ANTICIPATION IN THE STRUCTURE OF THE CONCERTMASTER'S PROFESSIONAL ACTIVITY

Abstract

The article is devoted to the study of the phenomenon of anticipation in the aspect of the phenomenon of collective musical creativity, analyzes its study and use in the practice of collective performance, in particular in the activity of the concertmaster. The purpose of the work was an attempt to investigate and identify the essence of anticipation, its mobile properties and place in the structure of the concertmaster's artistic and creative activity, to substantiate its significance as the most important attribute of concertmaster art. The methodology of the study is based on the theoretical positions of modern scholars who interpret music performance as a complex psychophysiological process, methods of systemic-structural and comparative analysis; methods of observing the creative process of concertmasters who participated in rehearsals and public performances with soloists and ensembles, as well as the method of self-observation, during which the performance sensations were analyzed and recorded, were also taken into account. The scientific novelty is due to the fact that the problems of anticipation, which have been developed in psychology, are first considered in the context of artistic, in particular, musical creativity. Conclusions. In the course of understanding the structure of the relationship between the concertmaster and other participants in the artistic and creative process, anticipation is revealed as an attribute of concertmaster art, without which the latter is impossible in principle; it has been found that the essence of the concertmaster's activity in contemporary musical practice is considered to be “accompaniment” not only as an artistic and creative process of music-making (accompaniment), but also “accompaniment” as a way of creativity that manifests itself in supporting any initiatives in the field of collective musical art. The specifics of anticipation processes become clear in the context of the peculiarities of the concertmaster's activity, the accompanying type of activity. Adapting the established concept of pedagogical support to the conditions of musical performance, it can be argued that accompaniment is a process of interaction between subjects (in this case, a concertmaster and a soloist) aimed at realizing the artistic and performing potential of a musical work.