execution of two actions is possible only with the condition of automation of one of
them, for these reasons it is impossible to distribute attention between actions that
require the participation of the same analyzers. So the very automation of motor
activities allows the pianist to mind during the performance of the work to move on the
reference points, controlling the beginning of the passage, the end of the phrase, the
balance of the melodic line with other elements of the fabric, the purity of the change
of harmonic coaxial pedal, and others like that.
Also, during automated game movements, the performer has the opportunity to
use another important property of attention - switching, which is manifested in the
flexibility of attention, the ability to quickly shut down from one set and inclusion in
other, corresponding to new conditions. In essence, the ability to switch (full or
incomplete) is the reverse side of the distribution of attention and consists in
deliberately translating it from one object to another. In the course of the research it
was found that switching attention can occur quite quickly - within 0.2 - 0.3 seconds.
This property of attention for a pianist is very important, since it allows him to quickly
make a transition from one image to another, to navigate with an instant change in the
texture of the product, with a deliberate preparation of the device to an awkward turn
or jump, in short, to control the various elements of musical performance.
Switching attention is among the well trained qualities. Sometimes it is confused
with inattention, which is based on the distraction of the attention-involuntary
movement of it from one to another object, which arises from the action of external
stimuli (external or internal) to a person engaged at this moment in any activity [13]
All the above properties of attention, being a functional unit, partially contradict each
other, that is, the intensive development of one of them almost always weakens the
function of another. In this regard, the pianist should rely on an understanding of which
particular properties of attention are essential to the specific stage of the musical-
performing process.
CONCLUSION
Psychological research proves that attention plays an extremely important role in
the activities that a person is engaged in in life in general. There is no exception to
musical and performing activities. Many of our analyzed works of musical-
psychological direction (Y. Tsagarelli, L. Bochkarev, V. Petrushin, M. Zhizhin, etc.)
have the ability to focus and for a long time to maintain it as important component of
the optimal concert status of the musician-performer. The theoretical analysis of the
works of the mentioned authors allowed to state that performance attention in them is
characterized as "the working state" of the musician's consciousness. It is closely linked
to other mental processes and because it does not have its own product, it can only
manifest itself in the course of musical performance. In particular, the algorithm for
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