# The Innovative Trend of Piano Teaching in Music Education in Multicultural Education under Ecological Environment

Authors: Yuan Lu
Journal: Journal of Environmental and Public Health
 (2022)

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## Abstract

Primarily based on theoretical studies of multicultural pedagogy, anthropology of music, and postmodern music education concepts, techniques combining qualitative and quantitative research are used. Eight types of design guidelines are then proposed according to different intelligence characteristics, according to intelligence characteristics and context of conversational design. Finally, based on the perspective of multicultural learning environments, this work will explore and provide insights into new concepts of piano teaching in multicultural learning environments in three areas: new piano teaching, new instruction, and new piano learning materials. The experimental results show that piano teaching activities based on multiple intelligences theory can stimulate students’ interest in learning music, fully mobilize students’ initiative in learning music, and improve the quality of music teaching.


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## Body

## 1. Introduction

With the advent of the information age, the cultural structure of human society is becoming more and more complex, cultural renewal and transformation emerge one after another, traditional culture has ushered in opportunities and challenges, new culture is also sprouting and growing, and different human needs have created different cultures and finally achieved multiculturalism. In the context of cultural diversity, people’s acceptance of new culture has increased significantly, and traditional culture is facing challenges. How to inherit and develop traditional culture needs to be reconsidered. Piano culture has also been influenced by multiculturalism, partly by the diversity of musical instruments and partly by the diversity of music styles. Therefore, there should be some changes in piano teaching methods. In addition to the influence of multiculturalism, the change of national education policy is also an important driving force for the reform and innovation of piano teaching in Higher Vocational Colleges [1]. In short, teachers should consider the influence of multiculturalism, change the traditional teaching concept when carrying out piano teaching activities, think from the perspective of students, and gradually build a student-centered teaching classroom. Music is an art that is difficult to define. In the process of education, it is difficult to judge whether the music culture understood by students is correct. What teachers need to do is to guide students to understand the connotation of music, improve students’ judgment ability of music culture, and make them down-to-earth and not be easily affected by diversified music culture.Ecological environment refers to the general term for the quantity and quality of water resources, land resources, biological resources, and climatic resources that affect human survival and development and is a complex ecosystem related to the sustainable development of society and economy. Ecological environmental problems refer to the various negative feedback effects that endanger human survival caused by the destruction and pollution of the natural environment in the process of human beings for their own survival and development and in the process of using and transforming nature.The term multiculturalism originated in the United States in the 1980s. The first term is “multiculturalism.” This shows that as human life becomes more difficult and information flows, cultural change and change can take place faster than ever before. The development of different cultures is facing different challenges and challenges, and new cultures have emerged one after another. In the complex structure of modern society, different cultures are necessary to promote social harmony. As a community formed, the culture of diversity, that is, diversity, develops on the basis of social relations [2]. Multicultural music education came into being with the development of multiculturalism. From the perspective of multicultural education theory, piano teaching in normal universities is also developing in the direction of multiculturalism. Teachers must closely follow the development and requirements of the times and reform and innovate piano teaching.Multicultural content has been formed in the integration of different countries and national cultures. Through the analysis of piano teaching in music and dance education, teachers gradually realize this problem. In the study of national music in piano classroom, students can broaden their knowledge and improve their piano literacy (Figure1). However, in the course teaching, there is a problem of relatively single teaching content. Students cannot better master piano knowledge in this environment, which also brings restrictions to the improvement of piano ability. Moreover, in teaching, teachers only take the piano playing technology as the teaching focus, and students pay too much attention to the piano playing fingering in daily practice. Although the piano playing skills have made obvious progress, the lack of understanding of music cultural background, diversified piano knowledge, and music aesthetic ability has brought restrictions to the improvement of students’ comprehensive quality [3].Figure 1
Musical education.Therefore, through reading literature, this paper combs and defines the concepts of multicultural education, multicultural music education, world music, and music teacher education in normal universities and recognizes that multicultural education has brought great challenges to music teachers. Developing world music class is the basis of developing multicultural music education. The investigation contents include the curriculum setting of students majoring in music teacher education, their attitude and mastery of world music, and their attitude, cognition, and learning of the ecological environment. The lecture of multicultural music education analyzes the existing problems and puts forward some ideas to establish a new model of multicultural curriculum of music teacher education in colleges and universities.


