PERFORMING ACTIVITY AS A MEANS OF DEVELOPMENT OF MUSICAL THINKING

This article deals with the problem of developing the creative independence of a musician-performer in the process of interpreting the composer’s image of a musical work. The author proves that the psychotechnical approach to work on a composition prevails in modern music pedagogy, whereas the approach based on the theory of psychophysical unity is much more effective. A comparison of the two approaches, their positive and negative sides is given. The conclusion of the article is understanding of the need for a creative dialogue between the composer and the performer of a musical text, which also implies unconditional command of the musical “language”, subordinate to mastery of musical “speech”.