Abstract: The research subject is the creative work of one of the most mysterious composers of the 19th century Charles-Valentin Alkan. The authors give some facts of the composer’s biography to answer the question about his disappearance from the scene of Romantic music despite the continuing work of the great genies of Romanticism: Chopin, Liszt, Rubinstein, etc. The authors study the example of the set of “12 études dans tous les tons majeurs” Op. 39 to demonstrate the unique style of Alkan crystallized in collaboration with the composers of the previous epochs and his contemporaries. Due to the lack of the Russian studies of the issue, the authors analyze the works of foreign authors to evaluate the artistic legacy of Alkan. The authors attempt to break the Alkan semantic code using the example of the piece 12 Op. 39  Le festin d'Ésope (Aesop's Feast), which the outstanding performers have been trying to crack for more than 50 years, positioning the meaning of their interpretations. The article contains the authors’ conclusions about the urgent necessity to study the work of Alkan in within the Russian musicology.
 

Abstract: The subject of this research is the specificity of the conscious work of a performing musician in the perspective of the problems of co-creative artistic activities. The author examines aspects such topics as the nature of co-creative artistic activities, specifics of the performer in the mode of the updated intention-directed consciousness (Husserl), mechanisms of perception, mental activities, the main operations of the creative imagination (T. Ribot), "not clamped" consciousness, performing hearing (V. A. Guterman), stage-being, system of education of a musician. Special attention is paid to the systemic process of "thinking the music" (B. V. Asafiev), representing, individual artist, metacognitive activity as the experience that allows to 'prehear' (L. M. Zeitlin) the necessary parameters of the future sound and create the optimal performance of the movement as well as to simulate the formation of the structure of music deployment. The methodology of the research is based on the systems, phenomenological, informational and synergetic approaches to the study of the works of researchers in various scientific fields related to human activity as well as the experience of performers and reflect on their pedagogical and performing experience of the author herself. Information and synergetic approaches allow to consider the emergent reactions of the performing body of the performer as a manifestation of self-organization of the system of co-creative artistic activities in response to excessive exposure to increasing information flood into his mind in an unstable variety of the atmosphere. In such circumstances, only the ability to concentrate on performing the task allows you to actively resist the negative consequences of performing emotion. The novelty of research is connected with the perspective of the research aimed at mapping the problems of the skills of the musician to work in a special mode of auditory-conscious "directed" to focus attention on the sequential solution of artistic problems with the question of self-organization of the performing body of the performer in stress conditions variety performances and, ultimately, with priorities in the education system of the contractor. The study's main findings relate to the field of active plan imagination of the musician, the activation of which by necessity is accompanied by the strengthening of psychic energy. Duration of intense conscious work is supported by "switching" intentions of different creative tasks. Given these findings, practical recommendations for optimizing the system of education of the contractor.