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Musicology

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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 articles 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 Stanislavskys method for actors. The article shows the possibility of using individual elements of
these techniques for the correction of the pianists 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 memorys
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.

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Pp. 46-53.

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