The Method of Piano Performance Art Display from the Perspective of New Media
Abstract
In order to explore the presentation method of piano art in the new media perspective, this paper combines relevant literature and
cases, compares the core dimensions of new media and traditional piano performance, and analyzes the artistic presentation method. It is finally concluded that the use of new media platform can expand the audience of piano art, increase economic benefits and improve the audiences
aesthetic experience. Thus, piano players should reform the presentation method according to the characteristics of the new media platform, so
as to make it more in line with the aesthetic tendency of the new media users, and to expand the influence, so as to make a certain contribution
to the prosperity and development of the piano art.
cases, compares the core dimensions of new media and traditional piano performance, and analyzes the artistic presentation method. It is finally concluded that the use of new media platform can expand the audience of piano art, increase economic benefits and improve the audiences
aesthetic experience. Thus, piano players should reform the presentation method according to the characteristics of the new media platform, so
as to make it more in line with the aesthetic tendency of the new media users, and to expand the influence, so as to make a certain contribution
to the prosperity and development of the piano art.
Keywords
Piano performance; New media; Presentation methods
Full Text:
PDFReferences
[1] Li Rui. Criticizing the Aesthetic Value of Western Music Performance--A Review of New Media Music Communication--Theory and
Practice[J]. Journal of Tropical Crops, 2021, 42(05):1575.
[2] Wu Di. Research on Music Internet Communication in the New Media Era--A Review of New Media Music Editing and
Communication[J]. China Science and Technology Paper, 2020, 15(06):747.
[3] Mao Jianxun. Optimization and enhancement of music performance in colleges and universities under the new media environment[J].
House of Drama, 2017, (15):144-145.
DOI: http://dx.doi.org/10.70711/frim.v3i5.6507
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