## 2. Literature Review

Multiculturalism is mainly people’s cognition and analysis of different cultures. In the current context of global economic integration, the cultures of different countries are integrated with each other, which makes the culture show diversified development [4]. Virgona Kashima and others believe that multiculturalism is a cultural form that appears in the complex social background. Multiculturalism brings new ideas and ideas to piano teaching. Based on the perspective of piano teaching and in a multicultural environment, relevant teachers should also establish the awareness of multiculturalism and strive to innovate piano teaching methods [5]. Olutoyin et al. and others believe that, under the multicultural background, certain changes have taken place in piano teaching in music and dance education, and their piano teaching pays more attention to the integration with culture. Under the influence of multiculturalism, students can not only master basic playing skills but also expand more learning content. They can also integrate different styles and creative characteristics into piano course learning, highlight their own cultural contents, recognize the music culture of other countries, and imperceptibly form a sense of cultural equality and broad vision [6]. Nortio et al. and others believe that, combined with the piano teaching characteristics of music and dance education, under the multicultural teaching background, it can build a diversified learning environment for students and guide students to enrich their own cultural literacy while improving their piano professional ability [7]. Barter and Vo and others believe that, in the multicultural education environment, in the specific piano teaching, teachers should improve themselves with multiple thinking, adapt to the characteristics of students learning music, meet the basic needs of students for music learning, and strive to create an effective model of multicultural piano education suitable for modern development [8]. Oh and others found that piano class is a skill teaching class. What teachers teach students is not only the written knowledge about piano but also the playing technology of piano. To some extent, the current general teaching mode is more traditional. Teachers are in a dominant position in the classroom, and students only passively accept the knowledge and information transmitted by teachers. This teaching model is more like a conscious mechanical imitation, which is widely used in the enlightenment stage of piano teaching [9]. Lim and others believe that if teachers want to innovate the piano teaching mode in the multicultural education environment, they must first cultivate students’ multicultural thinking and help students establish a variety of aesthetic concepts. Students’ understanding of the concept of multiculturalism may be somewhat vague. Therefore, teachers should introduce the concept of multiculturalism into the classroom, make students fully aware of the desirability of multiculturalism in learning, and further cultivate students’ multicultural thinking [10]. Secondly, Andacht and others believe that, with the multicultural education environment, the spare resources of piano education should be rich and extensive, the content of piano teaching should be profound and valuable, and the most important thing is to combine students’ interests and hobbies. Music resources in different periods, styles, and forms can be used to serve students’ learning. At the same time, teachers should let students analyze and compare works of different styles, further cultivate students’ musical literacy, and help students establish aesthetic concepts with rich connotation [11]. Troyan and others believe that the ecological environment and the natural environment are very similar in meaning, and sometimes people use them together, but strictly speaking, the ecological environment is not the same as the natural environment. The extension of the natural environment is relatively wide, and the totality of various natural factors can be said to be the natural environment, but only the system as a whole with certain ecological relationships can be called the ecological environment. The whole is composed of only abiotic factors; although it can be called the natural environment, it cannot be called the ecological environment [12].


