Abstract: The work is devoted to the process of preparing a piece of music for concert performance. The object of the study is effective methods of working with musical text, including consideration of the psychological component in the professional activity of musicians. The individual characteristics of the performer's psyche, the ability to perceive, analyze and memorize information from the position of the type of representative system defining it are considered. The possibilities of auditory, visual, kinesthetic ways of comprehending the text are revealed. Special attention is paid to the musical memory necessary for a successful performance on stage. Various methods of working with musical text aimed at increasing its effectiveness and intensity are revealed. The importance of knowing the individual characteristics of the performer's perception is emphasized, the methods that ensure the strength of memorizing the text and the stability of performance on stage are revealed. The idea of the essential importance for the performer of the visual channel of perception of information, underestimated in music pedagogy, is carried out. The necessity of an integrated approach involving the connection of all representative systems in the process of learning and mastering the work is substantiated. The work is based on theoretical developments and arguments of foreign and domestic musicologists and outstanding performers: D. Kirnarskaya, L. McKinnon, G. Neuhaus, F. Busoni. Special attention is paid to the results of the research of the scientist-psychologist B. Zeigarnik, the validity of their application in the performing practice of musicians is substantiated.

Abstract: The research subject of the article is the peculiarities of performing Sergei Prokofiev’s Piano Sonata No.6. This composition is a part of the “war” piano tiad and reflects the essential traits of the late period of the composer’s work. Special attention is given to the question of the character of the performer’s interpretation requiring an active, creative participation of a performer on the recreation of the author’s idea. The authors emphasize the necessity to pierce into the sense layers of the performed composition, which helps to deepen the current interpretations and rethink the life and creative work of Sergei Prokofiev. The authors analyze the performer from the position of the theory of music, phenomenological and hermeneutic approaches developed in the works by L.O.Alopian and Z.V. Fomina. The authors detect the peculiarities of the individual idiom of Prokofiev. The authors demonstrate the ability of a pure artistic genius to go beyond the limits of socio-historic and cultural dependances and to express supratemporal, timeless senses in his work. The analysis of the Piano Sonata No.6  in the context of Prokofiev’s late works reveals significant evolution of his piano style speaking for spiritual and creative search of the composer.