Topic 6. Musical and performing activities

Musical performing activity is not only the process of realizing the composer’s plan, but also the creation of one’s own performing interpretation. The measure of relative independence of musical performing activity is determined by the norms of the musical life of the era, enshrined in the corresponding musical and aesthetic theories. Interpretation, that is, the process of interpreting a musical work is a generalization aesthetic ideals, performing styles and options characteristic of a certain era, which each time are refracted through the individual consciousness of the performer.

According to A.L. Gottsdiener, “interpretation we call the creative interpretation of a musical work and its embodiment in sound in accordance with aesthetic principles and the individuality of the performer." It should be emphasized that interpretation is not limited to professional qualities and the skill of the performer. The ability to interpret as a deep interpretation of significant musical works is closely related to the artistic worldview, general and musical culture, as well as comprehensive knowledge and way of thinking that make up the internal content of the performer’s personality.

As you know, the most common way to study a piece of music is to work on the musical text. However, even after the musical text with detailed composer and editorial instructions takes its final form, it still leaves many possibilities for creative reading. First of all, because each performer is a person who has individuality as a unique combination of character and abilities, a set of motives and needs, characteristics of psychophysiological processes, emotional make-up and performing skills. Thus, it is impossible to exclude the subjective side in performance.

In creating an interpretation great importance belongs to the imagination - the mental process of forming an image of future activity. This is always a mental construction of a program of future activity, ahead of its materially embodied form. Distinguish creative and recreative imagination. Creative imagination is the creation of new ideas and images. Recreating imagination is the construction of images based on musical notation or literary text, drawing or sketch. Recreating imagination is the psychological basis for creating a musical performance interpretation.

There are three stages of performers’ work on a musical work: 1) the stage of familiarization with the musical work, the formation of a performance plan; 2) the stage of searching for means to implement the performance concept, solving artistic and technical problems; 3) the stage of transition of the ideal image into the real one as a dialectical synthesis of the original and transformed image based on the found means of execution.

In the study by A.V. Vitsinsky presents two types of pianists, divided according to the way they work on a piece of music. The first, most common type (M. Grinberg, J. Flier) are performers whose embodiment of the musical image has the above three-stage character. For representatives of the second type (K. Igumnov, G. Neuhaus, S. Richter), the idea and implementation are a single process in which separate stages cannot be distinguished. For them, in fact, all work on a piece of music is work on creating artistic image and the search for your own interpretation.

The following should be noted here. In theatrical and then in musical art, the individual differences of performers were grouped based on the predominance of feeling or skill (careful work on all technical elements of performance). Artists or performers emotional type were called by K. Stanislavsky adherents of the “art of experience”, artists of the intellectual type - supporters of the “art of presentation”. In addition, there is a synthetic type of performer, who are characterized by a balance between the emotional and intellectual sides of performance, which is consciously regulated.

If we talk about the psychological side of these differences, then we are talking about what exists in scientific psychological literature dividing people into three types in accordance with the teachings of I.P. Pavlov, who, depending on the characteristics of the interaction of two signaling systems, distinguished three “specially human” types of higher nervous activity: with a relative predominance of the first signaling system – artistic type, with a relative predominance of the second signaling system – thinking type And average type, which is formed when both signaling systems are relatively balanced.

Representatives of the artistic type are characterized by integrity of perception, imaginative thinking, richness of imagination, and predominantly emotional coloring in the reflection of reality. Representatives of the thinking type are characterized by a desire for analysis and systematization, generalization and theoretical thinking. However, most people belong to the average type, combining the features of artistic and mental types in various combinations.

It should be borne in mind that the above classification is only a general, initial approach to the problem of individual differences, since a large, and sometimes crucial It has social environment And creative direction personality.

In connection with the typology of performers, it is necessary to dwell on the problem of complex and contradictory connections and relationships that are formed between the content of a musical work, its intonation structure, “technical” design, on the one hand, and the creative personality of the performer, on the other. The coincidence of the figurative structure of the work with the psychological characteristics of the performer’s personality contributes to the creative growth of the musician even in the learning process. On the other hand, a diverse artistic repertoire contributes to a more harmonious development of the performing musician. In this case, the content of musical works to some extent subjugates and changes the artistic and performing image of the musician.

Now let us consider in more detail the psychological content of each stage of musical performing activity.

The content of the first stage of musical performing activity, as already noted, is the formation of a performing concept, a prototype of a musical work. The leading role in this tapa belongs to the recreating imagination, which helps the performer create his own idea of ​​the work based on studying the musical text. Performers - instrumentalists and singers have the opportunity to reproduce in real sound the music imagined and heard in the imagination. Therefore, at the first stage of work on forming an image, many of them resort to the help of a tool. At the same time, many performers at this stage work mentally, without relying on real sound.

We emphasize that execution is “immediate”, based on high level The development of a figuratively generalized imagination is accessible only to great musicians. Therefore, regardless of the type creative process and type creative individuality the performing musician, already at the first stage of musical performing activity, strives to outline the work as a whole in order to comprehend and feel the composer’s intention, to create a program of further actions. In some cases, the process of forming a performing concept is based on an intellectual-imaginative generalization, in which the analytical principle dominates, in other cases, on an emotional-figurative generalization with a predominance of the emotional principle.

Consequently, the image of a musical work formed at the first stage is only an initial, preliminary model that creates the initial creative attitude and determines the direction of further work.

At the second stage, the idea is realized, the musical image is embodied in performing means. The performer becomes more and more confident in developing the final vision of the work, that is, its interpretation. Moreover, technical mastery of the material can lead to a significant change in the original image.

The interpretation takes on its final form at the third stage, which is a synthesis of the first two. And if the transition from the first to the second stage is conditional and not always clearly demarcated, then the transition to the third stage is always felt very clearly as the setting of new tasks in connection with a more complete and refined image. The third stage is very close to the first in its psychological content, but it takes place at a much higher artistic and performing level. Freed from control of movement, the performer can focus on interpretive creativity. The final completion of work on the work, as most performers indicate, occurs on the stage after a series of concert performances.

It must be emphasized that the quality of performance, like the productivity of any other type of musical activity, significantly depends on the knowledge, skills and abilities that represent different sides conscious human activity.

Musical knowledge are called accumulated in the process historical development achievements of musical practice, generalized and enshrined in the form of terms, concepts, rules for constructing musical works. Their development is a very important cognitive aspect professional activity musician.

Musical skills– these are generalizations of many actions, their awareness and mastery, which form mental ways of carrying out musical activity. Musical skills represent an established algorithm (a system of rules and operations with the help of which complex sequences actions), through which musical knowledge is applied in practice.

