Open AccessPSYCHOLOGICAL COMPONENTS OF DOMINANT ATTENTION AS THE LEADING PROFESSIONAL QUALITY OF THE ENSEMBLER
Author(s) -
Alina Klieshch
Publication year - 2021
Publication title -
naukovì zapiski. serìâ: pedagogìčnì nauki
Language(s) - English
Resource type - Journals
eISSN - 2521-1919
pISSN - 2415-7988
DOI - 10.36550/2415-7988-2021-1-195-182-185
Subject(s) - intuition , tonality , cognitive psychology , psychology , consciousness , musical , empathy , music and emotion , quality (philosophy) , social psychology , computer science , cognitive science , epistemology , music education , art , music , pedagogy , philosophy , neuroscience , visual arts
The article considers the psychological components that reveal the essence of the method of dominant attention in ensemble performance. The psychological factors concerning improvement of ensemble game are analyzed. Dominant in culture is identified with the main artistic ideas, values. In aesthetics – with the dominant ideal. In the literature – with ideas, context, concept, style characteristics. In design – with shape and space. In architecture – with the dominant element of the composition of space. Dominant – in music theory – V degree of the system relative to the main tone (tonic). The fifth degree of tonality is also called dominant. In European music, the dominant key has always been given a special role, the dominant meant a contrast to the main key. Among all related tonalities, the dominant was considered the dominant (hence the name), the most intense tone, which requires a solution. The professional qualities of an ensemble player are a system of appropriate psychophysiological and mental resources, namely attention, intuition, reflection, empathy, coordination, which is a chain of psychodial elements required for the formation of dominant attention as a generalizing link in the creative realization of a musician-ensemble player. Thus, the considered structural elements of dominant attention as the leading professional quality of the ensemble player, namely intuition, reflection, empathy, coordination are perceived by us as semantic unity. The components are analyzed in terms of content, and a chain of theoretical conclusions is presented, which embody the substantiation of the concept of «dominant attention» of a musician-ensemble player. Analysis of musical-cognitive processes and practical training of specialists contributes to the successful functioning of the dominant attention in the process of its creative realization. Further research may be related to the study of the intuitive component of the musician-ensemble.