The article is aimed at actualizing the intrinsic value of M.O. Auezov's creative heritage in the context of real processes of modernization of public consciousness. It presents methodological and theoretical guidelines for the research which is fundamentally new in terms of its approaches, in which the factor of the existing and future impact of M.O. Auezov – the subject and creator of culture – on society should be revealed in the coordinates of the transnational space in all its convincing power and unconditional character. The choice of this particular format is due to the combination of objective and subjective reasons, relying on the achievements in the field of humanitarian knowledge and focusing on the historical and theoretical issues of modern art history, that made it possible to generalize the accumulated material and determine the conceptual foundations and strategy in ensuring the level of scientific reliability, novelty characteristic of fundamental developments and significance of the tasks to be solved and the expected results. The dynamics and effectiveness of direct and indirect participation in the process of intercultural interaction and determination of universal values can be shown based on the analysis of the selected samples of research, artistic, educational, organizational activities of M.O. Auezov, the coverage of all forms of influence on the development of art in its species diversity, understanding the re-interpretive practice of different years (with an emphasis on socially significant results), including art history interpretation of the works of different genres, created according to the texts of M.O. Auezov or dedicated to his memory. The attraction of new archival data, experience of foreign reception, reconstruction of "forgotten" facts will deepen the understanding of the true scale of personal impact on the development of culture in the XX-XXI centuries. Awareness of the phenomenal productivity of M.O. Auezov in asserting the uniqueness of the heritage and traditions of the Kazakh people is significant both for a worthy presentation of Kazakhstan at the world level, and for expanding the "horizons" of enriching the spiritual potential of the nation.

The article discusses the issues of teaching professionally-oriented foreign languages to students of non-linguistic specialties, which are especially relevant due to the growing role of foreign language communication in the professional activities of modern professionals. The need for the formation and development of communication skills that are important for effective professional activity of students is indicated. The goals and objectives of teaching a foreign language in a professional direction are defined, attention is paid to the importance of its integration with special disciplines, ways to solve the difficulties that arise in the selection and learning process with an emphasis on the content of the necessary materials. In addition, the article analyzes the main factors of effective teaching of a professionally-oriented foreign language and describes the role of educational materials as a means of forming and developing students’ motivation to learn a professional foreign language.

The main source of Kazakh musical culture is its ancient ritual folklore. It is known that in the XIX century, the oral performing culture reached its peak on the basis of samples of music from the centuries, folk kara olen, simple lyrical songs of the late time. The study of ritual patterns and comprehensive research allows us to understand the subtleties of the melody that lies in the ancient layers of our spiritual culture. The article contains a number of information collected during the expedition, stored in the older generation of Kazakhs of the Orenburg land. Together with it, data on toponomy with high historical and cultural significance is given. The study provides data preserved in the region until the 90s among the population (within the tradition of writing poetry) - kara olen, amandasu, salem aitu-greetings to each other, letters-poems, among which we can distinguish samples of seungsu. During the meeting with representatives of the older generation, who followed the ancient Kazakh traditions, a number of traditions and customs of the kyz uzatu holiday were outlined. Analyzing the collected samples of the songs "Uzatkan kyzdyn oleni", "Korisu", "Uzatylar kyzdyn tanysyp zhurip aitkany", etc., similarities were revealed with the musical and poetic form "zhyr" of the neighboring western regions and mainly with the 11-syllable form "kara olen". In the course of comparative analysis, it was revealed that the Orenburg motifs are rarely used (in various fret structures) of the III-IV-V, II-III-IV or I-II-III stages, which are found in the songs of the bride, ritual songs of the Western region of Kazakhstan, bordering on Orenburg. Brief information about another type of ritual samples – badik also provided. According to custom, together with a group of villagers treated the disease of a pet, they believed that with a song they would transfer the disease to a living object or inanimate object. Since samples of badik from the Russian Kazakhs were rarely found, the poetic text was analyzed.