Musical performance skills is a system of consciously developed movements that are partially automated, allowing the implementation of musical knowledge and skills in purposeful musical activity.

Knowledge, abilities and skills are formed in educational and practical activities and enter into a complex relationship with each other, and each of these aspects of activity in the process of formation undergoes various changes that express the general forward motion to improve the activity itself.

One of the characteristic special skills is that once an established algorithm can be applied in different conditions. After the loss of previous skills or a break in activity, skills carry out the function of guiding the development of new system skills and activity recovery. .

Skills are more conservative. They can be flexible, form complex ensembles in a system of actions, but each skill is just an established specific set of movements that performs a specific action. The path to creativity lies through improving skills and mastering skills. It is especially important that skills, developing into proficiency in any type of activity, become a personality trait and contribute to the formation special abilities.

According to the multi-level theory of movement construction (N.A. Bernstein), a skill is a complex neuropsychological formation, the main content of which is establishing a leading level, determining the motor composition of actions and corresponding corrections, distributing background levels and achieving stability of movements. This theory most fully reveals the psychophysiological nature of musical performance skills.

At the very beginning of work on a musical performance skill, two aspects of the general psychological task can be distinguished: 1) the emergence of motives and needs in the student for studying a given piece, the creation of a general idea of ​​the purpose of the actions; 2) the establishment of the semantic meaning and structural place of each skill. The problem with most theories of skill is that final goal, clear to the teacher, is presented in a ready-made form to the student, who in this case is deprived of the most important emotional attunement and his own psychological attitude in working on mastering the skill.

Majority scientists psychologists highlight certain stages, phases, periods in the process of developing musical performance skills. Let's dwell on four-phase structure of musical performance skills, proposed by one of the leading experts in the field of music psychology A.L. Gotsdiener (Musical psychology).

The first phase is the installation phase, its psychological content is that the student or performer himself, and not just the teacher or composer, develops general idea and emotional impression of a musical work as a subject of study, an auditory image is created and outlined rough plan working on the skills necessary to implement it. The initial musical image, necessary to begin work on a piece of music and the formation of musical performing skills, is based on the ability of consciousness to imagine the final product of activity in perfect form. PC. Anokhin called this ability of consciousness “an advanced reflection of reality” and pointed to the action acceptor as an apparatus that performs this function.

The transition to direct work on a piece of music is associated with analytical phase- the desire to understand the basic elements of the text and gameplay. Gradually, as a result of exercises, individual sounds and the motives form a melody, individual movements are increasingly combined into a consistent system. Subsequently, with the emergence and formation of a holistic action, a transition occurs to the third phase – synthesizing, a characteristic feature of which is the disappearance of unnecessary movements. However, as in the previous, analytical phase, the performing movements still lack strength and are not sufficiently differentiated in sound quality. Important signs of the third phase are a noticeable improvement in auditory and motor self-control.

The most complete merging of the musical-auditory image with its motor design occurs in the final (fourth) phase. A well-established system begins to function: musical image - performing movements - sound. Consciousness is no longer directed to every operation and element of movement; they have become automated and are performed as if by themselves, while remaining at the same time under the control of consciousness. This gave rise to the name the final stage of operational stabilization.

Thus, mastering musical performance skills gives the following. Thanks to the construction of a stable and coherent system for regulating movements and their prompt correction, consciousness is freed from guidance and control over big amount operations performed and at the same time it guides the improvisational variability of the musical image. That is, conditions are created so that the musical image can take the position of the leading level. Therefore, good mastery of musical performance skills ensures high productivity musical performance activity and creates conditions for its interpretive and creative manifestations.

It is known that communication between the performer and the listener is a necessary condition for the existence of musical art. The main form of such communication is concert performance, in which there is direct contact between the performer and the audience.

For a performer, a meeting with listeners causes a special, complex state, which is defined as pop excitement. A.L. Gotsdiener identifies five phases of pop excitement associated with a concert performance.

First phase- This long pre-concert state. Excitement occurs periodically and only disrupts “ peace of mind"playing.

The second phase is the immediate pre-concert state. The study of the pre-concert state is very important for a psychologist and teacher for diagnostic purposes, since it clearly reveals the symptoms of anxiety characteristic of a given performer. Taking into account the pre-concert state is also necessary because it sometimes depletes nervous system performer, and the performance itself goes much worse than expected.

Third phase- it's very short the interval between the announcement and the start of execution. The fourth phase is the beginning of performance, artistic communication with the public and the struggle with one’s negative state. The fifth phase is the state after the concert.

According to A.L. Gottsdiener, the reason for stage excitement lies in the uncertainty and unpredictability of the audience's reaction to the performance. For an experienced performer, stage excitement is often aggravated by past experience, which retains memories of an inadequate reaction from the public that does not coincide with the subjective assessment of the performer. Stage excitement is almost impossible to analyze logically and is difficult to control.

However, excitement on the stage is necessary. It greatly enhances the emotional richness of the performance, increases the contrast of the performing methods of presenting musical material, and allows for a stronger impact on listeners. Therefore, the conversation should not be about fighting stage excitement and eliminating it, but about adapting the player to special conditions concert performance and the excitement that comes with it.

As L.L. emphasizes Bochkarev, many performing musicians interpret the mental state on the stage as a synthesis of inspiration and control, spontaneous and conscious. Internal tracking (“pre-hearing”) provides the ability to adjust the performing concept and dynamics of the musical experience as a whole, external tracking allows you to control the sound, playing movements, contact with the audience in this segment time. The creative state of “split” is characterized not only by a high level of attention functioning, but is also distinguished by the dynamism of all mental processes: perception, ideas, thinking, fantasy.

Also, considering psychological differences between the recreating and creative imagination, one should, at the same time, note their interaction in the creative activity of a performing musician on the stage and the commonality of their functions in the creative transformation of the performing concept. Creative imagination participates, along with thinking, in the implementation of a performing plan on the stage, the adequacy of which to the composer’s plan is controlled through the corrective function of the recreating imagination.

Performance is a topic that concerns all musicians.

How to achieve success on stage, what is the secret and what are the conditions for performing skills?

It should be noted right away that success on stage, first of all, depends on the goal.

Goal is the main condition for successful performance.

As a teacher, I can judge the students of a music school.

Goal is a condition for successful performance

Children come to school with different goals: some want to learn to play; some people don’t care about classes, but parents want their child to learn music; Some children don’t even understand why they go to school.

But there are individuals whose eyes sparkle, they rush to the stage, and on stage, it should be noted, they are like fish in water - they feel free, confident - this is their element, they like to perform. Such children do not need to be persuaded to take part in the concert - they are always ready, and you can rely on such children - they will never let you down, and will treat the concert with full responsibility.