## 3. Method

### 3.1. Innovate Piano Teaching Mode under the Guidance of Multicultural Concept

Ecogeographical environment is a functional system called an ecosystem and composed of biological communities and their related inorganic environments. In the evolution process of a specific ecosystem, when it develops to a certain stable stage, various opposing factors through the mutual restriction of the food chain make the material cycle and energy exchange reach a relatively stable equilibrium state, thus maintaining the ecological environment stable and balanced. If the environmental load exceeds the limit that the ecosystem can bear, it may lead to the weakening or failure of the ecosystem.In the ecological environment multicultural education environment, in the specific piano teaching, teachers should improve themselves with multiple thinking, adapt to the characteristics of students’ learning music, meet the basic needs of students for music learning, and strive to create an effective model of multicultural piano education to adapt to the development of modernization. Piano class is a skill teaching class. What teachers teach students is not only the written knowledge about piano but also the playing technology of piano. To some extent, the current general teaching mode is more traditional [13]. Teachers are in a dominant position in the classroom, and students only passively accept the knowledge and information transmitted by teachers. This teaching model is more like a conscious mechanical imitation, which is widely used in the enlightenment stage of piano teaching. To innovate the piano teaching mode in the multicultural education environment, teachers must first cultivate students’ multicultural thinking and help students establish a variety of aesthetic concepts. Students’ understanding of the concept of multiculturalism may be somewhat vague [14]. Therefore, teachers should introduce the concept of multiculturalism into the classroom, make students fully aware of the desirability of multiculturalism in learning, and further cultivate students’ multicultural thinking. Secondly, in order to cooperate with the multicultural education environment, the spare resources of piano education should be rich and extensive, the content of piano teaching should be profound and valuable, and the most important thing is to combine students’ interests and hobbies. Music resources in different periods, styles, and forms can be used to serve students’ learning [15]. At the same time, teachers should let students analyze and compare works of different styles, further cultivate students’ musical literacy, and help students establish aesthetic concepts with rich connotation. Thirdly, teachers should actively adapt to the multicultural educational environment and create a harmonious teaching atmosphere. Multiculturalism develops and progresses in coexistence, interpreting the concept of harmony and integration and extending it to piano teaching [16]. Teachers should also uphold this concept, create a harmonious learning atmosphere for students, and embody it in teaching methods, teaching contents, teaching means, and so on. For example, in the current stage of piano teaching, the teaching form of one teacher corresponding to multiple students will hinder the development of students. In this regard, teachers should adopt the layered teaching method to distinguish students of different degrees and stages and then reasonably set the forms of large class, group class, and individual counseling class according to the differentiation results. In terms of teaching content, teachers should also timely add some common teaching content integrating theory and knowledge. Finally, teachers should actively adopt modern teaching methods to make students more vividly and intuitively experience the charm of piano art.


### 3.2. Recognition Principle of Stroke Element in Piano

Line element is a pure linear geometric line in the definition of piano. It is the smallest unit in handwritten sketch and the basis and core of sketch recognition. The principle of line element recognition is roughly as follows: line element recognition is to judge which geometric line element the original input irregular stroke is. Its purpose is to give a reasonable explanation for the geometric meaning represented by the line element and calculate its geometric feature information. Its recognition process mainly includes stroke data acquisition, data preprocessing, line element classification (from coarse classification to fine classification), and finally the regularization of line elements, that is, fitting. The first is the digital description of strokes [17]. The collected stroke trajectories are stored in the designed data structure according to certain rules. Next, due to the nonstandard writing of users, different styles, and other factors, there will be some noise in the sampling points, which needs to be denoised to facilitate the smooth progress of subsequent research work.Through the analysis of the common strokes of hand-painted sketch graphics, it is found that the stroke elements have their own representative characteristics. In order to recognize and classify them, three features play an important role in rough classification, including the closure feature of pen and scribe element, the inflection point feature, and the outsourcing bounding box feature.In the case of single stroke, that is, one stroke at a time, calculate the length L1 of the connecting line between the head and tail points of the stroke and the cumulative chord length L2 of the stroke, and then the length closure factor, that is, the straightness rate, is defined as(1)Kclose=L1L2.Take the ellipse as an example; it needs to be calculated according to the standard equation of the ellipse:(2)x−X2a2+y−Y2b2=1.The connecting line between the starting pointp of the stroke and the center point of the ellipse is defined as n,and its equation is as follows:(3)y=k1X+b1.The connecting line between the endpoint Pn of the stroke and the center point 0 of the ellipse is defined as 12, and its equation is as follows:(4)y=k2X+b2.The sample meanSP from stroke to deviation Si is(5)SP=∑l=0nS1k+1.The sample varianceDp from stroke to deviation Si is(6)Dp=∑l=0kSi−Sp2k+1.


