Background. The article studies the accompanist culture as an artistic phenomenon. The accompanist art development processes at the given stage are distinguished by an intensive search for renewal of the content and means of musical expression, coupled with discoveries in composition practices, which puts forward new performance requirements. Scientific novelty is pre-determined by the tasks of detecting the historical origin of the organization of the “backgroundrelief” type in musical structures, specifying the stages of their development. Tracing back the origins of the art of accompanying allows us to reveal a variety of relationship models between the solo singing and accompanying function, which co-exist in various forms in modern artistic practices, thereby depicting the main professional qualities and skills of a piano accompanist. The purpose of this article is to discover the genesis of the types of accompanist art, their historical development, as well as to determine the components that form the basis of the professional activity of the accompanist and to identify major personal qualities characteristic to this profession. It should be noted that the issue of accompanist art is currently only passing the way of scientific comprehension, and we can distinguish a certain historical dynamics: from methodological developments to comprehending the role of an accompanist as an equal member of the ensemble, teacher and creator of original interpretations of compositions. Results of the research. The phenomenon of accompanist art is considered in the paper in terms of its connection with the general history of music. The history of accompaniment and the work of an accompanist should be recognized and studied, since the nature and role of the accompaniment depend on the era, nationality of music and its style. Concertmastering is one of those professions where the duties and modes of action are not clearly expressed, leaving the professional with the right to choose. A striking distinctive feature is the individual path of improvement and the final “bar” of mastery, determined by the traits of the character and personal aspirations of each accompanist. The article discusses the issue of the specific musical and psychological abilities of a concertmaster, which ensure compliance with professional requirements. Conclusions. The development of a theoretical concept of accompanist art will allow this profession to acquire the necessary completeness of permanent features and will open up new prospects for further study of methodological, practical and artistic aspects.
Efficiency of working memory: Theoretical concept and practical application