And there are also happy coincidences when

1 – children love to perform
2 – at the same time they are hardworking and efficient
3 – these children have good musical abilities
4 – relatives fully support children in their activities.

We must pay tribute to such parents and grandparents who bring their children to school, to concerts and rehearsals, and completely devote their lives to children. But this can be done in different ways: some say: our children should have the best. And the best part comes down to buying – buying toys, clothes, phones, gold jewelry that little children don’t need at all. Moreover, school is not a place where you should demonstrate the level of your financial capabilities.

And there are parents for whom the best thing is education and upbringing, which are considered as an investment in the child. No wonder there is a saying: “What goes around comes around.” And also - “Sow what is reasonable, eternal, good.”

And therefore, both children and parents must clearly understand what they want from a music school and what they expect from training. After all, some parents directly say - so as not to hang out on the street, keep busy while the parents are at work.

Other parents see their children as musicians; their goal is to prepare the child for entering a musical school. educational establishments to become a musician. And some parents see stars in their children and direct all their efforts to concerts and competitions.

And so, for success there must be a clear and clear goal, all the conditions for its achievement have been agreed upon, and a plan has been drawn up. And all that remains is to go towards this goal and work in a friendly team - family, school, student.

The goal is the basis and the most important condition for achieving success.

Alternate actions on stage

But why then do many people fail to achieve their goals? Any musician, including a music school student, wants to amaze the audience with his performance; in his mind he imagines the admiring glances of his comrades, the approval of teachers, the pride of relatives.

And some performers imagine how they went astray, made a mistake. And they have already experienced all the horror of defeat and the consequences of collapse.

But this often happens - parents lack the wisdom to support their child after an unsuccessful performance, teachers lack a sense of tact and dispassionate analysis of the performance - what worked and what needs to be continued to work on.

And as a result, the performer feels his inner well-being, and does not imagine the sound of the work, tempo, character, complex passages. That is, before the concert the performer lacks a sober mind, he is overcome by emotions, and all attention is directed to these sensations.

Conclusion - for a successful performance, you should think about the work before performing. Clearly know and imagine the successive actions on stage - exit, bow, preparation for the beginning of the performance, representation of the tempo of the piece, visually see the beginning of the musical text, imagine complex passages in advance.

That is, emotions should not prevail over reason.

Work on studying the work

And, of course, successful performance requires good preparation - constant and painstaking work on studying the work. And this is a long period.

During this period, work on details and parts comes to the fore, when the work is divided into small passages. You have to work not only on the parts, but also on a separate sound, a separate chord.

And here small goals appear - to learn the text of a passage, to work on sound science, dynamics.

It is very important that the performer understands the goal and tasks that are set for him in this painstaking work. You can ask the student to repeat what is required of him. When a child expresses the task in words, he then fulfills the requirements more accurately and better understands what the teacher wants from him.

In this work, every detail is important; these details further form the integrity of the work and performance. And these details must be imagined and kept in memory.

Playing without an instrument, for example, on the top of a piano and on a table, can help with this. In this case, the performer develops imagination and memory, which is very important.

After all, the same student at a music school must memorize many works; in high school, the works are voluminous, and for many students, memorizing the musical text is a big problem.

See and watch

To remember and imagine a work in your imagination, you need to see it clearly, that is, specifically disassemble every detail. Because looking is one thing, but seeing is something completely different. To see is to mentally imagine, and to imagine specifically, clearly, with all sorts of details. Remember the saying - “He looks, but does not see”?

This saying is very suitable for describing the work of many music school students. Why? Yes, because they have no experience in learning works from memory.

And therefore, it is necessary to constantly explain what is required of students, analyze the work and its parts, individual episodes, sound studies, chords in order to make it easier for the child to learn the work.

And so that in the future he knows how to learn plays on his own and what is needed for this. That is, the student should be taught to see, and not just look at the notes. See the musical text and understand it, read and remember it. And the already memorized text can be imagined and then reproduced.

Ability to hear

To reproduce a piece, you need to learn to hear. And for this it is very important to develop an ear for music - to feel intonation and timbre colors. After all, performing skills include many components.

The artist must present the content of the work, the image, and then convey it so that the listener feels the vision and intention of the composer.

Dudina Alevtina Vladimirovna

Postgraduate student of the Ural State pedagogical university, teacher of additional education, Municipal Educational Institution of Children's Educational Institution "Children's Musical choir school» Verkhnyaya Salda, Sverdlovsk region.

[email protected]