### 3.3. Analysis of Students’ Cognition of Multicultural Music Education Concept

When answering whether they agree that the music of all nationalities in the world (including Western Art Music) is equally important and there is no distinction between advanced and backward, as shown in Table1, 56.7% of the students hold the correct view and have a relatively objective understanding of the music of different nationalities and regions and an attitude of equality and respect [18]. However, 13.3% of the students judged the relationship between national music from their own preferences. 28.3% of the students classified music as advanced, backward, high level, and low level and believed that European classical music was better and more systematic than that of any nation in the world in terms of music techniques and development track [19].Table 1
Whether the music of all nationalities in the world (including Western Art Music) equally important.
Number of peopleProportionOption10155.7Agree4827.3Disagree2312.3Agree31.7DisagreeAs shown in Figure2, 75.6% of the students chose “agree,” 20% of the students chose “neutral,” 3.3% of the students chose “disagree,” and 1.1% (2) of the students chose “extremely disagree.” This question reflects the core concept of multicultural education, that is, equality and mutual respect. Respect for other nationalities comes from understanding them, and the concept of equality can be generated only on the basis of understanding. We can see that 75.6% of the total students choose the “agree” option, which shows that most students recognize that music education can cultivate their attitude and position of equality and respect for their nation [20]. However, 24.4% of the students still expressed ambiguity or disapproval of the core concept of “equality and respect.”Figure 2
Whether learning world music conducive to the formation of an attitude of equality and respect.As shown in Figure3, 88.3% of the students like ethnic minority music, and 11.7% of the students clearly indicate that they do not like ethnic minority music in China. They think it has nothing to do with their major. They think this music is very old-fashioned, low-grade, and bad to listen to. They look at the music phenomenon of ethnic minorities with an attitude of exclusion and contempt, ignoring the pluralistic phenomenon of Chinese music culture. Multicultural music education should first ensure to pay attention to China’s multicultural music so as to better learn multicultural music around the world. According to the data, in the answer of “like,” as shown in Figure 4, we can see that some students choose to like minority music either because of their folk music major or because of curiosity and freshness, while only the remaining 57.8% of the students have an accurate understanding and grasp of the status of minority music in the world.Figure 3
Students’ love of minority music.Figure 4
Reasons for liking minority music.In addition to Western Art and Music, 148 people chose “little understanding,” 21 chose “general understanding,” 10 chose “not knowing at all,” and 0 chose “very understanding.” This question is to let students self-evaluate their mastery of world music knowledge. As shown in Figure5, 82.7% of the students think they lack knowledge of world music. Although it has been studied for nearly a semester, the effect is not satisfactory [21].Figure 5
Understanding of world music (except Western Art Music).In addition to Western Art and Music, 138 people chose “little understanding,” 22 chose “general understanding,” 11 chose “no understanding at all,” and 0 chose “very understanding.” This question is to let students self-evaluate their mastery of world music knowledge. As shown in Figure6, 82.7% of the students think they lack knowledge of world music. Although it has been studied for nearly a semester, the effect is not satisfactory [22].Figure 6
Understanding of world music.


