Can Wang

Can Wang

June 30, 2026

Pipa teaching, Adagio performance, Breathing perception, Playing tension, Body rhythm.

This article focuses on the problem of "lack of playing tension" in the teaching of pipa adagio, and puts forward that "breathing perception" as an intervention variable has independent and core teaching value. The article emphasizes that breathing not only bears the function of maintaining the tension of the playing body, but also serves as the internal structure of music rhythm organization and emotional progression, which has a key impact on the quality of performance. In the practice of pipa teaching, technical training is often separated from respiratory rhythm, resulting in students' rigid movements, unbalanced phrases, and weak timbre in adagio performance. Based on the theoretical perspective of rhythm-action-emotion linkage, this paper constructs a five-dimensional respiratory teaching path of “cognition-perception-control-fusion-evaluation”, and combines student cases to carry out process intervention and reflection, showing the systematic effect of respiratory training in the construction of performance tension, technical coordination and expression performance. The research points out that the introduction of systematic training of body perception and respiratory structure in pipa teaching not only improves students' performance and emotional authenticity, but also provides the possibility of cross-disciplinary reference for instrumental music teaching reform. The article advocates that breathing perception should be used as the basic element of adagio teaching, and the core means of transforming passive physiological response into positive performance strategy.

© 2026, the Authors. Published by ISCCAC

This is an open access article distributed under the CC BY-NC license