A Cross-Cultural Comparison of Piano Finger Techniques Between East and West

Mengyu Hu; Nutthan  Inkhong

doi:10.60027/iarj.2026.e292274

Authors

Mengyu Hu Shinawatra University, Thailand https://orcid.org/0009-0001-2184-9252
Nutthan Inkhong Shinawatra University, Thailand https://orcid.org/0009-0002-1208-2763

DOI:

https://doi.org/10.60027/iarj.2026.e292274

Keywords:

Piano Technique, Cross-cultural Pedagogy, Western Rationalism, Eastern Aesthetics, Biomechanics, Embodied Performance

Abstract

Background and Aims: Piano finger techniques have developed under distinct cultural traditions. Western pedagogy emphasizes anatomical precision, finger independence, and mechanical clarity, while Chinese and other East Asian traditions highlight holistic coordination, energy flow, and expressive continuity. This study examines these differences and explores how hybrid pedagogy can enrich global piano education.

Methodology: A mixed-method design was applied, combining analysis of pedagogical texts, motion studies of six internationally recognized pianists, observations of more than ten masterclasses, and surveys of music educators.

Results: The findings reveal clear contrasts in articulation, wrist movement, and phrasing. Western approaches foster segmented control and technical standardization, while Eastern approaches prioritize fluidity, ergonomic efficiency, and integration of body and sound. Emerging hybrid practices demonstrate that combining these traditions enhances versatility and supports sustainable performance.

Conclusion: Piano technique is a form of culturally embedded knowledge. By integrating Western precision with Eastern expressiveness, this study proposes a hybrid pedagogy that reduces injury risks, deepens interpretive capacity, and promotes inclusive curricula in contemporary music education.

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