacks supporting teaching materials and lacks piano etudes with training technical characteristics and modern creative skills. Therefore, the creation and development of Chinese piano etudes have a long way to go. It is necessary to explore a wider range of Chinese folk culture and Chinese music culture and constantly enrich and innovate composition techniques, to seek a new road and new thinking for the development of Chinese piano etudes.


### 4.4.4. Deep Pedal and Shallow Pedal

The deep pedal means that we need to step deeply when we step on the pedal; that is, the pedal needs to be stepped from the beginning to the end. That is, the pedal is fully stepped on. Deep pedals, also known as full-tone pedals, use this technique to make sound consistent and continuous sound effects.The shallow pedal cannot be used when the pedal is full. When the pedals mainly show the consistency of the bass, the works of the bass performance are mainly for the theme. So, we need to gently pry off the pedals, and then, there will be no turbidity with the treble, the sound of the music is very comfortable, the bass can be kept for a long time, and the treble can be clearly displayed. For rich sounds, sometimes we step on the pedal in a quarter, a third or three-thirds or three-quarters of the depth, so that the tone changes. Music is made richer and more perfect. The specific works are analyzed and discussed in detail from the aspects of performance, speed, space, color, etc., and the theory and practice are combined to summarize.


## 4.4.1. Accent Pedal

The accent pedal is a commonly used pedal. Some people call it a rhythm pedal. The main purpose of the use is to make the sound louder and the rhythm more prominent. The accent pedal is easier to master in the playing skills. If you want to emphasize a certain sound or want to enhance a certain sound, you can use the accent technique to step on the foot while playing, so you can enhance the volume level of the sound. When using this technique to emphasize the rhythm of musical features, we can play harmony or bass, chords at the same time, before playing the next set of harmony or pedal chords. In the new sound, our feet also need to simultaneously reduce the volume, highlight the rhythm, and enhance the sound of the music throughout the performance.


## 4.4.2. Tremolo Pedal

A tremolo pedal is often referred to as a tremolo pedal. The tremolo pedal technique is usually very light on the pedal and the pedal must be fast. Using this technique, you can produce certain sounds, such as reducing the brightness of the sound and making some sounds look blurry and frivolous.


## 4.4.3. Liaison Pedal

Obviously, using the technology of homophone means that we should continue to complete this process step by step. This step is to quickly and clearly change the pedal between two notes or chords. The two notes or chords should be identical, with no gaps, and the effect of the notes should be clear and natural.Through the unremitting pursuit and exploration of Chinese composers and pianists, it enriches the creation and quantity of Chinese piano etudes and excavates the technical subject of Chinese piano etudes, which has great artistic value. It is worth worrying that there are obvious problems in the creation and development of Chinese piano etudes. Chinese piano etudes are lack of systematic practice methods and teaching materials, which are suitable from enlightenment to primary level. However, the teaching materials of more difficult etudes are relatively less; the music materials of Chinese piano etudes are relatively single; piano technical training lacks supporting teaching materials and lacks piano etudes with training technical characteristics and modern creative skills. Therefore, the creation and development of Chinese piano etudes have a long way to go. It is necessary to explore a wider range of Chinese folk culture and Chinese music culture and constantly enrich and innovate composition techniques, to seek a new road and new thinking for the development of Chinese piano etudes.


## 4.4.4. Deep Pedal and Shallow Pedal

The deep pedal means that we need to step deeply when we step on the pedal; that is, the pedal needs to be stepped from the beginning to the end. That is, the pedal is fully stepped on. Deep pedals, also known as full-tone pedals, use this technique to make sound consistent and continuous sound effects.The shallow pedal cannot be used when the pedal is full. When the pedals mainly show the consistency of the bass, the works of the bass performance are mainly for the theme. So, we need to gently pry off the pedals, and then, there will be no turbidity with the treble, the sound of the music is very comfortable, the bass can be kept for a long time, and the treble can be clearly displayed. For rich sounds, sometimes we step on the pedal in a quarter, a third or three-thirds or three-quarters of the depth, so that the tone changes. Music is made richer and more perfect. The specific works are analyzed and discussed in detail from the aspects of performance, speed, space, color, etc., and the theory and practice are combined to summarize.


## 5. Conclusions

With the development of the Internet of things and the integration with other industries, the connotation of the Internet of things will continue to evolve in a broad sense. From the evolution process of defining the Internet of things, it can be seen that no matter how the extension of the Internet of things changes, the connotation is always the purpose of intelligent management of resources through the innovation of information technology. The Internet of things has different strategic plans in different countries and regions according to the degree of technological innovation in order to achieve the goal of rapid self-development. The influence of music on people’s thoughts and the artistic conception and realm generated by people are far and near. Some are obvious, some are concealed, some are big and small, some are deep and shallow, some are nothing but reality, some are violent, and some are soft. It depends on the artist’s lofty artistic conception and superb skills. The player’s knowledge, experience, cultural heritage, and performance skills, including the player’s imagination and inner hearing, will affect the expression of the tone. The use of opera elements in piano creation is an indispensable part of the development of Chinese piano music. As an important “image spokesman” in Chinese traditional culture, Chinese opera should be highly concerned by composers. While protecting its own artistic essence, it also needs to spread through new music forms to make its artistic achievements diversified, develop constantly in changes, and realize innovation in inheritance. In terms of piano playing skills, you can express piano sounds more abundantly by mastering the way of touching keys, the strength of touch keys, the speed of touch keys, and the skill of piano pedals. Pedal technology has evolved with the development of pianos. Many people think that it is not in the category of piano technology, so it is necessary to strengthen the attention of the pedals. We need to understand the piano, understand vocal music, understand culture, and understand science. At the same time, we need to master a lot of knowledge. Only by constantly advancing, boldly moving forward, and having a spirit of continuous exploration and enterprising spirit, we can perform piano performance better and advance the piano career, hoping to go hand in hand with other disciplines. By analyzing the application of opera elements in piano works and their artistic value, this study looks forward to the future development prospects of opera elements in piano works and provides detailed reference materials for the development of piano music in China and nationalization.



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*Source: 4259995-2022-04-20.xml*