impossible to analyze technical techniques, or to "diagnose" their own mistakes in the
game "[8, 48].
G. Tsipin repeatedly emphasized in his works methodological inappropriateness
and unjustified pedagogical approach, in which "the focus of teachers - pianists,
violinists, vocalists, etc., is concentrated mainly on what is directly related to the
experience of the music performed, its direct emotional comprehension, and to a lesser
extent, that is due to the processes of its understanding, intellectual comprehension "
[9, 139]. Absolutely agreeing with the position expressed by the author, we note that it
is important to adhere to a balance that clearly reflects the principle of unity of emotion
and rationality known in the piano teaching.
The degree of concentration of attention is not constant, therefore, over time, it
undergoes changes (increases or decreases), which are called fluctuations in attention.
That is why the ability to concentrate on the opinion of D. Kirnarskaya is one of the
main difficulties requiring constant tension, the continuous "inclusion" of the student
in the process of studies, due to the specificity of the musical-performing task, which
leads to the intensification of the attention and auditory concentration of the student
[10].
A quantitative indicator of homogeneous elements that captures attention at the
same time is its volume. As is well known, K. Stanislavsky's marked property attached
particular importance to the acting work, singling out a small amount of attention (the
extreme concentration on the creative act, ignoring the presence of the audience), the
average (expanding the range of attention with the inclusion of its present partners on
the stage) and large (covering everything around, including the viewer). Speaking
about them in the context of musical-performing activities, A. Burmak recommends a
pedagogical method - the exclusion of the whole environment from the field of
attention - tested in many years of pedagogical practice. In her opinion, it consistently
enhances concentration, helps deepen the game, stimulates creative mood, eliminates
panic disturbances, and fosters concentration in performance. The essence of the given
reception is that, during the period of homework, to imagine with a tool as if in a closed
circle outside of which nobody exists and nothing exists. Work in the middle circle,
according to A. Birmak, assists the performer in the ensemble or the orchestra - allows
him to follow the actions of his partners and simultaneously turn off the attention of
the public in the hall. The beneficial influence of the pianist also states that despite the
negative stressful factor of activity within a large range of attention, it can take place
under favorable conditions. This occurs in the event of a special contact between the
performer and the listeners, in which the artist feels the tension of listening attention,
which, in turn, stimulates the emotional upsurge of the artist along with creative anxiety
[8, 49].
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