In the monographG. Prokofiev "Formation of the musician-performer" states that
the scope of attention as the ability to cover various elements of the performance
process is the only act of attention that involves "some sort of structuring of the process
of reproduction of music" is the most important characteristic of this phenomenon. In
her researcher repeatedly emphasized the importance of executive attention, and in its
formation saw a powerful means of development of a variety of performing qualities
and a prerequisite for successful education and training.
The notion of "volume of attention" is in harmony with the notion of "volume of
perception," and with this the fact that attention may be narrow or broad is linked. In
particular, in the writings of A. Shapov, it is emphasized that attention may be narrow
(perception of the current intonation and prediction of the next) and wider (perception
of the integral structure of the musical work). A similar view is found in the book "The
method of teaching a piano game" by N. Lyubomudrovoy, where executive attention
is highlighted in the compulsory component of musical abilities, without which full
performance is impossible. The author links the studied phenomenon with the musical
memory of the student and understands it as a special concentration and ability to
embrace performance as if one act of expression of will. "Musical attention should
have the necessary length in each case and not miss at the same time any details
performed" [11, 15]. This resonates with the opinion of V. Petrushin that "the attention
of a skilled performer covers the entire work as a whole, and every smallest detail"
[12]. It should be noted that the decisive feature is that the volume is practically non-
regulated during training and training.
With the amount of attention associated with two other ones, properties and
switching. The ability to distribute attention simultaneously to several objects in
essence is a volume with an unlimited field. Speaking of the mobile properties of
attention. Sawski stressed that the pianist had to watch both the sound of music and his
performance, that is, he should hear intonation, timbral coloration, vocal writing, and
at the same time observe the movements of both hands, the application, pedaling, and
their habits. The music teacher emphasized that the ability to such "multi-faceted"
attention is given only as a result of long-term education, the basis of which should be
laid at the first stage of pianist growth [6].
The pianist always has to operate the division, that is, in the field of attention to
have what is relevant at the moment, while simultaneously exercising control and other
actions, - emphasizes A. Birmak Difficulties with the distribution of attention, as V.
Petrushin argued, is one of the reasons for inappropriate execution, which is clearly
manifested in the performance of the piezipolyphonic composition, requiring
"stratification" of attention. Prevention of this is the partial automation of gaming
movements, which allows the thoughts to run ahead, anticipating possible difficulties
and the means of their prevention. It is scientifically proved that simultaneous
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