Pedagogical analysis of the process ofpianism in China

Abstract

The article considers the origins and the process of pianism in China. The relevance of the presented research is due to the contradiction that has developed in musical performance in China between the interest of pianists of various specializations, the attention of teacher-methodologists to the process of the formation of playing the piano, and the lack of awareness of musicians about the research in this area. The main emphasis is placed on the period from the middle of the 20th century to the beginning of the 21st century. The leading problem of piano culture in China in the period under study has been revealed: the discrepancy between the high level of development of technical skills and the level of development of the musical thinking of pianists. The characteristics of the activities of the most famous composers - representatives of the piano art of China have been offered. The article analyzes the influence of the piano work of European composers and musicians on the development of piano Pedagogy in China.The purpose of the research is to obtain the necessary scientific data for the further development of practical recommendations for studying the process of pianism in China. In the research the following methods were used: a holistic, structural analysis of the associative manifestations of the rich imaginative structure of the music of Chinese composers; analysis of various methods of learning to play the piano. As a result, the main trends in piano teaching in China have been revealed; actual recommendations for the development of the culture of piano performance have been formulated. The key findings. Learning to play the piano in China as a system for the development of musical thinking is built taking into account the ideas of the ancient philosophy of China. At the same time, there is a combination of national techniques in the musical pedagogy of China, and European "teaching techniques" of teaching playing the piano.