EMOTIONAL MEMORY OF THE MUSICIAN-PERFORMER (TO THE ANALYSIS OF THE QUESTION)

Abstract

Purpose of the article: to reveal the structural organization of the emotional memory of a musician-performer. To consider an algorithm of including various aspects of this phenomenon into work. To give a definition of the concept. The research methodology consists in posing the problem from the point of view of historicism, systemic isolation, as well as discovering the interaction and interdependence of various layers of the phenomenon of a musician’s emotional memory. Scientific novelty consists in the clarification and substantiation of the three facets of the emotional memory of the musician-performer, followed by the derivation of the definition of this concept. The conclusions testify that the true mastering of the musical text sets the task not only to grasp the work by heart, but also to advance further – “to reach the very essence” according to Pasternak [9], which for a musician means to transfer from the role of a mere performer to the rank of a performerinterpreter. The physical level of perception, reproduction, memorization of a musical text implies the dominance of such aspects of professional memory as auditory, visual and kinesthetic (with parallel connection and the constructivelogical aspect), the psychological level implies the format of comprehending with a work that corresponds to the essence of building an emotional memory of the performer. It means: firstly, the closest acquaintance with the chosen work and the composer’s language, penetration into the author’s autonoetic consciousness, which becomes the objectivity of the music being for the very “incarnator” of the idea and is called, in essence, the semantic memory of the performer. Secondly, the development of the performer-interpreter the subjective background of artistic and personal experience – the reservoir or “archive” that acts as the basis for the artist’s reproductive and productive type of activity and will be called the word “input”. And thirdly – the recreation of the accumulations formed by the first two levels in the imagination, for their further use in the embodiment of already pianistic and artistic tasks. Emotional memory, thus, consists the accumulation, awareness, and preservation of the experience of an objective composer’s as well as subjective sensory perception and experience of symbols, which ultimately form the meaningful component of the interpretation of the work.