The article addresses the urgent problem of modernizing higher music education, specifically overcoming the traditional gap between theoretical training and the practical stage activity of pianists. The aim of the research is to develop and theoretically substantiate an integrative model of piano teaching at the university level. Using systemic and comparative approaches, the paper analyzes existing educational programs, identifying their key deficits: the insufficient connection between theoretical courses and performance practice, inadequate attention to ensemble playing, stage psychology, and independent interpretation skills. Through a synthesis of the best traditions of the Russian piano school and modern pedagogical technologies, the author proposes a comprehensive three-component model. Its structural elements include the cognitive-analytical component (in-depth theoretical analysis of a musical piece), the activity-practical component (technical embodiment with simulation of stage situations), and the stage-creative component (realization in lecture-recital formats). The empirical validation of the model was carried out within a pedagogical experiment following a diagonal design, utilizing methods of observation, surveying, and expert evaluation. The model's effectiveness is confirmed by the results of experimental work, which demonstrated significant growth in student indicators such as stage stability (+36%), depth of theoretical analysis (+28%), and independence of interpretation (+35%).