## 3.1. Innovate Piano Teaching Mode under the Guidance of Multicultural Concept

Ecogeographical environment is a functional system called an ecosystem and composed of biological communities and their related inorganic environments. In the evolution process of a specific ecosystem, when it develops to a certain stable stage, various opposing factors through the mutual restriction of the food chain make the material cycle and energy exchange reach a relatively stable equilibrium state, thus maintaining the ecological environment stable and balanced. If the environmental load exceeds the limit that the ecosystem can bear, it may lead to the weakening or failure of the ecosystem.In the ecological environment multicultural education environment, in the specific piano teaching, teachers should improve themselves with multiple thinking, adapt to the characteristics of students’ learning music, meet the basic needs of students for music learning, and strive to create an effective model of multicultural piano education to adapt to the development of modernization. Piano class is a skill teaching class. What teachers teach students is not only the written knowledge about piano but also the playing technology of piano. To some extent, the current general teaching mode is more traditional [13]. Teachers are in a dominant position in the classroom, and students only passively accept the knowledge and information transmitted by teachers. This teaching model is more like a conscious mechanical imitation, which is widely used in the enlightenment stage of piano teaching. To innovate the piano teaching mode in the multicultural education environment, teachers must first cultivate students’ multicultural thinking and help students establish a variety of aesthetic concepts. Students’ understanding of the concept of multiculturalism may be somewhat vague [14]. Therefore, teachers should introduce the concept of multiculturalism into the classroom, make students fully aware of the desirability of multiculturalism in learning, and further cultivate students’ multicultural thinking. Secondly, in order to cooperate with the multicultural education environment, the spare resources of piano education should be rich and extensive, the content of piano teaching should be profound and valuable, and the most important thing is to combine students’ interests and hobbies. Music resources in different periods, styles, and forms can be used to serve students’ learning [15]. At the same time, teachers should let students analyze and compare works of different styles, further cultivate students’ musical literacy, and help students establish aesthetic concepts with rich connotation. Thirdly, teachers should actively adapt to the multicultural educational environment and create a harmonious teaching atmosphere. Multiculturalism develops and progresses in coexistence, interpreting the concept of harmony and integration and extending it to piano teaching [16]. Teachers should also uphold this concept, create a harmonious learning atmosphere for students, and embody it in teaching methods, teaching contents, teaching means, and so on. For example, in the current stage of piano teaching, the teaching form of one teacher corresponding to multiple students will hinder the development of students. In this regard, teachers should adopt the layered teaching method to distinguish students of different degrees and stages and then reasonably set the forms of large class, group class, and individual counseling class according to the differentiation results. In terms of teaching content, teachers should also timely add some common teaching content integrating theory and knowledge. Finally, teachers should actively adopt modern teaching methods to make students more vividly and intuitively experience the charm of piano art.


## 3.2. Recognition Principle of Stroke Element in Piano

Line element is a pure linear geometric line in the definition of piano. It is the smallest unit in handwritten sketch and the basis and core of sketch recognition. The principle of line element recognition is roughly as follows: line element recognition is to judge which geometric line element the original input irregular stroke is. Its purpose is to give a reasonable explanation for the geometric meaning represented by the line element and calculate its geometric feature information. Its recognition process mainly includes stroke data acquisition, data preprocessing, line element classification (from coarse classification to fine classification), and finally the regularization of line elements, that is, fitting. The first is the digital description of strokes [17]. The collected stroke trajectories are stored in the designed data structure according to certain rules. Next, due to the nonstandard writing of users, different styles, and other factors, there will be some noise in the sampling points, which needs to be denoised to facilitate the smooth progress of subsequent research work.Through the analysis of the common strokes of hand-painted sketch graphics, it is found that the stroke elements have their own representative characteristics. In order to recognize and classify them, three features play an important role in rough classification, including the closure feature of pen and scribe element, the inflection point feature, and the outsourcing bounding box feature.In the case of single stroke, that is, one stroke at a time, calculate the length L1 of the connecting line between the head and tail points of the stroke and the cumulative chord length L2 of the stroke, and then the length closure factor, that is, the straightness rate, is defined as(1)Kclose=L1L2.Take the ellipse as an example; it needs to be calculated according to the standard equation of the ellipse:(2)x−X2a2+y−Y2b2=1.The connecting line between the starting pointp of the stroke and the center point of the ellipse is defined as n,and its equation is as follows:(3)y=k1X+b1.The connecting line between the endpoint Pn of the stroke and the center point 0 of the ellipse is defined as 12, and its equation is as follows:(4)y=k2X+b2.The sample meanSP from stroke to deviation Si is(5)SP=∑l=0nS1k+1.The sample varianceDp from stroke to deviation Si is(6)Dp=∑l=0kSi−Sp2k+1.


