| The ancestry of the piano can be traced to the early keyboard instruments of the fifteenth and sixteenth centuries -- the spinet, the dulcimer, and the virginal. In the seventeenth century the organ, the clavichord, and the harpsichord became the chief instruments of the keyboard group, a supremacy they maintained until the piano supplanted them at the end of the eighteenth century. The clavichord's tone was metallic and never powerful; nevertheless, because of the variety of tone possible to it, many composers found the clavichord a sympathetic instrument for intimate chamber music. The harpsichord with its bright, vigorous tone was the favorite instrument for supporting the bass of the small orchestra of the period and for concert use, but the character of the tone could not be varied save by mechanical or structural devices. The piano was perfected in the early eighteenth century by a harpsichord maker in Italy (though musicologists point out several previous instances of the instrument). This instrument was called a piano e forte (sort and loud), to indicate its dynamic versatility; its strings were struck by a recoiling hammer with a felt-padded head. The wires were much heavier in the earlier instruments. A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instrument capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a sharp, percussive brilliance. | |
| 钢琴的家系可以追溯至 15 至 16 世纪早期的键盘乐器，包括小型拨弦琴、洋琴和维金娜琴。 17 世纪时风琴、敲弦琴和拨弦琴成为键盘乐器类的主要成员。 这种至高无上的地位一直为它们所保持，直到 18 世纪末期钢琴将它们取代。 敲弦古钢琴的音调有金属的音质，缺乏雄劲。 然而由于它的音调变化多，许多作曲家发现对于亲切的室内乐是一种得体的乐器。 人们最喜欢用具备明快有力音调的拨弦古钢琴来配合当时小型管弦乐团的低音乐器以及在演奏会上演奏。 但它的音调难以变化，除非使用机械或构件装置。18 世纪早期的意大利，钢琴在一位拨琴钢琴制造者手中得到完善(尽管音乐理论家们指出有更早的例子) 。 这种乐器被称为piano eforte (意大利语，柔和而响亮的)，以显示它有力的多样性。 演奏者用一个头部带皮毡的弹击乐锤敲击琴弦。 更早的这种乐器之上的金属丝要重得多。 从此，持续到 19 世纪的一系列机械上的改进，包括引入踏板以维持音调或使其柔和，改善金属框架，以及使用最佳性能的钢丝，最终产生了一种具备无数音调效果的乐器。 这些效果涵盖了从最精致的和声到几乎全部的管弦乐音响，从明快流畅的吟唱的音调到尖锐的打击乐器的清晰动人的恢宏气势。 |
| The ancestry of the piano can be traced to the early keyboard instruments of the fifteenth and sixteenth centuries the spinet, the dulcimer, and the virginal. In the seventeenth century the organ, the clavichord, and the harpsichord became the chief instruments of the keyboard group, a supremacy they maintained until the piano supplanted them at the end of the eighteenth century. The clavichord' s tone was metallic and never powerful nevertheless, because of the variety of tone possible to it, many composers found the clavichord a sympathetic instrument for intimate chamber music. The harpsichord with its bright, vigorous tone was the favorite instrument for supporting the bass of the small orchestra of the period and for concert use, but the character of the tone could not be varied save by mechanical or structural devices. The piano was perfected in the early eighteenth century by a harpsichord maker in Italy though musicologists point out several previous instances of the instrument. This instrument was called a piano e forte sort and loud, to indicate its dynamic versatility its strings were struck by a recoiling hammer with a feltpadded head. The wires were much heavier in the earlier instruments. A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instrument capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a sharp, percussive brilliance. | |
| gang qin de jia xi ke yi zhui su zhi 15 zhi 16 shi ji zao qi de jian pan yue qi, bao kuo xiao xing bo xian qin yang qin he wei jin na qin. 17 shi ji shi feng qin qiao xian qin he bo xian qin cheng wei jian pan yue qi lei de zhu yao cheng yuan. zhe zhong zhi gao wu shang de di wei yi zhi wei ta men suo bao chi, zhi dao 18 shi ji mo qi gang qin jiang ta men qu dai. qiao xian gu gang qin de yin diao you jin shu de yin zhi, que fa xiong jing. ran er you yu ta de yin diao bian hua duo, xu duo zuo qu jia fa xian dui yu qin qie de shi nei yue shi yi zhong de ti de yue qi. ren men zui xi huan yong ju bei ming kuai you li yin diao de bo xian gu gang qin lai pei he dang shi xiao xing guan xian yue tuan de di yin yue qi yi ji zai yan zou hui shang yan zou. dan ta de yin diao nan yi bian hua, chu fei shi yong ji xie huo gou jian zhuang zhi. 18 shi ji zao qi