The improvement of the button accordion and, as a consequence, the expanding repertoire due to the transcription of classical works and the composition of original plays requires the performer to master a variety of playing techniques (tremolo with bellows, ricochet, noise effects). This requires mental and physical effort, development of the performing apparatus. The end product of the performing process is the creation of an artistic image.
Education of performing skills was one of the central problems of music pedagogy. For centuries, musicians could not rely on knowledge of physiology. As a result, there was a lot of controversy in the attempt different ways resolve issues of improving performance skills based on achieving the expediency of actions. This was a mechanistic approach, then the problem of the relationship between technology and artistry was solved. And only the communication of musicians-teachers with researchers in the field of psychophysiology of movements led to the resolution of the dispute between supporters of the auditory and motor methods.
Only towards the end of the 19th - beginning of the 20th century did music pedagogy take a more complex path in understanding the management of the process of learning to play musical instrument. This process is the way to achieve the musical expediency of gaming actions.
The path to expedient playing movements through the auditory component is still popular among music teachers. This is due to its defining place in musical creativity, despite the dependence of the implementation of auditory ideas on the quality of playing movements and the effectiveness of their control.
The theory about the analysis of the characteristics of mental activity, the results of research in the field of “general theory of formation mental actions"(Galperin P. Ya. Psychology of thinking and the doctrine of the stage-by-stage formation of mental actions) reveal the peculiarities of the process of controlling game actions with auditory control.
A number of prominent physiologists made a great contribution to the explanation of the anatomical and physiological aspects of motor processes: I. M. Sechenov, I. P. Pavlov, N. A. Bernshtein, P. K. Anokhin, V. L. Zinchenko, A. V. Zaporozhets and etc.
Motor function is the main function of a person. For many years, scientists have tried to determine the meaning of movement and scientifically substantiate the motor process (I.M. Sechenov). I.M. Sechenov was the first to note the role of muscular-motor factors in the auditory representation of music. He wrote: “I am not able to mentally sing a song to myself with just the sounds of a song, but I always sing with my muscles.” In his work “Reflexes of the Brain” I. Sechenov substantiated reflex nature voluntary movements of a person and revealed the role of muscle sensitivity in controlling movements in space and time, its connection with visual and auditory sensations. He believed that any reflex act ends in movement. Voluntary movements always have a motive, therefore, thought appears first, and then movement.
The performing activity of a musician includes mental, physical and mental work.
The correctness of the game movements is checked by the sound result. The student listens to the sound of scales, exercises, etudes, pieces, and plays meaningfully and expressively. Relying on auditory perceptions develops in the student the ability to rely on hearing in the game, and not just on visual and muscle memory. The difficulty at this stage is also the coordination between the movements of the hands and fingers, as well as the development of coordination between the auditory sphere and complex movements, since each movement embodies a specific musical task. Therefore, it is impossible to teach a variety of motor skills without connecting them to real music. Which confirms the principle of teaching music, not movements.
Despite the fact that musical and gaming movements are not unconditional and natural for the apparatus, one must strive for freedom, flexibility, and expand motor abilities. Everything depends on the individual characteristics of the musician’s body, the interaction of motor and mental processes (music is the sphere of spiritual actions), on temperament, reaction speed, and natural coordination.
Unlike violinists and vocalists, who spend many years training their hands and voice apparatus, accordionists do very little training. But the correct placement of the gaming machine at the initial stage of training is very important, because the ability to express an artistic concept in execution depends on it. The position of the accordion player consists of three components: landing, positioning of the instrument, position of the hands. When working on the landing, one should take into account the nature of the piece being performed, the psychological characteristics, as well as the anatomical and physiological data of the musician, especially the student (height, length and structure of the arms, legs, body).
Correct posture is such that the body is stable, does not restrict the movement of the arms, determines the musician’s composure, and creates an emotional mood. The correct position is one that is comfortable and creates maximum freedom of action for the performer and stability of the instrument. Of course, rational installation of the instrument is not everything, but the accordion player and the instrument must be a single artistic organism. Thus, the accordion player’s whole body is involved in the performing movements: both the differentiated movement of both hands and breathing (during performance, you need to monitor the rhythm of breathing, because physical stress inevitably leads to disruption of breathing rhythm).
Due to the design features, two movements are required to produce sound - pressing a key and moving the bellows. Each school of playing the button accordion, teaching aids talk about the relationship between bellows and sound, its volume. But experience shows that beginning accordion players make a mistake when they try to achieve a greater sound by pressing the key hard without appropriate control of the bellows, which leads to the enslavement of the playing apparatus and affects the general psychological state of the body. To properly organize the gaming machine, we must keep this relationship in mind. The advantage of the button accordion is that the independence of the sound from the force of pressing the key saves the musician’s energy. The so-called “muscular feeling” is of great importance in the development of performing skills. These are sensations that arise from irritation of the muscles and ligaments involved in singing or playing movements. B. M. Teplov speaks about the connection between musical-auditory representations and non-auditory ones, noting that they (auditory) necessarily include visual, motor moments and are necessary “when it is required to evoke and maintain a musical representation by voluntary effort.”
Physiological science has proven that, based on the interaction of auditory and motor representations, each type of musical activity makes it possible to outline
mental projection of the performance of musical material. “A person who knows how to sing,” Sechenov wrote, “knows, as is well known, in advance, that is, before the moment of sound formation, how to position the muscles that control the voice in order to achieve a certain and predetermined musical tone.” According to psychology, in musicians the stimulation of the auditory nerve is followed by a response and vocal cords, and finger muscles. It is no coincidence that F. Lips advises accordionists (and not only them) to listen to singers more often. Phrases performed human voice, sound natural and expressive. It is also very useful to sing the themes of musical works in order to determine the correct, logical phrasing.
The assimilation of a musical work is based on two methods: motor and auditory. With the auditory method, the dominant role in control over performance is given to hearing, and with the motor method, it (hearing) becomes an observer of motor actions. Therefore, in the teaching methodology, these two methods are combined into one - auditory-motor. For his successful development a necessary condition is the artistry of the educational material. After all, imaginative works that resonate in the soul have an advantage over technical exercises. This is confirmed by psychology, which teaches that what resonates in the soul is perceived and remembered. Physiology proves that the trace reaction is long-lasting, provided that a brighter stimulus is given. This method is based on strong reflex connections between the auditory image, motor skills and sound. As a result, the desired sound outcome and the performing movements necessary to achieve it are achieved. Psychomotor organization is aimed at embodying an artistic image through movement.
Each new performance of a musical work carries a new artistic image and meaning. Performing activity is intonational. For example, a composer can intone music within himself. And the performer must reproduce it with his voice or on an instrument. At this time, he encounters the resistance of the material, because the instrument and the voice, which can be considered an instrument, are material components of the intonation process.
Even a person who has just begun to learn to play an instrument strives to convey to the listener the meaning of the content, the mood of the piece, i.e. express your understanding of the music being played. At this level of intonation as a meaningful and expressive sound utterance, it is impossible to do without organizing sound in melodic, meter-rhythmic, mode-functional, timbre, harmonic, dynamic, articulatory, etc. relations. Ability to understand musical
thoughts, interpret them, combine them into an integral artistic unity depends on the ability and skill of the performer. Impossible to comprehend figurative structure works, its “subtext”, convincingly interpret it without a clear understanding of the form. From this point of view, in lessons, the teacher and student figure out how to perform through what is being performed.
Learning should not be based on rote learning, the formation stereotypical thinking. Any training should be based on the technology of creative development.
During the performance, the musician’s activity is aimed at revealing the composer’s intention, creating an artistic image and interpreting the work is directly related to inner world performer, his feelings, ideas. The interpretation of a work is always associated with imagination, and therefore with creative thinking. That is why it is important to develop the creative thinking of a student musician. The basis for understanding and solving the problem is the intonation teaching of B.V. Asafiev and the theory of modal rhythm of B.L. Yavorsky. It follows from this that both the musician and the listener in the process of perception must have an idea of ​​intonation, musical expressive means, evoking certain moods, images, etc.
The development of performing skills was carried out both with the help of general pedagogical methods (verbal, visual, practical) and means (suggestion, persuasion), as well as specific methods and techniques discussed below. These methods and techniques for developing the performing skills of an accordion player in children's music schools, which can be used by a teacher in his work.
In the process of implementing the observation and comparison method, students had the opportunity to listen to a piece performed by different musicians and compare their performing techniques.
Another method was the sound production analysis method. It allowed me to develop rational movements, coordinate them, reduce fatigue, and acquire the skill of self-control.
The intonation method coordinates mental processes (perception, thinking, memory, imagination), isolating the main intonations, promotes a holistic representation of the content of a musical work, the embodiment of an artistic image.
The method of “unity of artistic and technical”. Developing proper performance skills must be combined with defining an artistic goal.
Reception emotional impact associated with the emergence of interest in a work through the teacher’s performance of it with gestures and facial expressions. Subsequently, emotions are embodied in performance on the instrument.
Often in a musical instrument class, work comes down to learning pieces through finger memory, i.e., “memorizing.” Therefore, it is necessary to shift the center of gravity towards the development of creative thinking. Most effective method is problem-based learning (M.I. Makhmutov, A.M. Matyushkin, V.I. Zagvyazinsky), which is characterized by the fact that knowledge and skills are not presented to the student in a ready-made form. In D. Dewey's problem-based learning technology, the stimulus for creativity is a problem situation that encourages the student to engage in search activities. The meaning of training is based on stimulating search activity and independence. In the process of work, the teacher does not declare, but argues, reflects, thus pushing the student to search. Also in our work we use the intensive method of T.I. Smirnova, the essence of which is the principle of “immersion”. The technique involves activating all the student’s capabilities: he must play the instrument, formulate and solve technical and artistic problems. Knowledge is not presented in a ready-made form, but “is acquired by him himself from practical work on assignments, from constant analysis of the work, from the teacher’s answers to the questions posed.”
During the work, students were given tasks step by step: to compare the same piece of music in interpretation different performers, choose the most successful one, based on knowledge about the style, era, etc.; choose the most logical options for fingering, phrasing, dynamics, strokes; creative tasks by selection by ear, transposition, improvisation.
Often, the basis of work with beginners is not works of art, but elements of musical notation, exercises, etudes. And work on works of art is relegated to the background, which often discourages young musicians from taking interest in their studies. The teacher should pay attention to the fact that the classes are developmental in nature and are not exclusively for technique alone.
Practice shows that you need to start working in the button accordion class with active forms of music playing, which require initiative and independence from students. In this case, any mechanical work. To do this, instead of scales at the initial stage, it is better to play pieces with incremental movements up and down.
In conclusion, I would like to remind you that the entire organization of movements is directly related to the presentation of musical material. Therefore, the sooner the student learns
analyze his movements, which can lead to naturalness and freedom, the better his performance results will be. And another important fact: freedom of performance cannot be understood as relaxation, because freedom is a combination of tone with weakening of activity, correct distribution effort. Motor skills, combined with musicality and intelligence, form the basis of a musician’s performing skills, with the help of which he creates an artistic image of a work.
Literature
1. Akimov Yu. T. Some problems of the theory of performing the button accordion / Yu. T. Akimov. M.: “Soviet Composer”, 1980. 112 p.
2. Lips F. R. The art of playing the button accordion: a methodological manual / F. R. Lips. M.: Muzyka, 2004. 144 p.
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A creative look at the performing activity of a musician

