The peculiarities in prospective music teacher's learning to play the piano

Tyrimo problema apibrėžiama klausimais: kokia yra būsimųjų muzikos mokytojų mokymosi groti fortepijonu specifika Lietuvoje ir Kinijoje? Kokie yra būsimųjų muzikos mokytojų mokymosi groti fortepijonu universitete panašumai ir skirtumai abiejose šalyse? Kokie veiksniai daro įtaką studentų mokymosi groti fortepijonu proceso tobulinimui? Tyrimo objektas – būsimųjų muzikos mokytojų mokymasis groti fortepijonu. Tyrimo tikslas – išanalizuoti būsimųjų muzikos mokytojų mokymosi groti fortepijonu ypatumus Lietuvoje ir Kinijoje. Tyrimo uždaviniai:

1. Atlikti būsimųjų muzikos mokytojų mokymosi groti fortepijonu teorinę analizę, siekiant atskleisti proceso ypatumus.
2. Atskleisti būsimųjų muzikos mokytojų požiūrio specifiką į mokymąsi groti fortepijonu Lietuvoje ir Kinijoje.
3. Aptarti būsimųjų muzikos mokytojų mokymosi groti fortepijonu universitete panašumus ir skirtumus abiejose šalyse.
4. Išryškinti būsimųjų muzikos mokytojų mokymosi groti fortepijonu plėtojimo perspektyvas. Tyrimo metodai: Teoriniai – mokslinės literatūros ir švietimo dokumentų analizė. Empiriniai – kiekybinė ir kokybinė turinio (konteksto) analizė. Kiekybinio tyrimo metodai: studentų apklausa, kuri padeda atskleisti būsimųjų muzikos mokytojų mokymosi groti fortepijonu proceso ypatumus. Kokybinio tyrimo metodai: refleksija raštu su būsimaisiais muzikos pedagogais padeda įvertinti mokymosi groti fortepijonu ypatumus, tobulinant muzikos mokytojų rengimą universitete. Tyrimas atskleidė, kad muzikinis ugdymas abiejose šalyse šiandien yra aktuali ugdymosi sritis, kurioje veikdamas ugdytinis semiasi dvasinių, meninių, socialinių įgūdžių. Šiame kontekste būsimųjų muzikos mokytojų mokymasis groti fortepijonu universitete saistomas: su fortepijono dalyko studijų patrauklumu, studijų formų ir turinio įvairovės paieška; studentų skirtingų interesų ir ugdymo (si) tikslų realizavimo galimybėmis; su studento savarankiškumo, motyvacijos ir kūrybiškumo plėtote, pedagoginės sąveikos kontekstu studijų procese; su nuostata į bendražmogiškąsias ir kultūrines vertybes.

