SPECIFICITY OF THE ORGANIZATION OF PIANIST MOVEMENTS IN THE PROCESS OF PLAYING THE PIANO

Abstract

The article carries out a theoretical study of the pianist's "performance tool" – the piano apparatus. Its role and peculiarities of functioning in the performance process of a musician-pianist have been revealed. The purpose of the article is to theoretically substantiate the specifics of piano movements and their expediency for use by future piano teachers in the process of learning to play the piano. It was determined that the specificity of the organization of the piano apparatus consists in the integrated functioning of individual abilities and qualities of the personality, in the ability to control pianistic movements at the level of embodying the intonation plasticity of the textural exposition, which fully corresponds to the artistic task of the musical work. The main factors affecting the technical progress of the pianist are characterized, namely: the plastic segment of the musician's piano movements, in which the weight is a plastic generalization of the variety of playing formulas and allows to correlate the playing apparatus of the pianist with the deep principles of organizing the texture of the composer's text; weight, as an internal regulator of the pianist's technical skill, as well as a condition for the plastic embodiment of the artistic image, which contributes to the "live speech" of intonation processes in the musical texture; tactile sensations, which play a leading role in building intonations on the one hand, on the other hand, the sensation depends on the state of "freedom" of the piano apparatus in general; automation of musical and game movements; reflective qualities of a musician, as a means of activating self-analysis, self-evaluation and self-regulation of a musician in performing training. It is emphasized that the performing side of the embodiment of the musical image has a plastic sphere, which extends to the construction of intonation plasticity through the plasticity of hand and finger movements, integral coverage of texture, coordination of large movements, and changes in various types of piano technique. In this way, in the process of processing a musical piece, a pianist creates stable internal representations of a tactile and motor nature for the textural exposition of the musical text.