de yi da li, gang qin zai yi wei bo qin gang qin zhi zao zhe shou zhong de dao wan shan jin guan yin yue li lun jia men zhi chu you geng zao de li zi . zhe zhong yue qi bei cheng wei piano eforte yi da li yu, rou he er xiang liang de, yi xian shi ta you li de duo yang xing. yan zou zhe yong yi ge tou bu dai pi zhan de dan ji le chui qiao ji qin xian. geng zao de zhe zhong yue qi zhi shang de jin shu si yao zhong de duo. cong ci, chi xu dao 19 shi ji de yi xi lie ji xie shang de gai jin, bao kuo yin ru ta ban yi wei chi yin diao huo shi qi rou he, gai shan jin shu kuang jia, yi ji shi yong zui jia xing neng de gang si, zui zhong chan sheng le yi zhong ju bei wu shu yin diao xiao guo de yue qi. zhei xie xiao guo han gai le cong zui jing zhi de he sheng dao ji hu quan bu de guan xian yue yin xiang, cong ming kuai liu chang de yin chang de yin diao dao jian rui de da ji yue qi de qing xi dong ren de hui hong qi shi. |
| The ancestry of the piano can be traced to the early keyboard instruments of the fifteenth and sixteenth centuries the spinet, the dulcimer, and the virginal. In the seventeenth century the organ, the clavichord, and the harpsichord became the chief instruments of the keyboard group, a supremacy they maintained until the piano supplanted them at the end of the eighteenth century. The clavichord' s tone was metallic and never powerful nevertheless, because of the variety of tone possible to it, many composers found the clavichord a sympathetic instrument for intimate chamber music. The harpsichord with its bright, vigorous tone was the favorite instrument for supporting the bass of the small orchestra of the period and for concert use, but the character of the tone could not be varied save by mechanical or structural devices. The piano was perfected in the early eighteenth century by a harpsichord maker in Italy though musicologists point out several previous instances of the instrument. This instrument was called a piano e forte sort and loud, to indicate its dynamic versatility its strings were struck by a recoiling hammer with a feltpadded head. The wires were much heavier in the earlier instruments. A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instrument capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a sharp, percussive brilliance. | |
| gāng qín de jiā xì kě yǐ zhuī sù zhì 15 zhì 16 shì jì zǎo qī de jiàn pán yuè qì, bāo kuò xiǎo xíng bō xián qín yáng qín hé wéi jīn nà qín. 17 shì jì shí fēng qín qiāo xián qín hé bō xián qín chéng wéi jiàn pán yuè qì lèi de zhǔ yào chéng yuán. zhè zhǒng zhì gāo wú shàng de dì wèi yī zhí wèi tā men suǒ bǎo chí, zhí dào 18 shì jì mò qī gāng qín jiāng tā men qǔ dài. qiāo xián gǔ gāng qín de yīn diào yǒu jīn shǔ de yīn zhì, quē fá xióng jìng. rán ér yóu yú tā de yīn diào biàn huà duō, xǔ duō zuò qǔ jiā fā xiàn duì yú qīn qiè de shì nèi yuè shì yī zhǒng dé tǐ de yuè qì. rén men zuì xǐ huān yòng jù bèi míng kuài yǒu lì yīn diào de bō xián gǔ gāng qín lái pèi hé dāng shí xiǎo xíng guǎn xián yuè tuán de dī yīn yuè qì yǐ jí zài yǎn zòu huì shàng yǎn zòu. dàn tā de yīn diào nán yǐ biàn huà, chú fēi shǐ yòng jī xiè huò gòu jiàn zhuāng zhì. 18 shì jì zǎo qī de yì dà lì, gāng qín zài yī wèi bō qín gāng qín zhì zào zhě shǒu zhōng de dào wán shàn jǐn guǎn yīn yuè lǐ lùn jiā men zhǐ chū yǒu gèng zǎo de lì zi . zhè zhǒng yuè qì bèi chēng wéi piano eforte yì dà lì yǔ, róu hé ér xiǎng liàng de, yǐ xiǎn shì tā yǒu lì de duō yàng xìng. yǎn zòu zhě yòng yí gè tóu bù dài pí zhān de dàn jī lè chuí qiāo jī qín xián. gèng zǎo de zhè zhǒng yuè qì zhī shàng de jīn shǔ sī yào zhòng dé duō. cóng cǐ, chí xù dào 19 shì jì de yī xì liè jī xiè shàng de gǎi jìn, bāo kuò yǐn rù tà bǎn yǐ wéi chí yīn diào huò shǐ qí róu hé, gǎi shàn jīn shǔ kuàng jià, yǐ jí shǐ yòng zuì jiā xìng néng de gāng sī, zuì zhōng chǎn shēng le yī zhǒng jù bèi wú shù yīn diào xiào guǒ de yuè qì. zhèi xiē xiào guǒ hán gài le cóng zuì jīng zhì de hé shēng dào jī hū quán bù de guǎn xián yuè yīn xiǎng, cóng míng kuài liú chàng de yín chàng de yīn diào dào jiān ruì de dǎ jī yuè qì de qīng xī dòng rén de huī hóng qì shì. |
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