Relevance of the research –Music serves as an existing element in each culture. Cultural communication includes music cultural communication. Piano encompasses the culture of music that can be easily understood and transmitted through music language.This has become an important and worth considering condition for future piano teachers in cultivating students’ piano skills (Shan,2015, Xue, 2013).With the development of economic globalization, more and more music cultural exchanges between countries occur.Piano has also become an indispensable part of music culture.China also has a certain degree of rational and perceptual understanding of learning and playing the piano.Specific requirements are emphasized and put forward to develop and maintain piano teaching abilities of students (Qi,2006).The level of piano teaching is related to the foundation of music education career.The selection of different teaching modes should be based on the actual situation of piano teaching. This paper probes into different teaching modes of piano teaching methods and explores the cultural connotation of piano courses.Accordingly, presentpaper attempts to reveal the characteristics of piano teaching process through theoretical analysis of future music teachers’ piano learning in China and Lithuania.In the process of piano learning, only continuous improvement of students’ abilities and the advancement of teachers’ teaching methods can promote the gradual promotion of piano teaching and attract more skilful learners.The establishment and improvement of the curriculum system and teaching content serve asthe core formusic education, more specifically,for piano education of Chinese normal university and for the education of Lithuanian piano (Zhang,2011). Higher normal music education undertakes the task of cultivating music teachers in primary and secondary schools, and plays a decisive role in developingthe following notions, such as music cultural concept, music aesthetic concept, music knowledge and ability structure of music teachers in secondary schools.Piano teaching is a compulsory course of music education major in colleges and universities, andit refers to the most basic skill that music education major students should preserve. Based on the analysis of the status of music teachers’piano education in normal universities of Lithuania and China, presentpaper reveals the attitude of music teachers in Lithuania and China to learn piano in the future (Zheng,2011).The process of learningthepiano ismainly concentrated onthe scope of piano teaching, teaching mode, group lessons, impromptu accompaniment,curriculum and applied strategies. It also refers tothe research content, research direction, research methods, research perspectivesand so on (Huang, 2007). Therefore, present study requires deeper analysis into the future direction of piano study in the new century.In other words, this research is based on the theoretical foundation of already 8applied methods and strategies in the piano learning and it aims at exploring new and innovative ways which can be integrated into the content of piano teaching. Music shares and reflects differentcultures and attitudes. Cultural communication involves the spread of music culture. Piano serves as the easiest musical tool and a form of expression in order to comprehend the language of music. People are willing to accept the expression of piano musicand tend to express themselves. This has become an important condition for future piano teachers to develop students’piano skills (Zhang, 2018).Piano learning can have a strong motivationwhichrefers to the consciousness of people learning certain knowledge and direct interest in learning. The motivation to learn music is an incentive. It encourages individuals to engage in specific activities and play a role in general education and music education. The essence of music learning process requires long hours of practice (Hou, 2015).How to adapt to the current changes in social needs of music education piano majors and become qualified basic music education teachers is a problem that should beconsidered attentively(Ma, 2016). The professional piano teaching in music education aims atcultivating students and engaging them in ordinary music education work of piano playing skills and music expression.Present paper providestheanalysis on the similarities and differences ofteachers’learning piano music inLithuania’sand China's higher education colleges and universities. It also focuses onthe piano teaching methods and how can they improve the future music teachers’contribution topiano musicteaching in the future (Zheng, 2013).Today’smusic education reflects and adapts tostudents’social needsand interests.The purpose of piano education in music education is to train students to have the piano playing skills and musical expression ability which isnecessary for basicmusic education (Lin, 2003). Music education strives tobroaden students’aesthetic vision and improve their overall music quality through piano teaching. The piano education of Zhengzhou Normal University and the piano education of Vytautas Magnus University in Lithuaniaserve as main educational institutions on the basis of whichthe piano content is compared and analyzed. In music education majorit is important to consider the analysis of performance skillsin piano teaching as well asthe design of the teaching content and the understanding of the style of the work. By adaptingthe traditional teaching mode, students can actively mobilize independent thinking and independent learningwhich eventually results in a constantstimulation of students’potential and progression(Qi, 2006). The teaching ability and performance ability that need to be possessed in the future teaching workserve as major aims at the present paper with the additional focus ofhow to lay a solid foundation for lifelong learning and musical developmentin teaching. 9The problemof the research:1.What are the characteristics of prospective music teachers’ learning to play the piano in Lithuania (VMU AE) andChina (ZNU)? 2.What are the similarities and differences of prospective music teachers’ learning to play the piano in both countries?3.Which factors influence the improvement of the process of students’ learning to play the piano?The object of the research–prospective music teachers’ learning to play the piano.The aim of the research –to analyse the peculiarities of prospective music teachers’ learning to play the piano in Lithuania andin China. The objectives of the research:1.To analyze the theoretical framework of prospective music teachers’ learning to play the piano and reveal the peculiarities of the process.2.To reveal the characteristics of prospective music teachers’ attitude towards learning to play the piano in Lithuania and China.3.To discuss the similarities and differences in prospective music teachers’ learning to play the piano in both countries.4.To highlight the perspectives for development of prospective music teachers’ learning to play the piano.The methods of the research:Theoretical methods:analysis of scholarly literature and educational documents.Empirical methods:qualitative and quantitative content analysis.Quantitative research methods:students’ survey which aims at revealing the peculiarities of the process of prospective music teachers’ learning to play the piano.Qualitative research methods:written reflections with students assess the peculiarities in learning to play the piano and discover improvement tendencies for future music teachers at university. Structure of thesis:present thesis consists of the following parts:the theoretical framework; the research,conclusions, references, appendices. Charts: 20 tables and 10 figuresin total. The overall scope of the thesis encompasses 57pages (71with appendices).