Grojimo fortepijonu pradžiamokslių istorinio tyrimo aspektai

LTPastaraisiais metais pedagogai vis labiau gilinasi į skambinimo fortepijonu mokymo metodikos problemas, tačiau pasigendama mokslinių tyrimų, kurie padėtų įvertinti istorinį pianistų pedagogų palikimą. Jis įprasmintas grojimo fortepijonu pradžiamoksliuose. Jų tyrimas galėtų būti metodologiniai pagrindai mokytojams, pradedantiems mokyti skambinti fortepijonu, kuriantiems savus grojimo fortepijonu pradžiamokslių variantus. Tyrinėta ir kritiškai įvertinta daug pradžiamokslių. Tai galėtų padėti mokytojams ne tik gilinti profesines žinias, bet ir kūrybingai jomis naudotis pamokose. Tyrinėta, kaip ir kokiais grojimo fortepijonu pradžiamoksliais naudojasi Lietuvos pedagogai. [Iš leidinio]Reikšminiai žodžiai: Skambinimo fortepijonu metodika; Pianizmas; Istorinis palikimas; Piano playing; Primary books; Historical techniques.

ENTechniques of teaching piano playing are a barely studied field in Lithuania. Works of European methodologists are not evaluated from the historic point of view, and furthermore, primer books prepared in Lithuania are not generalized. Problems of the piano players' didactics come to the light while consolidating the concept of training an aggregate, creative person. However, up to this day, there are only a few articles and methodological studies allotted to these themes. Magazines analyzing urgent problems in the field of music pedagogy do not reach Lithuania. The problem is becoming urgent, as pedagogues working at various music schools are not aware of historical techniques and use only well-known primer books in their everyday work. The article aims at presenting historical analysis of the techniques of work in piano classes. Objects of the study are: 1) the most famous works of European methodologists; 2) analysis of the primer books used by pedagogues. The study aims at presenting analysis of historical techniques of work in piano classes that are known to us. Conclusions: historical analysis side by side with the mostly practiced techniques based of physiologic cognition of a human, and today may open techniques of the XX Century giving an implication to music, which are not known by piano pedagogues and which shall be followed. [From the publication]