Man is the most cultural value. The most important part of this value is his creative capabilities, the entire mechanism for implementing plans and ideas. The culture closes in individual world creative personality and the objective world of cultural values.
Due to the unusualness, uniqueness, and high degree of generalization of its language, musical art occupies special place among other arts.
Music– this is the art of intonation, the artistic reflection of reality in sound. In order to embody a special figurative thought associating states and processes outside world, the internal experiences of a person with auditory impressions, artistic activity in music is aimed at sound material, organized in time, timbre, loudness and other respects.
The socializing possibility of musical art and its functions are realized by the structural components of art. There is a certain transition sequence. The cognitive function is inextricably linked with the evaluative function, due to the specifics of our cognition. The predictive function stands between cognition and value orientations. The ability of art to replenish what is necessary for human satisfaction underlies the compensatory function associated with relieving spiritual stress and art for relaxation and entertainment.
Music in its content covers the entire system of social consciousness. It is closely united with the general cultural heritage. A musical work expresses certain aspects of modern consciousness, just as any spiritual phenomenon participates in the education of people. Man's eternal desire for truth, goodness and beauty is reflected in musical compositions, and they convey to people these aspirations and ideas about beauty, awaken in people an artistic, creative attitude to reality, actively invading their way of life and way of thinking.
The development of material and spiritual culture directly affected the development of music. She gradually gained independence, maintaining her originality folk cultures in developed genre complexes, in multiplying means of expression. The organization of the form became more complex and deepened as the musical content became more complex and deepened. She helped listeners find their way through the labyrinths of musical images. And this was and remains very important in the field of culture, since music is designed to reflect life, to embody the ideas and feelings of a person, thereby contributing to the formation of the spiritual world of people.
In a piece of music we perceive a meaningful connection between sounds. The whole essence of music is simply based on intonation and rhythm. Rhythm is the sound of tones correlated with each other in time. Musical intonation– pitch ratio and connection of musical tones. It does not exist outside of rhythm; it is akin to speech intonation in its semantic content. But, in turn, differing from speech intonation, musical intonation is attached to constant pitch relationships - intervals, relying on historically established patterns of modal connections.
Music itself is capable of embodying everything that a person sees, feels, hears. Using both general artistic and unique means, she can express the entire human world: global concepts of life and death, freedom and necessity, conscience, love, an ideally beautiful future, etc. The main activities in the field of musical art can be called perception, performance and improvisation.
Musical perception involves active communication with music. It is based on the following principles: repetition, comparison, contrast, summarization, etc. This is the work of thought and soul in the process of listening to music.
When composing, the composer strives to record his state of mind through musical notation. It is based on the creative process of creation, based on a “musicalized” perception and vision of the world. Greed for life experiences, the desire to see everything, the desire to feel everything, when personal impressions and experiences are then reborn into musical images.
Creating a harmonious and logical compositional structure, the composer tries to build it in the unity of compositional, melodic, mode-harmonic, metro-rhythmic, textured, timbre and dynamic substructures. The finished work necessarily bears the imprint of personality, and, of course, each composer has his own style of thinking and presentation. Every creative musician tries to achieve high results in his work, wants to find new forms, strives for perfection, hoping to wish his works a long and happy life for the benefit of people.
Interpretation- translated from Latin - interpretation, that is, the process of interpreting a musical work, which is the enrichment and crystallization of aesthetic ideals, performance options and performance styles characteristic of its time, which are each time refracted through the individual consciousness of a particular performer.
The performer is an intermediary between the composer and the audience. Performing art requires not a reproductive reflection of music in the imagination of the player, but an initiative, creative one, closely related to the activity of the imagination, with complex individual processing of the perceived material. The performer, in turn, becomes a creator, because although he is limited by the strict framework of musical notation, but, trying to read this notation as accurately and fully as possible, he is a thinker, giving, like a critic and a scientist, his version of the question “what does” a given work mean. Finally, the performer is, as it were, “the music itself,” since only in the process of performance does music acquire itself, its sound matter and semantic fulfillment.
The performer recreates the author's text. Recreates the emotional and aesthetic image laid down by the composer and responds to it with its own emotional reaction. He is responsible not only to the author, but also to today’s unprecedentedly wide circle of listeners, for the culture of musical consciousness as a whole. Indeed, a painter can destroy his work if he considers it unsuccessful. A writer will burn or tear up a manuscript he doesn’t like. A musician, like an actor in a theater, cannot destroy the fruits of his labor. His art is irreversible.
In the text of a musical work, in its very sound, there is what can be called musical logic, that is, a pattern of melodic, timbre development, sound intensity, articulation, phrasing, etc. The presence of musical logic is based on stylistic, genre differences and the ensuing features of sound production. The work must be performed in its own style, in the proper manner. A musician-artist, analyzing an unfamiliar piece, depends on his knowledge and skills.
A performing musician must constantly work on the culture of performance. Such accessible and effective techniques for activating auditory and mental activity as playing by ear, sight reading and transposition help with this. Playing music by ear is useful for any instrumentalist at various stages of training. Increasingly, music pedagogy is turning to sight reading. Transposition makes you re-aware of fingering, intervals, harmonies, being the most radical means of developing musical ear, memory, and helps to establish a connection between movements and hearing.
Sight reading- one of the shortest, most promising paths leading to general musical, artistic, intellectual and emotional development. The ability to sight read and transpose are professional skills. These are skills that characterize the degree of mastery of a tool, qualifications, and, finally, suitability for production work.
The main way to develop auditory concepts and activate hearing is transposition. You should start working with transposing by ear, and after a while this method should be supplemented by transposing by notes and gradually make the latter the main method of teaching. Transposition of notes is the most radical means of developing musical ear, memory, attention, sight reading skills, that it contributes to “establishing a connection between movements and hearing - the entire game process begins to obey auditory ideas.
The ability to internally hear helps the performer to work on a piece without an instrument, improving the quality of the game by improving the quality and content of their auditory sensations.
Sight reading is the continuous playback of unfamiliar musical material by notes in order to become familiar with the work in the most general terms. Every musician should strive for perfect sight reading, to perform a new musical text at tempo, in all its artistic completeness and with all the author’s instructions. The success of this activity depends not only on the talent of the performer, important role This is where the experience gained during the exercise comes into play.
The need to continuously play new material, in which the performer is limited in time, makes the process of sight-reading much more difficult than conventional analysis. The success of sight reading depends entirely on the degree of development of the performer's knowledge, skills and abilities: the more the performer sees and internally hears in the musical text, the sooner and further he predicts the logic of the development of musical material, the better he controls the instrument, the more successfully he reads notes from sight .
Improvisation, like the above-mentioned options for tactical teaching of musical creativity (transposition, sight reading), actively influences the development of creative abilities. To improvise means to compose immediately, during performance. Starting from emotions, feelings and imagination, improvisation includes in the creation of an artistic and creative product the power of the mind, the spontaneous work of which instantly selects the required form implementation of artistic ideas. Musical fantasy is integral part performer's skill. There are two main types of improvisation: free and given topic.
Creative thinking in the process of improvisation is based on a close connection with the sound, intonational nature of musical art. Intonation, arising as a result of the interconnection of elements of musical language, is primary, figurative, semantic and structural component musical work. Based on intonation complexes with the help of associative relationships, an appeal is made to generalized artistic ideas and specific artistic images.
Improvisation offers a new, unexpected solution creative tasks. The tasks widely use the principle of problem situations that focus on search, initiative, and creativity. In general, the student develops artistic, musical and creative analytical thinking. The range of his performing capabilities is certainly expanding.

