EXPRESSIVE THINKING AS A COMPONENT OF THE PIANIST’S ARTISTIC SKILL IN THE PROCESS OF EMBODYING THE EMOTIONAL CONTENT OF A MUSICAL WORK

Abstract

The article explores the phenomenon of expressive thinking as a determining factor in the pianist’s artistic skill and a complex intellectual-emotional mechanism through the prism of embodying the emotional content of a musical work, and also examines the specifics of its functioning in modern performing practice. The results of the study prove that the structural elements of expressive thinking, the close interaction of which ensures the transition from reproductive reproduction of the text to an active act of co-creation, are: emotional lability and sensitivity, artistic intuition, associative-symbolic content and mechanisms of volitional self-regulation It is stated that the expressive thinking of a pianist is a polyphonic system, where rational control over the technological complexity of the game is inextricably linked with a continuous creative search for the artistic integrity of the image through the analysis of the intonational nature of music, dramatic logic, the dialectics of sound and silence, as well as timbre-textural symbolism. It is found that effective methodological strategies for the development of this type of thinking in the conditions of modern art education are synesthetic modeling and inter-artistic parallels, where musical images (V. Silvestrova, Tan Dunya, K. Debussy, F. Mompou, T. Takemitsu) are revealed through a dialogue with visual art (painting by C. Monet, gohua technique) and literary texts (poetry by R. M. Rilke, haiku by M. Basho). The results of the study show that the functions of the pianist’s expressive thinking are: deciphering and actualizing the hidden semantic depths of the author’s text; transforming internal experiences into externally articulated musical expression; overcoming the mechanistic nature of performance; enhancing the suggestive power of the artistic image; creating the effect of «deep listening» and philosophical understanding of the pause; ensuring full-fledged communication in the author-performer-listener system