钢琴指法在钢琴演奏与钢琴教学中都具有极高的研究价值，而且合理的指法设计不仅仅是成功演奏的关键之一。因为作曲家的指法标记从某种程度来讲是正确诠释钢琴作品的重要线索，而对于钢琴学习者，正确的指法思维是掌握钢琴演奏的捷径。因此钢琴指法既可以帮助演奏者解决技巧的困难，亦可以有助于音乐的表达，但是在指法选择上，音乐性与技巧性在某种程度上会产生冲突，而如何解决这种矛盾，选择最适宜的指法就是本论文要探讨的问题。 本文从钢琴指法的历史发展研究其起，并从手指技术角度对于现代钢琴指法方式进行归纳，通过历史指法与现代指法方式的对比，从而进一步深入的探讨钢琴指法的选择问题，同时为现今钢琴指法教学提供合理的教学思路。 本文共由三个部分组成： 第一部分：对于历史上指法的发展进行梳理，寻求以音乐性为主导的指法设计的代表音乐家，并进行分析。 第二部分：对于现代钢琴指法类型进行总结，从手指运动角度对于指法技术进行分析。 第三部分：通过对比历史指法与现代指法技术，辨证地讨论指法音乐性与技巧性的平衡与选择。

Fingering is worth to being researched in aspects of piano performance and piano pedagogy, and fit fingering is a key element for successful piano performance, because fingering marked by composer is an important clue to understand the music correctly and good fingering is an effective way to improve piano technic for piano learner. In general, good fingering can play a crucial role in the expression of music and solution of piano technical problem, but in some ways option of fit fingering considered of musicality is opposite to option according to technicality, and I will discuss this problem, which is how to choose fit fingering in this paper. My research will begin from the development of historic fingering and then I will summarise the modern fingering from the “pure” technic, and finally I will find out the best way to select the right fingering by contrasting historic fingering with modern one and meanwhile to give suggestions to piano learner. There are three parts in this paper: First part: Researching historical fingering and its development from technic and ideologies. Second part: Doing summary on the approaches of fingering according to the aspects of finger movements. Three part: Contrasting historical fingering with modern one and discuss how to select the best fingering.