Relevance of research is determined by the need of art history to have an effective method of purposeful training of pianists for concert and stage activity and its absence in a holistic form. The scientific analysis of the investigated problem and the study of the concert and stage experience of pianists made it possible to identify a number of contradictions. In our opinion, the leading one of them is the contradiction between the desire of pianists to mobilize their own ability to preserve an optimal emotional and creative well-being, aimed both at clearly projecting in the imagination an interpretive model of a musical work, and at ensuring its creative realization by unerringly reproducing performance skills in the usual (auditorium) and concert-stage conditions of activity and the need to use only intuitively found non-systematic methods of achieving the set goal.
The dissertation describes the results of the analysis of the state of the researched problem in the theory and methodology of musical performance and found out that pianists’ performance stability is a phenomenon of art history, because this branch of science "owns" the theoretical, methodological and practical tools for researching it creative and interpretive process in the conditions of a concert-stage activity, in particular the process of projecting an interpretive model of a musical piece in the imagination based on artistic images and their emotional and tembral coloring, taking into account the thesaurus of the implementation of this model by performing means.
The content of the concept "performance stability of pianists" is crystallized in the modern scientific discourse from the positions of various branches of science, in particular: music pedagogy (L. Kotova, D. Yunyk, T. Yunyk and others); psychology (L. Bochkarev, Yu. Tsagarelli, V. Shapar and others); economics (A. Mezhev, A. Merkytanov, O. Molchanova and others); computer scientists (D. Whitman, V. Ashby, L. Pautova and others); of political science (O. Semchenko, S. Savin, I. Kiyanka and others), etc. The performance stability of pianists is a component of their general performance skill, which is characterized not by innate, but by acquired individual integral-dynamic properties, manifested in the ability to maintain an optimal emotional and creative well-being for a clear representation of artistic images of musical works and for their expressive realization by error-free reproduction of performance skills both in the usual and in concert and stage conditions of activity. The main components of pianists' performance stability are:
- informational component;
- dynamic stability;
- static stability.
The informational component ensures the integrity of the functioning of the dynamic and static pianist’s performance stability due to maintaining a certain balance of the moment's opposite intensity of introperceptive and holistic features. In the absence of these features' interrelationships or in the event of this balance's violation, pianists’ performance stability loses its main "purpose", that is, it becomes unstable.
Pianists’ dynamic performance stability is achieved by the cyclical balanced pulsation of its internal elements according to the algorithm "order → chaos" and, conversely, "chaos → order". The functional basis of pianists' dynamic performance stability is provided by the constancy of the synchronous self-regulation of its internal parameters, which is maintained thanks to:
- resistance to the preservation of one's own spiritual and aesthetic values in the process of searching invariant and flexible structures for the imaginary construction of artistic images of musical works;
- the continuous movement of relationships between the components of the system of the specified phenomenon during the evolution of internal and external factors influencing the course of pianists' cognitive processes;
- the priority of intellectual and knowledge technologies of projecting in pianists' imagination an interpretive model of a musical work based on artistic images, its emotional and tembral coloring, as well as a thesaurus of this model's implementation by performing means.
- immutability of configurations of motor acts at the sensory-perceptual level in the process of achieving their stabilization;
- the dominance of the principle of uncompromising adherence to attitudes aimed at liberating consciousness from control over the process of implementing movement acts.