Ministry of Education and Science of the Republic of Kazakhstan

West Kazakhstan Regional Department of Education

« College of Music named after Kurmangazy"

Methodical

MESSAGE

on the topic of:

“Performance as a key to the development of a performing pianist”

Completed: teacher

Raimkulov S.A.

Uralsk, 2014

The performance of a musical work is both the goal and the result of a musician’s activity. At the same time, the manifestation of mastery is associated, first of all, with the creative aspect of performance, which involves the creation and implementation of a performing image of a musical work. However, this process is not just a moment of creative inspiration: its manifestation is prepared by the entire period of work with a piece of music. The performing image, being a product of creative imagination, gives rise to a way of presenting musical material that helps to reveal the meaning of the work and its individual vision, and determine adequate means of performance.

In music pedagogy there is almost no practical methods on the development of creative aspects of performance or techniques that stimulate the development of creative imagination and the process of creating a performing image, necessary if only because an attempt direct administration bringing the concept of a performing image into the student’s consciousness encounters significant difficulties associated with its (the concept’s) abstract nature. The solution to this problem will allow us to equip existing techniques in the field of music pedagogy by psychological means, to make learning more effective, to promote their creative and spiritual development.

Formulation of the problem. One of the main psychological characteristics musical performance is that it is the highest mental function and its development can be considered as the formation of this function, carried out with the help of cultural means. On the other hand, the development of performing skills is associated with the process of creative imagination, which consists in the generation and transformation of a performing image. Consequently, the required cultural means, first of all, should be aimed at the formation of a performing image as a necessary condition for the development of performing skills.

Further development performance skill presupposes the spontaneous reproducibility of the performing image and its stability. This is best achieved when the performance of a musical work is only an operation within the framework of a more general creative activity. At this stage, motivational and sociocultural changes caused by the development of performing skills are studied.

1. A conceptual image is a product of creative imagination, generated in the process of synthesis of problematic units and providing an individual performing image with spontaneous reproducibility, regardless of performance conditions.

2. The development of musical performance skills causes motivational and sociocultural changes in the student: the emergence of motivation for other types of creative activity, the formation of psychological readiness for public speaking.

In modern psychology of art, creative imagination is most often considered in connection with the processes of perception or creation of works of painting, music and literature. Musical performance activities are studied mainly from an emotional or operational perspective. Meanwhile, this type of activity the highest manifestation which is performing skill, equally implies not only participation, but also the priority of creative imagination, since it is associated with the generation and embodiment of the performing image of a musical work.

It should also be noted that almost all psychological studies related to the creative imagination of musicians concern famous composers, conductors, instrumentalists, participants in international competitions, conservatory students - that is, already formed performers. The results of these studies are a significant contribution to the development and establishment of music psychology.