## 3.3. Analysis of Students’ Cognition of Multicultural Music Education Concept

When answering whether they agree that the music of all nationalities in the world (including Western Art Music) is equally important and there is no distinction between advanced and backward, as shown in Table1, 56.7% of the students hold the correct view and have a relatively objective understanding of the music of different nationalities and regions and an attitude of equality and respect [18]. However, 13.3% of the students judged the relationship between national music from their own preferences. 28.3% of the students classified music as advanced, backward, high level, and low level and believed that European classical music was better and more systematic than that of any nation in the world in terms of music techniques and development track [19].Table 1
Whether the music of all nationalities in the world (including Western Art Music) equally important.
Number of peopleProportionOption10155.7Agree4827.3Disagree2312.3Agree31.7DisagreeAs shown in Figure2, 75.6% of the students chose “agree,” 20% of the students chose “neutral,” 3.3% of the students chose “disagree,” and 1.1% (2) of the students chose “extremely disagree.” This question reflects the core concept of multicultural education, that is, equality and mutual respect. Respect for other nationalities comes from understanding them, and the concept of equality can be generated only on the basis of understanding. We can see that 75.6% of the total students choose the “agree” option, which shows that most students recognize that music education can cultivate their attitude and position of equality and respect for their nation [20]. However, 24.4% of the students still expressed ambiguity or disapproval of the core concept of “equality and respect.”Figure 2
Whether learning world music conducive to the formation of an attitude of equality and respect.As shown in Figure3, 88.3% of the students like ethnic minority music, and 11.7% of the students clearly indicate that they do not like ethnic minority music in China. They think it has nothing to do with their major. They think this music is very old-fashioned, low-grade, and bad to listen to. They look at the music phenomenon of ethnic minorities with an attitude of exclusion and contempt, ignoring the pluralistic phenomenon of Chinese music culture. Multicultural music education should first ensure to pay attention to China’s multicultural music so as to better learn multicultural music around the world. According to the data, in the answer of “like,” as shown in Figure 4, we can see that some students choose to like minority music either because of their folk music major or because of curiosity and freshness, while only the remaining 57.8% of the students have an accurate understanding and grasp of the status of minority music in the world.Figure 3
Students’ love of minority music.Figure 4
Reasons for liking minority music.In addition to Western Art and Music, 148 people chose “little understanding,” 21 chose “general understanding,” 10 chose “not knowing at all,” and 0 chose “very understanding.” This question is to let students self-evaluate their mastery of world music knowledge. As shown in Figure5, 82.7% of the students think they lack knowledge of world music. Although it has been studied for nearly a semester, the effect is not satisfactory [21].Figure 5
Understanding of world music (except Western Art Music).In addition to Western Art and Music, 138 people chose “little understanding,” 22 chose “general understanding,” 11 chose “no understanding at all,” and 0 chose “very understanding.” This question is to let students self-evaluate their mastery of world music knowledge. As shown in Figure6, 82.7% of the students think they lack knowledge of world music. Although it has been studied for nearly a semester, the effect is not satisfactory [22].Figure 6
Understanding of world music.


