Musicology Annotation << Back Ideomotor Memory and Emotion as the Basis of Piano Craftsmanship Natalia S. Gavrilova The article reveals briefl y the essence of the «ideomotor» concept tracing its history. The level of piano technique depends with the pianists’ training about ideomotor memory of their fi ngers, so the motor or otherwise refl ex memory of muscles problem is very important for them. One of the article’s objectives is the search for the causes of occupational pianists’ hands’ professional diseases and the ways to confrontation. Progress in research has led to the study of the sports psychology techniques and, as a result, the parallel between the work of the pianists about the piano technique and the training of athletes was drawn. It also took some useful for pianists’ training points from the Stanislavsky’s method for actors. The article shows the possibility of using individual elements of these techniques for the correction of the pianist’s wrong movements thereout the «automatism» is formed only after repeated the tangles «imagination motion – a real movement» in certain movements of the average person. The article proposes also a hypothesis about the emotions’ impact for the physiological elements of ideomotor memory’s correction, scientifi c innovation is in describing the ideomotor moving process which translating by the way of concentration from unconscious for conscious. Artist uses unconsciously, as a rule, his ideomotor memory and learns the wrong movement inevitably in developing his piano technique. Therefore if the pianist can advance to represent closely his emotional reactions about his own movements and if he is able to imagine them and then adjust, so his ideomotor processes would be more accurate and affect to his hands and fi ngers physical condition. Keywords: ideomotor memory; attention; conscious emotional reactions; piano technique; control of the learning process; education skill. Contacts: E-mail: 3558523@gmail.com Pp. 46-53.