<![CDATA[The so-called "French piano school" in the 21st century is rarely discussed and pointed out specifically. This goes the same way as Russian school or German school, for these national schools have been mixed and influenced between one and the others since artists were easily connected internationally in the twentieth century. As Jean-Philippe Collard (1948, France) said in his 1986 interview: "Today all the so-called schools have combined--the Russian, the French, the German, the Japanese, or what have you." (Timbrell, 225). However, it is important to know about their existence, for we would find out versatile techniques, artistry, and sound of the repertoires we learn. Based on qualitative research through books, journals, and articles, the writer will discuss about the French school: how it began from the time of Rameau and Couperin, enjoyed its celebrated jeu perlé technique, then slowly renewed itself toward the new international way of piano playing. At the end of this journal, we hope to have a new insight in applying various ways of practicing to find the perfect sound to our ears, in respect to French composers and their music. ]]>
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