## 4. Subjects

In order to understand the situation of students’ piano teaching intelligence, this paper distributed the multiple intelligences questionnaire: multiple intelligence test scale to the two parallel classes selected before and after the teaching experiment, with class 1 (3) of grade 1 being set as the control class and class 1 (9) of grade 1 being set as the experimental class. The purpose is to understand whether the teaching strategies proposed by the music situational teaching in junior middle school based on the theory of multiple intelligences can promote the development of students’ corresponding intelligence [23].Before the experiment, the students in the experimental class and the control class were tested with the multiple intelligences test scale. The test results are shown in Table2.Table 2
Comparison of pretest differences of intelligence between experimental class and control class.
Intelligent typeClassNMSdTPSignificanceLanguage intelligenceExperimental class4815.672.150.6720.503XControl class4813.007.27Logical digital intelligenceExperimental class4814.256.980.3940.694XControl class4813.354.48According to the comparison data in Table2, prior to the experiment, there was no difference in the mean scores between the students’ knowledge of the laboratory (9) class and the control room, which is of the same importance. Use SPSS 23.0 statistical software to make the model independent by the t-test model of the data before testing the data of 8 skills of students in two classes, and it was determined that, according to the statistics, at P>0.05, there was no significant difference between the two samples before and after the test, which was not significant in the analysis separate [21]. The students in the experimental class and the control class are given the same multivariate posttest as the pretest. The test results are as follows (Table 3).Table 3
Comparison of intelligence posttest differences between experimental class and control class.
Intelligent typeClassNMSdTPSignificanceLanguage intelligenceExperimental class4816.044.512.1780.032∗Control class4814.084.40Logical digital intelligenceExperimental class4815.984.990.6610.510XControl class4815.255.98The comparative data in Table3 show that one year after a music experiment based on different skills in high school, the average score of students in the classroom tends to be higher than that of children in the control room. After an experiment in teaching music based on multiple intellectual theories in the middle class, a distinction was made between physical kinesthetic intelligence, laboratory, and control room personal intelligence (P<0.01); there is a difference between verbal intelligence, spatial intelligence, and personal intelligence (0.01<P<0.05). However, there was no significant difference in mathematical and scientific knowledge (P>0.05). It showed that, after the experiment, some intelligence of students in the experimental class had been effectively developed and significantly changed; especially the physical kinesthetic intelligence, musical intelligence, and self-cognitive intelligence of students in the experimental class had been significantly improved (P<0.01). Therefore, it is concluded that the application of multiple intelligences theory in music situational teaching in junior middle school is effective in cultivating students’ multiple intelligences.To understand whether there was a difference in pre- and posttest intelligence in the control class, 50 control class students were compared lengthwise before and after the test. The results are as follows (Table4).Table 4
Comparison of pretest and posttest differences of intelligence of students in the control class.
Intelligent typeClassNMSdTPSignificanceMathematical intelligenceAfter the experiment4814.254.980.1250.235Spatial intelligenceBefore experiment4818.347.40−0.2510.601XAfter the experiment4818.175.68Body kinesthetic intelligenceBefore experiment4813.703.920.7300.421XAfter the experiment4813.185.17Musical intelligenceBefore experiment4813.546.45−1.0060.217XAfter the experiment4814.474.11According to statistical analysis, whenP>0.05, there was no significant difference between the two samples before and after the test. Table 4 shows that there is no significant difference in the development of various intelligence of students in the control class before and after the experiment (P>0.05), which has not been effectively developed.In order to understand the differences and significant changes in the pre- and postlaboratory tests before and after teaching students’ knowledge, this paper compares the pre- and posttest of intellectual competence over a longer period of time. There are 48 students in the laboratory. The results are as follows (Table5).Table 5
Comparison of pretest and posttest differences of students’ intelligence in experimental class.
Intelligent typeBefore and after the experimentNMSdTPSignificanceLanguage intelligenceBefore experiment4812.675.05−2.0180.043∗After the experiment4814.046.51Logical digital intelligenceBefore experiment4815.684.74−1.2470.218XAfter the experiment4814.205.99Spatial intelligenceBefore experiment4820.252.08−2.060.042∗After the experiment4821.342.74BodyBefore experiment4814.807.10−2.5370.001∗∗The difference between the two is very significant. Table5 shows that we can draw the following conclusions: one year after the music situational teaching experiment in junior middle school based on the theory of multiple intelligences, there were significant differences in physical kinesthetic intelligence, music intelligence, and self-cognitive intelligence among the students in the experimental class (P<0.01). There were significant differences in language intelligence, spatial intelligence, and interpersonal intelligence (0.01< P<0.05). There was no significant difference in logical mathematical intelligence and natural observation intelligence (P>0.05). It shows that, after a period of teaching experiments, some of the students’ intelligence has been effectively developed, and significant changes have taken place; especially, the body kinesthetic intelligence, music intelligence, and self-cognitive intelligence have been significantly improved. Therefore, we come to the conclusion that it is effective to cultivate students’ multiple intelligences by creating diversified music teaching situational strategies.Before the experiment, all students in the two classes used the same test paper for the piano quiz. The test results are as follows (Table6).Table 6
Comparison of pretest differences of piano scores between experimental class and control class.
ClassNMSdTPSignificanceScoreExperimental class4858.4119.951.650.657XControl class4858.2318.26A comparison of the data in Table6 shows that the score between the test room and the control room before the test show was 60.14, with a difference of only 0.73 to 59.41. Second, the music score in the control room (9) was 60.14 ± 20.95, while the music score in the control room (3) was 59.41 ± 19.17, with no significant difference. The results of the t-test of the data from the two pretest groups showed that, at P>0.05, there was no significant difference between the two pretest and posttest samples, which was not significant [24]. From the data shown in Table 6, it is important that there is no significant difference (P>0.05) between the music scores of the students in the pretest laboratory and the control room and that this may be based on application and comparison. Case music experiments can be performed in two classes in elementary school based on multiskill theory.At the end of the one-year experimental teaching, all students in the experimental class and the control class were tested for their music scores. The test results are as follows (Table7).Table 7
Comparison of posttest differences of piano scores between experimental class and control class.
ClassNMSdTPSignificanceScoreExperimental class4856.4816.502.0250.024∗Control class4859.3516.15The data in Table7 show that, after the teaching experiment, there is a significant difference in music scores between the experimental class and the control class (0.01 < P<0.05). It shows that the music situational teaching created under the guidance of multiple intelligences theory is effective in improving students’ music performance, and this teaching method is helpful to improve students’ music performance.In order to know whether there were differences between the pretest and posttest of the music scores of the students in the control class, the author statistically analyzed and processed the music scores of 48 students in the control class before and after the experiment and made a longitudinal comparative analysis of the music scores of the class. The results are as follows (Table8).Table 8
Comparison of pretest and posttest differences in music scores of students in the control class.
Before and after the experimentNMSdTPSignificanceScoreBefore experiment4858.5118.21−0.2710.675XAfter the experiment4859.2316.14According to statistical analysis, whenP>0.05, there is no significant difference between the two samples before and after the test, which is not statistically significant. The data in Table 8 show that there is no significant difference in the music scores of the control class before and after the experiment (P>0.05), which has not been effectively improved.In order to understand whether there are differences between the pretest and posttest music scores of students in the experimental class before and after teaching, the author also makes a longitudinal comparative analysis of the total music test scores of 48 students in the experimental class before and after the experiment. The results are as follows (Table9).Table 9
Comparison of pretest and posttest differences in music scores of students in experimental class.
Before and after the experimentNMSdTPSignificanceScoreBefore experiment4859.1419.95−2.5110.012∗After the experiment4868.5618.61The data in Table9 show that there are significant differences in the music scores of students in the experimental class before and after the experiment (0.01 < P>0.05). It shows that the music situation creation strategy guided by the theory of multiple intelligences is effective in improving students’ music performance in the experimental class.To sum up, through the comparative analysis of the pretest and posttest data results of students’ music scores in the experimental class and the control class, we can draw a conclusion that the music situational teaching activities in junior middle school based on the theory of multiple intelligences can improve students’ music scores. The internal cause is the driving force that determines the development of things. In the process of music teaching, teachers carefully create interesting and vivid teaching situations according to the characteristics of students’ intelligence, which can mobilize students’ enthusiasm in learning music and arouse students’ desire to actively participate in music activities. Through personal participation, students can experience perceptual music works so that students can acquire and master music knowledge more deeply, and the learning quality will be effectively improved.


