本研究的目的是經由探討彈琴對於大四主修綱琴學生的意義來檢討臺灣鋼琴教育的成效。主要的四個研究問題有(1)受訪者如何以及為何開始和持續學鋼琴(2)受訪者對於彈琴的感覺和彈琴對他們的意義(包括上臺演奏和練琴)(3)受訪者的音樂人生活(4)受訪者對於他們自己的彈琴能力，他們所接受的音樂訓練和身處的音樂環境的評估。 本研究採用質性研究方法，透過立意取樣，三所大學院校的十一位受訪者參與此研究，本研究採用三種資料收集方式：(1)個人訪談(2)問卷(3)小組訪談。 研究的結論是(1)外在因素是受訪者開始和持續學琴重要因素，大部分的受訪者對未來是抱持著消極的態度(2)彈琴對於受訪者的意義與他們對彈琴的感覺大多是不確定且模稜兩可，對於上臺演奏和練琴抱持著不喜歡和不確定的態度的人多於喜歡的人(3)大部分的受訪者認為他們不是過著音樂人的生活(4)本研究也發現受訪者對於本身彈琴能力的評估是負面的多於正面，大部分的受訪者對於自己整體的音樂訓練與所處的音樂環境表示並不滿意。 受訪者對自己彈琴的能力與態度，以及音樂人的身份，和未來的教職的消極態度可能導因於學習的經驗裡缺乏自發性以及缺乏內化與落實的過程。家長與教育工作者應先認同學習者的需求，提供一適切的環境，來幫助與引導學習者內化與落實他們自己對彈琴的理念，且加強他們的音樂人的生活與實際生活之間的關連性。如此一來，臺灣的社會才會有更多自我肯定且投入的專業音樂人口。

　　　　　The purpose of this study is to examine the effect of Taiwanese piano education by identifying the meaning of piano playing to college senior piano majors. Four categories of research questions were addressed: 1)Why and how did the participants begin and continue playing the piano? 2)What are the feelings and meanings of piano playing, including performing and practicing, to the participants? 3)How do the participants live their lies as musicians? and 4)How do the participants evaluate their own piano playing ability, musical training and environment? A qualitative methodology was adopted in this study. Eleven participants from three different universities and colleges in Taiwan were purposively chosen for this study. Three sources were used to collect data during April and May, 2000: individual interviews, questionnaires, and group interviews. Interpretation of the findings was made under the four categories of research questions. (1)External influences were important to the participants' beginning and continuing piano playing. Most of the participants held a passive attitude about their future. (2)The participants were mostly ambivalent and uncertain about their feelings and the meanings of piano playing. Specifically, more had a negative or ambivalent attitude about performing and practicing than liked it. (3)The majority did not think they had lives as musicians. (4)A more negative than positive evaluation of their playing ability was evident in this study. The majority of them were dissatisfied with their overall musical training and environment. This study implies that the reasons so many participants did not hold certain and positive attitudes toward piano playing, their playing ability, their identities as musicians, and their future piano teaching career was due to their lack of self-initiation, internalization and actualization of their piano playing. Taiwanese parents and educators should first acknowledge what the students really need, then provide an nurture the connectedness between their musical lives and their lives as a whole. Thus, more self-assured and devoted musicians will benefit Taiwanese society.