THE ROLE OF THE PERFORMER'S MUSICAL THINKING AND IMAGINATION IN THE ARTISTIC INTERPRETATION OF PIANO WORKS

This article provides a theoretical and methodological analysis of the relationship between musical thinking, musical imagination, and internal hearing in creating an artistic interpretation of a piano work. The purpose of the study is to explain the process from the performer's understanding of the structure of the work to the verification of the artistic intention through real sound. The methodological basis consists of a comparative analysis of primary sources on piano pedagogy and scientific research on musical performance. Musical thinking is defined operationally as the activity of understanding semantic connections and justifying interpretative decisions, while imagination is defined as the activity of creating a possible sound in advance. Based on the analysis, a methodological sequence is proposed that links musical notation, internal hearing, performance movement, and reflexive listening. Criteria for observing phrasing, dynamics, sound balance, agogics, and pedal selection will be developed. The practical application of the proposed approach is demonstrated through a conventional musical situation. The article is of a theoretical and methodological nature; it does not present the results of a new pedagogical experiment.