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The piano action mechanism,〔Nicholas J. Giordano (''Physics of the Piano'' ) p.43〕 or the key action mechanism,〔Jeff Pressing (1992) (''Synthesizer performance and real-time techniques'' ) p.124 quote: 〕 or simply the action of a piano or other musical keyboards, is the mechanical assembly which translates the depression of the keys into rapid motion of a hammer, which creates sound by striking the strings. Action can refer to that of a piano or other musical keyboards, including stage pianos and synthesizers. The key action mechanism determines weighted keys feeling,〔〔Katie Hafner (2009) (''A Romance on Three Legs: Glenn Gould's Obsessive Quest for the Perfect Piano'' ) p.52 quote: 〕〔Matthay (1963) p.91 quote: 〕 that is the feeling of the heaviness of the touch of the keys. ==History== The piano action was the core of Bartolomeo Cristofori's invention of the piano (ca. 1700). Other than in the action, the first pianos were quite similar in construction to contemporary harpsichords. Cristofori's action already embodied many of the principles still found in modern actions. It used levers to magnify the small motion of the key into a large motion of the hammer, and was arranged so that the very last part of the hammer's motion before striking the string would be purely the result of inertia and not be propelled by the key; this prevents the key from pressing the hammer firmly into the string and damping the sound. After Cristofori's death in 1731, a number of makers (for instance, Gottfried Silbermann) built pianos with actions that were essentially copies of Cristofori's. Others produced quite different actions, often simpler and less effective ones. In (roughly) the 1770s, the Augsburg builder Johann Andreas Stein developed an entirely new action in which the orientation of the hammer was reversed, with the hammer head closer to the player. This "Viennese" action was widely used by makers in Vienna, and was the action of pianos played by Haydn, Mozart, and Beethoven. It survived in Viennese pianos almost to the end of the 19th century. The modern grand action is a distant descendent of Cristofori's original. It emerged from the work in the 1770s of Americus Backers, which established the normal action for English pianos. In the 19th century, the English action was further modified by French builders, notably in the invention of the repetition lever, which facilitated rapidly repeating notes. Perhaps the best-known English piano action of the nineteenth century is the Brooks action of 1810. One of the most well-known French piano actions was created by Jean Schwander in 1844 (the Schwander action is still used in Bechstein pianos) and improved upon by his son-in-law Josef Herrburger. At the turn of the century, Schwander-Herrburger merged with Brooks, giving us the Herrburger-Brooks piano action, which can be seen as the definitive piano action of the twentieth century. Throughout the history of the action, it tended to become heavier and sturdier, in response to the increasing size, weight, and robustness of the instrument in general. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Action (piano)」の詳細全文を読む スポンサード リンク
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