PROFESSIONAL MEMORY OF A MUSICIAN-PERFORMER AMONG OTHERS SPECIAL MUSICAL ABILITIES

Abstract

The purpose of the article – to determine the meaning of the category “memory” in relation to the professional activity of a musician, to adjust the concept of “musical memory” on the basis of revealing the integration and interdependence of the phenomenon of professional memory and other properties of an individual required for engaging in musical activity. The methodology of the article is based on analysis of basic musical abilities in terms of their semantic and structural component; psychological analysis of the two-sided dependence of various musical abilities and professional memory of the artist musician. Scientific novelty consists in substantiating the “root” nature of the professional memory of a musician-performer in the structure of basic musical abilities; explaining the interdependence of different musical abilities and musical memory; in formulating a concept that reflects the essence of the professional process of memorizing, mastering, reproducing and saving musician special information. Conclusions. In professional work, ear for music in its various aspects, sense of rhythm, and motor abilities are realized in direct proportion to the quality of memorizing, mastering, reproducing, and storing sound, rhythmic, and motor information by a musician-performer. At the same time, musical memory is not an auxiliary link in relation to other special abilities. On the contrary, the interaction and coupling of types of ear for music, a sense of musical rhythm, and the motor capabilities of a musicianperformer with musical memory finds itself in bilateral subordination. Based on the definition of musical abilities as “individual psychological properties of a person that determine the perception, performance, composition of music and learning in the field of music” (D. Kirnarskaya) [3, с. 129], given that mnemonics is largely responsible for the musician’s training as a set of techniques for mastering musical information, as well as due to a specific, narrowly professional request for an explanation of the category “memory”, we propose the adjustment of a fairly streamlined concept of “musical memory”, more accurate with a sound musicological category “professional memory of the musician-performer”, which implies a compression algorithm with musical text, including auditory, visual, kinesthetic, as well as structurally logical and figuratively semantic aspects.