PIANIST’S WORK ON THE TEXT OF MUSICAL PIECE: SYSTEMATIC APPROACH

Abstract

The research is devoted of the article is to study the kinesthetic properties of musical memory involved in the process of a performer’s work on a piano composition. The research methodology is a systematic approach to the work of a pianist on a musical work; special attention is paid to isolating the stages of the technological process of mastering and memorizing a musical text. Scientific novelty is determined by the explanation and justification of the phasing of the pianist’s motor memory, in which building a unified system of memorizing a musical work involves the selection and analysis of both conscious techniques and methods of memorization, and unconscious mechanisms of the musical memory of the performer. Conclusions allow us to isolate the stages of the process of mastering and memorizing a musical text based on the kinesthetic aspect of musical memory, namely: the constructive-logical level of understanding - analytical work on the overall study of the texture of a work; the implementation of motor compression with texture – the technological development of the texture of the work on the tactile (finger) level of muscle coordination (speed and gradation of voices), as well as in the format of the appropriate spatial orientation of each movement; mental representation of positional linear kinesthetic sensations - consolidation of muscular mnemonics (memorization, preservation and reproduction of movement and position of body parts). The concert practice of the author of this article shows that those layer of the work that in the motor and structural-logical component of them were able to completely “pass” mentally, in parallel with the work of the inner ear, never failed on stage. The same applies not only to textual assurance itself, but also to actual motor confidence.