O.A. Blok, N.F. Semenova
In a scientific article, the angle of view falls on the need to comprehend the whole complex of qualities and properties of performing actions-movements of instrumental musicians: free in the psychophysiological, artistic and creative sense and collected (concentrated), economical, minimized, active and inertial, conscious (controlled) and automated , rational, organized, verified, honed, focused, expedient (artistically justified, technologically tactical), sensitive (tangibility tactility), independent, coordinated, precisely repeated and varied, system-sequential, expressive, controlled, conceptually built, corresponding to the psychological and physiological specificity of the instrumentalist’s entire performing apparatus, his consciousness and unconscious. Attention is drawn to the fact that many researchers single out only certain properties of performing actions-movements, closing, for example, only on emotional, rational, and other components. Such approaches not only impoverish the nature of musical instrumental performance, but can also create additional difficulties in mastering the instrumentalists' performing culture. The importance of a holistic approach in solving problems related to the formation of musical and performing actions-movements, aimed at the comprehensive implementation of the artistic images embodied in the works, is emphasized. The material contains a draft model of performing actions-movements that allow instrumental musicians to optimize the solution of tasks of logical-semantic, emotional-sensual, genre-style, intonation, artistic and creative, socio-cultural order as a whole. Improving the quality of the musical educational process in instrumental and performance classes, taking into account operational and technological modernization, optimizing performing actions, movements, and their holistic development, can largely provide a solution to various problems associated with the effective training of relevant highly professional specialists.
Keywords: performing actions-movements, instrumental musician, musical piece (composition), formation of performing actions-movements, teacher-musician, learning musician, performing technique.
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Pp. 42-46. |
