Can Wang

Can Wang

June 30, 2026

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

The article focuses on the problem of "lack of playing tension" in pipa adagio teaching, and proposes that "breath perception" as an intervention variable has independent and core teaching value. The article emphasizes that breathing not only plays a role in maintaining the tension of the playing body, but also serves as an internal structure for organizing music rhythm and emotional progression, which has a critical impact on the quality of performance. In the practice of pipa teaching, technical training is often disconnected from the breathing rhythm, resulting in students experiencing rigid movements, imbalanced phrases, and weak timbre during slow tempo playing. Based on the theoretical perspective of rhythm action emotion linkage, this article constructs a five-dimensional respiratory teaching path of "cognition - perception - control - fusion - evaluation", and combines student cases to carry out process intervention and reflection, demonstrating the systematic effectiveness of respiratory training in the construction of performance tension, technical coordination, and expression performance. Research has shown that introducing systematic training in body perception and respiratory structure into pipa teaching not only enhances students' performance and emotional authenticity, but also provides the possibility of cross disciplinary reference for instrumental music teaching reform. The article advocates using breathing perception as a fundamental element of adagio teaching, transforming passive physiological responses into the core means of positive performance strategies.

© 2026, the Authors. Published by ISCCAC

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