MNEMONIC PERFORMING AS A COMPONENT OF PROFESSIONAL SAXOPHONIST THINKING

Abstract

The purpose of the research is to disclose the concept of mental performance as one of the varieties of professional saxophone player thinking, which is a conscious form in the process of learning or consolidation of musical text. This variety of mnemonic fixation music has long been known and deservedly gained recognition in performing circles. In modern concert, cogitative performing is a necessary component of the creative saxophone player training because it allows in the short term and even in free time classes maintain the required level of psychophysiological reproduction of a work. Relevance of the topic is caused by the complications of the current state of the professional saxophone player’s cogitative activity in conditions of artistic globalization and the role of mnemonic performing techniques focused on rendering of composer's intention. Methodology. The carried out research is based on analytical and comparative cognitive and artistic technique disclosing mental and psychological factor of performing mechanism. Artistic imagination as a factor of improvisation-interpreting approach to the author's intention plays a fundamental role. Internal performance of each musician is a deeply personal mechanism, which dependends on the characteristics of thinking and professional experience. The scientific novelty of the results obtained consists in the attempt to reveal available for today theoretical postulates regarding the functioning of musical performer’s thinking in the conditions of modern art traditions. The study deals with the question of application of analytical techniques for the purpose of mnemonic effective disclosure of the original author's intention. It creates a new field for future scientific studies devoted to the conditions of saxophone development as a promising instrument of modern music. Conclusions. The modern artist may use cogitative game techniques to solve problems that arise when working with new material. Among them, there are the processing of timbre filling of the work, the development of individual sound palette, mechanistic understanding of technical component of implementing of a certain passage, analytical approach to the technical difficulties, internally acoustic passage practicing, the optimal tempo balance and complex psycho-emotional preparation for concert performance.