THE DEVELOPMENT OF CREATIVE IMAGINATION OF STUDENTS MUSICIANS-INSTRUMENTALISTS
The article reveals relevance of a problem associated with the development of creative imagination of instrumentalist-students. The term “imagination” is analyzed, its creative nature in the field of instrumental performance is revealed. The analytical spectrum includes the works of: L.N. Stolovich, N.A. Bernstein, P.V. Simonov, S.L. Rubinstein, A.V. Zaporozhets, P.K. Anokhin, P.I. Zinchenko, B.M. Teplov, G.G. Neuhaus, L.L. Bochkarev, V.I. Petrushin, E.S. Rapatsevich, O.A. Blok, K. Flesch, etc. The following propositions are put forward: the development of creative imagination in classes for teaching instrumentalists remains an urgent problem today; creative imagination is a significant determinant of all types of musical abilities (general, private, special) and at the same time a platform-incentive for the development of creative potential of studying instrumental playing; creative imagination, “ahead of time”, brings a student instrumentalist to achieve an ideal model of the embodiment of the performed musical work. Important “outposts” in achieving the goal are: the quality of the most ideal model of the artistic image of the composition; clarity, detail and panoramic vision of the process of embodiment (a holistic solution of technical and artistic-imaginative tasks); the presence in the arsenal of the instrumentalist of creative freedom, culture of sound production, sound science, sound removal, as well as possession of the secrets of intonation, in unity of form and content; clarity of representation of the topography of the instrument; knowledge of its ergonomic properties; in the process of creative formation of instrumentalist performers, auditory-motor representations acquire special importance, largely determining the formation of the necessary psychomotor unity and “the secondary synthesis” of operational-technological and artistic-imaginative principles; sensory and mental imagination as a reflection of creative consciousness and the unconscious in their synergy largely ensure the success of the musical and educational process in instrumentalist classes. Turning off the imagination (either mental or sensory) of the learning instrumentalists from the zone of pedagogical attention can cause the following damage: destroy the motivational environment; slow down the formation of emotional and sensual nature; slow down logical and semantic maturation; delay the emergence of emotional intelligence and “smart” emotions; lower the level of psychological activity, stability, etc. It is indicated that the prospect of further research can be the study of the psychology of perception, memory, interest, taste on the basis of the creative consciousness and the unconscious of the trained instrumentalists.