The possibilities of humanistic pedagogical technologies for the development of musical training for piano students

Abstract

The article examines humanistic pedagogical technologies aimed at developing musical-cognitive interest among piano students in Chinese universities. It analyzes the conditions under which person-centered learning, dialogic methods, situations of artistic choice, and reflective practices contribute to a deeper comprehension of musical material. The article explores the potential of humanistic pedagogical technologies in the professional training of piano students in Chinese universities against the backdrop of the growing humanistic turn in music education, where priorities shift from a one-sided focus on virtuosity to personality development, interpretive independence, and value-semantic attitudes toward the artistic text. It considers the characteristic gap in practice between students' high technical discipline and the insufficient development of skills in independent analysis, artistic strategy selection, and identification of a work's semantic structure, which is associated with the dominance of a vertical teaching model oriented toward reproducing prescribed solutions. As a productive alternative, technologies are described that activate musical-cognitive interest as an internal need to understand music: person-centered feedback that transforms evaluation into a mode of questioning and self-knowledge; dialogic analysis in which the student acts as co-author of the interpretation; creation of artistic choice situations through comparison of tempos, pedaling variants, and interpretive characters; the practice of expanded perception, integrating auditory experience with visual images, cultural-historical associations, and intermodal analogies. The importance of expanding the context through references to art history, music philosophy, cultural symbolism, comparative analysis of piano schools, interpretations, and historical materials is demonstrated, as well as the role of creative written forms (essays, interpretation diaries, brief reflections) that structure musical thinking. Group work, intonational modeling, and going beyond the instrument are highlighted separately as means of shifting perspective and enhancing research activity. The generalized effects include increased initiative, reduced fear of error, deepened argumentative analysis, and formation of a reflective culture, which collectively enhance the professional maturity of future music pedagogues-performers and make learning personally significant.