音樂的表達能力乃是藝術家在長期的探索和思考後逐漸鞏固起來，並慢慢地在無意識和有意識中，建立起自身對音樂的表達方式。此課程目標不在於解開所有鋼琴演奏風格的疑難雜症（這也是不可能的），而在於啟發學生。目的是期許學生於演奏時能有更清晰的思路，慢慢在無意識和有意識中培養正確的音樂感受，並對不同的作曲家和不同風格的作品有更好的掌握能力。

The expressive ability of music is gradually consolidated by artists after long-term exploration and thinking, and they slowly establish their own way of expressing music unconsciously and consciously. The goal of this course is not to solve all the intricacies of piano playing styles (which is also impossible), but to inspire students. The purpose is to hope that students can have clearer ideas when playing, slowly develop correct musical feelings unconsciously and consciously, and have a better grasp of works by different composers and different styles.

Badura-Skoda, Paul. Interpreting Bach at the Keyboard. New York: Oxford
University Press, 2002.
Badura-Skoda, Eva & Paul. Interpreting Mozart: The Performance of His Piano
Pieces and Other Compositions. New York: Routledge, 2008.
Kinderman, William, R. Larry Todd ed. Nineteenth-Century Piano Music –
Beethoven. New York: Routledge, 2004.
Rosenblum, Sandra P.. Performance Practices in Classic Piano Music.
Bloomington: Indiana University Press, 1991.
Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press,
1998.
羅薩琳•圖雷克（Rosalyn Tureck）著，盛原、盛方譯：《巴赫演奏指南》，北京：人民音樂出版社，2009年。

Badura-Skoda, Paul. Interpreting Bach at the Keyboard. New York: Oxford
University Press, 2002.
Badura-Skoda, Eva & Paul. Interpreting Mozart: The Performance of His Piano
Pieces and Other Compositions. New York: Routledge, 2008.
Kinderman, William, R. Larry Todd ed. Nineteenth-Century Piano Music –
Beethoven. New York: Routledge, 2004.
Rosenblum, Sandra P.. Performance Practices in Classic Piano Music.
Bloomington: Indiana University Press, 1991.
Rosen, Charles. The Romantic Generation. Cambridge: Harvard University Press,
1998.
"Bach Performance Guide" by Rosalyn Tureck, translated by Sheng Yuan and Sheng Fang, Beijing: People's Music Publishing House, 2009.