Creative Training of Pianists and K.N. Martincen's Complex of Wunderkind
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Abstract
The article attempts to determine the basic provisions of the method of teaching pianists. Creativity in this process is declared as a key condition for the successful upbringing of a musician. Nevertheless, in the actual teaching of children in music schools, the creative element is often infringed. There are many reasons for this phenomenon. But the main ones can be called the theoretical inconsistency and inaccuracy of the approach to teaching pianists, based on the provisions of the concept of K. Martinsen, the practice of piano training that has developed for decades and the overestimated learning goals for ordinary music schools, defined by Federal state requirements. This article examines the theoretical inaccuracy of the most important methodological installation, which has become widespread in the theory and methodology of performance.
Among the theoretical postulates of the existing teaching practice, there is the concept of K. Martinsen, which he called “The prodigy complex”. Created in the middle of the twentieth century, it formed the basis of the postulates of th”» psychotechnical school” and had a huge impact on the theoretical ideas about the content of piano training. At the same time, the theorist made an inaccuracy, the meaning of which lies in the target orientation of his concept. To a large extent, his concept of the “prodigy complex” is fair for educating composers, not performers.
The article expresses the need to “legalize” in the theory of piano pedagogy the “path of training of an average performer”, which is condemned by a German theorist. At the same time, the active development of the auditory sphere, which the German theorist called for, does not lose its significance for the education of pianists. However, this will be fair for the formation of special performancerelated properties of musical and auditory representations that have not been adequately reflected in K. A. Martinsenʼs concept.
Keywords: musical creativity, creative training of pianists, the child prodigy complex, K.A. Martinsen.
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