The monograph reveals the main theoretical, historical and methodological problems of concertmaster's art, and also solves practical problems of concertmaster's performance. For the first time, one publication systematizes various aspects of this problem.
The monograph examines the philosophical and aesthetic orientation of concertmaster art in the context of ensemble performance, clarifies the aspects of professional definitions, and clarifies the fundamental differences between the accompanist and concertmaster.
The study reveals largely unknown pages of the formation of the concertmaster as a separate profession, this process can be traced in the historical and cultural context from ancient times to the present day. The fundamental prerequisites of the formation of concertmaster activity as a special form of music making are analyzed, theoretical and methodical literature, including foreign literature not translated into Russian, psychological aspects of concertmaster activity are studied.
The specificity of concertmaster's work in various performing classes of music schools and in musical theater is studied.
A number of clarifications of the musical text of claviers are given, as well as corrections to incorrectly published musical editions.
The monograph is addressed to concertmasters-practitioners, teachers, students of higher educational institutions, graduate students, assistant trainees studying in the field of "Piano", as well as related specialties.