Analytical study of the playing techniques in the piano mazurca No. (1, 6) by Manuel Pons To improve performance for piano learners.

The flourishing of nationalism in Latin America (Brazil, Mexico, and Argentina is due to three factors, the first of which is the fertility and diversity of its popular and popular music, and secondly, the presence of generations of talented and capable authors who came to these musics with patriotic and artistic enthusiasm to seek their sources of inspiration. Most of them learned about it from its original sources and in its natural environments, and thirdly, the establishment of musical performance devices such as orchestras, ballet and opera groups within the framework of governments that sponsored them and were keen to encourage national music and disseminate it locally and internationally. The twentieth century witnessed a strong trend among Latin American composers to free themselves from the control of European musical thought, and their governments encouraged them to do so.
Manuel Ponce's piano compositions were distinguished by the use of multiple rhythmic patterns and diversity in melodic ideas, attention to shading, expressive terms and playing techniques. From this point of view, this study aimed to determine the playing techniques contained in the piano mazurka (the research sample) and using the analytical method of the playing techniques of the mazurka No. 1, 6), and the results reached to some concepts affected by European identity and French identity in particular, and different forms of piano playing techniques and how to benefit from them in the process of music education for piano students.