## 5. Conclusion

In short, in the piano course teaching of music and dance major, teachers need to timely recognize the importance of ecological environment multicultural education, take professional students as the main body in the classroom, and build a hierarchical teaching model according to the differences of class students, so as to better stimulate students’ learning interest, improve students’ autonomous ability in a diversified environment, and meet the needs of talent training in colleges and universities. In general, in the piano curriculum in multicultural education, teachers should emphasize multicultural concepts, constantly innovate piano teaching methods, create a diversified learning environment for students, and construct diversified piano teaching evaluation methods, so as to comprehensively improve students’ piano literacy and show the value of talent training in colleges and universities. In complex social forms, the need to use various types of culture to serve social development is becoming more and more intense, and this also provides the possibility of development for cultural pluralism. The development of ecological environment multiculturalism involves the development of different fields, including music education. Based on this, in the context of social multicultural education, piano teaching also needs innovation in order to adapt to the new form of social development and further cultivate practical talents for the society. Based on the multicultural educational environment, combined with the traditional piano teaching, the innovation of modern piano teaching is mainly reflected in the teaching mode, teaching method, and the selected teaching materials. In this regard, the relevant personnel of piano teaching should do a good job in teaching innovation, starting from the needs of students and society, on the basis of innovative piano teaching, to effectively improve students’ learning ability of piano and promote the effective development of piano teaching. In this regard, the relevant personnel of piano teaching should do a good job in teaching innovation, take the needs of students and society as the starting point, and on the basis of innovative piano teaching effectively improve students’ learning ability of piano and promote the effective development of piano teaching.



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