CONCEPTUAL FRAMEWORK TEACHING CHILDREN TO PLAY THE PIANO
In the initial period of a pianist's training, the foundations of his performing skills are laid. At the same time, the effectiveness of training will directly depend on which path, «auditory» or «motor», will be chosen. Formally agreeing with the theoretical position on the leading role of «artistic» development, pianist teachers often violate it in their practical activities. This can be seen from the requirements of the «National Piano Performance Examination» held in China. As a result, the accentuated attention to the technical side, to the detriment of the systematic musical and artistic education of the pianist, is fraught with negative consequences. Meanwhile, the correct choice of content and teaching methods is determined by its conceptual basis. At the same time, it should be taken into account that the passive development of musical thinking suppresses creativity in the training of a pianist, makes it difficult to interact with the emotional side of the musician's personality. The «auditory way» of learning, in its extended sense, can have an exceptionally great influence not only on the pianist's playing, but also on the process of his upbringing as a whole. It is genetically connected with the formation of the motives of educational activity: self-expression, creativity, to some extent inherent in the personality of each person. The foregoing was reflected in the well-known principle of musical pedagogy: «the unity of the artistic and technical under the leading artistic development». Its implementation into the practice of teaching will be determined not only by the methods and techniques of the young musician's artistic development, but, above all, by the change in approaches to the ultimate goal of education on the part of the music education system, by determining the content of its activities.