鋼琴演奏在很大程度上既有情感表達的基礎，也有思想的產生。從這個角度看，音樂是任何音樂媒介中，從最簡單的自然到最複雜的自然表達的一種形式。Dubius, et al，(2001)強調，在絕大多數與績效相關的工作中，表達是一個核心概念，因爲無論何種類型的績效，表達對於績效都是必不可少的(Bernandt 2004)。著名的音樂評論家和作家Kivy(1993)和Hanslick(1904)反對音樂是一種情感體驗並與情感表達相關的觀點(Hall 1997)。然而，他們一致認爲，音樂性質的活動包括個人表達，並在本質上導致描繪情感體驗的概念。
作曲家應該在他們的音樂中表達他們的情感和感受，因爲這導致了聽衆情緒的喚起。因此，可以說音樂引導情感的表達表達。Juslin and Persson(2002)進一步強調，音樂在表現不同的情緒和感受方面很有用，比如恐懼、溫柔、憤怒、悲傷和幸福。在這一背景下，Laires(2005)從法國鋼琴家漫畫家漫畫家那裏得到了靈感，繼續探索額外的和隱藏的音樂意義，並將這些意義以個人的方式表達出來(Chen 1988)。然而，並不是每一種意義的表達都可以用語言來表達，因爲一個人在表達音樂作品時可能會有一種說不出話來的感覺。這是戴維斯(2003)提出的，他強調了音樂中描述的力量，這種力量有助於將情感、想法、表達和情感從字面上表達出來。此外，像Gordon(1995)和James(1994)這樣的音樂研究者認爲，聽音樂或演奏音樂是一種安慰和個人表達的來源，直接與聽者交流。在中國傳統的音樂教學方法中，教師保障學生有意義、有個性的表演自由(He 1994)。他們鼓勵他們營造氣氛。基於此，可以說，在音樂中，情感和感覺在將其設置爲一種通用語言中起着至關重要的作用。音樂在邏輯表達情感方面起着至關重要的作用，沒有情感，歌曲就沒有字面意義。
1st principle: Emotion expression and ideas generation via music
To a major range, performance on piano has its basis over emotion expression as well as generation of ideas. Music from this perspective is a form to express something from simplest nature to the most complicated nature in any medium of music. According to Dubius, et al, (2001), it has been stressed that expression is a core concept in the work based overwhelming majority related to performance as it is also essential for performance no matter what type of performance it is (Bernandt 2004). The celebrated music critic and writers, Kivy, (1993) and Hanslick, (1904), rejected the perspective that music is an emotional experience and related to emotional expression (Hall 1997). However, they were in agreement to the notion that activity of musical nature is inclusive of individual expression and essentially results in depicting emotional experiences.
Composers should be expressing their emotions and feelings within their music as it results in the arousal of emotions among the listeners. Hence, it can be stated that music leads expression representation of emotions. It was further emphasized by Juslin and Persson (2002) that music is useful in representation of different emotions and feelings like fear, tenderness, anger, sadness and happiness. In this context, Laires (2005) stated his inspiration from Cartot, a French pianist for continuing the investigation extra and hidden musical meaning, while expressing them personally (Chen 1988). However, not every expression of meanings can be done in words, as a person may have a feeling that he or she is out of words when expressing work of music. This was suggested by Davies (2003) highlighting the power of description in music that is useful in bringing out feelings, ideas, expression and emotion beyond the literal meaning. Also, music researchers such as Gordon (1995) and James (1994) suggested that listening to music or playing music is a source of comfort and personal expression, directly communicating with the ones listening. In the traditional methods of music teaching in China, teachers ensured the freedom of students for performing with meaning and personal expression (He 1994). They encouraged them to set the mood. Based on this, it can be stated that in music, emotion and feeling play a crucial role in setting it as a universal language. Music plays a crucial role in logically expressing feeling and without feeling, there is an absence of literal meaning in the song.