The stages of learning performing skills are considered through the stages of formation of a performing image as a product of creative imagination. Three such stages have been identified. The first is characterized by the process of generating a performing image, the main features of which appear when specific musical works are included. Such signs are: the integrity of the performance, the validity of the emotional expression, the introduction of one’s own attitude to what is being performed, the presence of elements of interpretation: a shift in the climax, agogy (temporal fluctuations), changes in the dynamic plan of the performance, emphasizing or smoothing the meter rhythm, unusual accents, etc.

The second is to understand the image. It carries the greatest semantic load in the process of developing musical performance skills: here the process of comprehension as a context for the performed musical works takes place, awareness intercom this context with musical content. Working together with the “problem unit”, directed from the context to the music, leads to understanding holistic content units and clarifying the performing meaning of a musical work, and therefore - to understanding it internal specifics. Were designated possible ways interiorization - they are suggested to us by the musical work itself as an object of art. These paths, first of all, are embedded in the requirements made by the work to the performer. Such requirements are musical form, internally determined dynamic structure works; the mode, which gives a sense of emotional tone, and the name, which indicates the content area, set a certain framework for the performer and influence the content of the context.

The third, highest stage of the formation of a performing image consists in its spontaneous reproducibility and stability, which has become, as it were, natural. The condition for the transition to this stage is the performance of a musical work within the framework of a more general creative activity and the process of generating a conceptual image, which leads both to an understanding of the internal motivation of musical mastery and to the development of creative abilities in various subject areas.

Learning to play the piano is a complex, voluminous and multi-component process. But its main goal - along with the formation of pianistic skills - is the development of students' musical and general abilities. When setting this task, the teacher must keep in mind the fact that special abilities do not exist in isolation, but are organically connected with general ones and their development is subject to uniform patterns, which the teacher must understand well and take into account in his work. Therefore, when addressing the issues of methodology for the development of performing skills, it seems appropriate to give a brief analysis of general theoretical research in this area and, on its basis, determine the basic methodological principles for the development of abilities.

As a complex and multifaceted education, abilities are studied by various sciences: psychology and pedagogy, philosophy, sociology, aesthetics, etc. In addition, each specific science interprets human abilities from its own perspective. Problems associated with the study of musical abilities and identifying the possibilities and patterns of their development occupy a central place in music psychology and pedagogy, since their solution has a direct impact on the practice of music education. Musical abilities are defined by modern psychology as a specific form of cognitive abilities that manifest themselves in the special spiritual activity of a person.

These abilities are considered in two aspects - as the ability to perceive intonation-figurative, emotional sphere music and as the ability to navigate in its “acoustic picture”. Moreover, in the very process of musical activity, these manifestations of abilities are inextricably linked: “increased emotional responsiveness to music forms a tendency that entails the development of auditory-motor abilities, and with them, an ear for music and a sense of rhythm.” In turn, developing musical abilities allow a person to more subtly feel the beauty and expressiveness of music, perceive certain artistic content in it and - further - reproduce them in their performance. Full musical development requires from a person not only highly organized special abilities, but also a high level general development, rich emotional culture, subtle observation, creative imagination, closely related to his activity-volitional qualities and character. Therefore, in modern psychological and pedagogical research (Yu.B. Aliev, Z.A. Richkevicius, G.S. Tarasov, G.M. Tsypin), the musical development of a student is interpreted much more broadly than the development of his special abilities and the tasks of personality formation are brought to the fore. student. Their solution is connected with the understanding that music and the process itself music training are effective means impact on his spiritual world. Of course, the tasks of developing musical and performing abilities and shaping the student’s personality are vast and diverse. But they must be resolved from the very beginning of the educational process in each section, in each type of musical activity.

How can these tasks be realized in such concrete and specific work as the formation of a student’s motor-technical skills and abilities, the development of his pianistic skills? To answer this question, it seems appropriate to turn to the consideration of the psychological and pedagogical foundations of the development of musical abilities and find out what in their very structure, the very psychological mechanism of abilities provides grounds for setting such “global” goals at various stages of work. This turns out to be possible, first of all, when referring to the fundamental theoretical concepts of S.L. Rubinshteina, A.N. Leontyeva, B.G. Ananyev and other scientists. However, among the works devoted to musical abilities, the works of B.M. Teplov occupy a special place. They developed the categories of musical talent “a qualitatively unique combination of abilities on which the possibility of successful implementation of musical activity depends and which is determined by the very nature of music as such” and musicality – “the ability to experience music as an expression of some content”, the center of which is “emotional responsiveness to music."

The author analyzes in detail the basic, initial properties of the human psyche (“the core of musicality”), necessary for sufficient differentiated perception music and therefore crucial for the development of abilities. Moreover, Teplov considers these two sides of musicality – the emotional and the actual auditory – in an interdependent unity, since “taken separately, they deprive the musical perception and experience of music of objective certainty and content.” Teplov includes in the concept of musical talent not only specific manifestations mental properties person, but also general qualities individuals who participate in both musical and any artistic activity: the strength, richness and initiative of the imagination, the combination of auditory and visual images in it; the ability to become emotionally immersed in a piece of music and concentrate all one’s thoughts on it mental strength; features of attention, memory, level of knowledge, life experience.

The outlined fundamental approaches to the study of musical abilities were further developed in the works of V.N. Myasishchev and A.L. Gottsidner, L.L. Bochkarev, K.V. Tarasova and other psychologists and musicians. They examine the phylo- and ontogenesis of musicality and musical abilities, their structure, the relationship between the biological and social in them, and draw attention to common components musical talent as a prerequisite for successful musical activity. Analyzing its different types (listening, creativity, performance), the authors show how it is realized in them fundamental principles formation of abilities. Thus, they convince us that the development of musical abilities, as well as the musical creative process itself, its essential core - the formation of perception, and then the performing transfer of the holistic artistic image of a musical work - are subject to uniform general psychological laws. And at the same time, they prove that musical abilities have their own specificity, associated with the characteristics of music as an art form. Therefore, works in which music, musical activity and the human psyche are considered in connection are of particular importance for the analysis of this specificity. These numerous works on the psychology of musical perception (Yu.B. Aliev, N.A. Vetlugina, G.S. Tarasov) and “borderline” musicological works with them (V.V. Medushevsky, E.V. Nazaikinsky, A.N. Sokhor); research in the field of psychology of musical performance activity (L.L. Bochkarev, V.A. Petrushin, G.M. Tsypin) or similar works on the theory of performance (L.A. Barenboim, G.M. Kogan, S. I. Savshinsky, V. G. Razhnikov) and monographs of outstanding pianist teachers (G. G. Neugauz, Ya. I. Milshtein, S. E. Feinberg), one way or another concerning the problems of developing performing skills. Familiarity with these works makes it possible not only to determine the tasks musical development students in the process of their educational and performing activities, but also to consider in detail, as the basis for their solution, the structure and mechanisms of the formation of the musical abilities themselves in their piano-performing specifics. The issues of developing musical abilities are addressed in the same way: B.V. Asafiev, L.S. Vygotsky, D.K. Kirnarskaya, S.M. Maykapar, A.V. Malinkovskaya, A.G. Kovalev, F.M. Blumenfeld, V.A. Zuckerman and many others.

However, the abilities themselves are not the special goal of these studies - the central category in them is performing activity, which determines the ability to approach the problems of abilities. Thus, in modern literature, especially in the works of music teachers, researchers note “the desire to introduce into the structure of musicality general musical-aesthetic and psychomotor abilities necessary for certain types of performing activities.” S.I. Savshinsky, for example, characterizes musicality based on the student’s performing activity, and divides abilities into artistic (emotionality, content, artistry), technical (virtuosity, precision of play) and aesthetic (timbre richness, nuance). And L.A. Barenboim proposes to introduce into the elementary musical complex such as the ability to observe the flow of music and read it from a sheet, the ability to experience musical form as a process. All more attention in pedagogy, as well as in psychology and musicology (M.G. Aranovsky, A.N. Sokhor), is given intellectual processes, it is emphasized that they are based on the “linguistic layer of musical thinking”, which makes musical (including performing) communication possible. The problems of performing interpretation of a musical work are of particular importance; attention is focused on the fact that the tasks of adequately conveying the author’s intention require the performer to: a) be able to read musical text, penetrate through it into the author’s imaginative world; b) the ability to connect it with your understanding of style, your own emotional fund and life experience; c) the desire to realize the performing image thus born (according to V.G. Razhnikov) as accurately and convincingly as possible through the selection of appropriate pianistic techniques, and therefore the need for constant replenishment of one’s technical “arsenal”.

In the works of recent years, the task is to rethink the existing pedagogical strategy and methodological tactics, according to which the musical development of a student is reduced to the development of elementary musical abilities, enrichment of memory, performing skills, accumulation of skills and knowledge (Z.N.Richkevicius). The authors emphasize in musical development the role of deeply personal, creative knowledge of music, which fuses artistic information coming from the object (a piece of music) and emotional and semantic life experience subject - only in this way can one “introduce students into the world of great musical art, teach them to love and understand music in all the richness of its forms and genres, in other words, to educate students musical culture as part of their entire spiritual culture” (D.B. Kabalevsky). Remaining within the framework of the general sociological approach, all of the above and other studies set as their task the study of the artistic and educational functions of music, and in this they come into contact with music pedagogy, provide new approaches to the theory of musical abilities and can provide undoubted assistance to the practicing teacher.

Finding the key to a student’s repository of life impressions and using them in the right direction becomes one of the most important tasks teacher's work. This allows him not only to stimulate the student’s musical development, but also to penetrate his spiritual world and actively influence him: awaken the imagination, expand his musical and artistic horizons, and shape his aesthetic taste. Establishing relationships between various types art, the teacher teaches to think broadly and creatively and, revealing the interaction of abilities, strives to ensure that the student can “study with the same benefit from Raphael’s Madonna as an artist does from Mozart’s symphony” (R. Schumann).

Analysis performed theoretical approaches to the problems of developing performing skills will have an undoubted benefit in practice special training pianists, as it will help determine starting points and psychological and pedagogical guidelines that will guide teachers in their pedagogical activity. Among the most important starting positions with which it is necessary to approach the problems of musical development of students, the following can be noted:

Musical ability does not exist as an “ability in itself”, outside the perception of music or its reproduction in live sound or performance. Being complex combination natural (innate), social and individual, they develop only in practical musical activity. Playing a musical instrument can be precisely such an activity, when abilities not only manifest themselves, but are also formed and exist in dynamics. Thus, educational musical activity acts as a process, and musical abilities – as the potential of the individual, closely interacting with each other.

The process of forming performing abilities in the very general view one can imagine in the following way: increased reactivity to musical impressions gives rise to a tendency to listen to music and perform it, which develops into a stable need for music lessons. At the same time, the relationship between abilities and activity is expressed in the fact that in some situations, the primary in relation to activity is the inclination towards music and the manifestation of certain natural properties, in others – activity is the main form and main reason formation of abilities.

When solving problems of developing the musical abilities of a performing pianist, it is necessary to take into account: general trends in the development of performing skills, a higher qualitative level of the abilities of a professional musician, and their performing specifics. This allows, taking as a basis traditional approaches to classify abilities, consider musical talent as a system of interacting general (mental), special (musical) and actual performing abilities. The complex of musical abilities of a performing pianist includes as its basis an ear for music, a sense of rhythm, musical memory, the ability to read text and grasp the form of a musical work, musical thinking, artistic and creative imagination and interpretive abilities. In turn, each ability is complex education, consisting of many interacting components, including “moments” of general giftedness and personal qualities. Transforming into special musical abilities, they contribute to their development from elementary to increasingly complex components and ensure their integration into an integral system.

All musical abilities develop in conditions of close interaction: there cannot be one ability in the complete absence of others, but their qualitative development varies individually , That's why in the practice of teaching, the question of one or another of their relationships and the possibility of a certain kind of compensation for relatively weak components by other, more advanced components becomes of great importance. On this path, the teacher is given creative freedom of choice, the opportunity to use the most strengths individual musical talent.

Of particular importance in the pedagogical process is the achievement of the unity of the emotional and conscious in personality development, which significantly increases the mental capabilities of students and allows the teacher to expand the range of means of pedagogical influence. This becomes possible thanks to the constant and active involvement of the connections of music with life, focusing the student’s attention on the life content of music and its means of expression, connecting musical knowledge and extra-musical associations, identifying and enriching the student’s musical, artistic and general life experience, and finally, thanks to the personal impact on his spiritual world, which helps to “infect” the student with music, arouse in him empathy for the miracle of musical art and ultimately develop an emotional and value-based approach to it.

The development of a student's performing skills is closely related to his educational activities– it occurs “inside” the creative process of mastering and performing musical works, with deep “immersion” in the emotional and meaningful world of the work and the development of performance techniques corresponding to it.

Therefore, the teacher must use all the possibilities of this process to develop the musician’s personality - constantly link the tasks of mastering a work as a performer and improving the student’s pianistic skills with the development of his general and musical abilities, which, ultimately, will determine his professional and creative future.