The textbook combines all the main types and forms of practical work in the disciplines of the musical and theoretical cycle, as well as the main topics on musical literacy and music theory, forms of control papers (exam papers), which, as a rule, are presented in such publications separately, without following an integrated approach. The forms of planning and methods of implementation of independent work of students are elaborated and presented in detail. The proposed principle of systematic learning helps in the practical development of disciplines, contributes to the acquisition of the necessary professional knowledge, skills and abilities. It is intended for use in the classroom work of students of performing and theoretical departments of music colleges, as well as advanced students of the senior classes of SSMSH, DMSh and DSHI. It can be used for independent work of students of various specialties of secondary vocational education institutions and areas of higher education: 53.02.03 "Instrumental performance (by types of instruments)", 53.03.03 "Vocal art", 53.03.04 "The Art of folk singing", as well as for preparing applicants for entrance exams.

Summary: The article is devoted to exploration of the functions of visual thinking in the formation of spatial representations in human knowledge, which help to recognize the meanings of musical compositions. The purpose of this work is to study “visual” ways of spatial perception of musiсal works, in which eye-mindedness of the composer is implemented in specific operation by expressive means of music. Methods of hermeneutics, comparativistics, musicological analysis and interdisciplinary approach are used to realize this purpose. Principles of visual perception – simplicity and influence of geometric form on emotional properties of the object in music – are regarded as an example to show how they act. Principle of simplicity is evident in the organization of the form of “second plan” which unites multiple-part structures in music, tonal development, according to the type of “the highest order functions”. Influence of geometric form on emotional properties of the object in music is defined by the correlation of statics and dynamics in the development of a musical work; in semantics of geometrical figures “visualizing” in the graphic of melodic line or form of texture, which is supported by musical examples. We draw the conclusions that the existence of these principles in music helps to structure and store information about music in simple mental models, which are easy to recall. Interaction of means of musical expression gradually forms an in the consciousness of the listener, which contains certain spatial and visual characteristics, helping to recognize its real prototype, its artistic sense and meanings. Finally, the ontology of the category of space itself causes availability of a number of universal laws that ensure the convergence of different types of art in the act of artistic creativity and perception. It can be stated that the process of musical perception is dependent on the proceeding and results of different kinds of thinking, which are based on the already available knowledge about the reality and specifics of its reflection. Important components in perception are the nature of the organization of thought processes – attention, imagination, memory; the pace at which thought operations are performed – analysis, synthesis, comparison, generalization, concretization and abstraction, and a variety of other internal human properties and qualities. Understanding these patterns is possible not only based on the study of human psychophysiology, but also, on the contrary, through the study of the principles of the impact of art on man in an interdisciplinary aspect.

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Прошел год со дня ухода из жизни Бориса Александровича Шиндина. Его незабываемый обликвыдающегося ученого-медиевиста, доктора искусствоведения, профессора, проректора по научной работе, заведующего кафедрой истории музыки Новосибирской консерватории, главного редактора «Вестника музыкальной науки» НГК, преданного избранному делу исследователя и Учителя с благодарностью вспоминают все, кому посчастливилось работать и общаться с ним.Но была еще одна важная сторона профессиональной жизни Бориса Александровича. Почти 25 лет вместе с иными многочислен-БОРИС АЛЕКСАНДРОВИЧ ШИНДИН

The phenomenon of the formation of the woodwind instrument art in China of the 20th century is due to the unique synthesis of Western European traditions and the experience of playing traditional national wind instruments. The relevance of the study is due to the fact that the growth of professionalism among musicians-performers stimulates composer creativity, producing the development by Chinese composers of the styles and genres of Western European music. In turn, the combination of styles and genres of academic art with intonation and expressive means of national Chinese music creates new, interesting examples of musical compositions by contemporary Chinese composers, worthy of a separate in-depth study. The purpose of the article is to consider the prerequisites, features of the formation of the performing art of woodwind instruments in China, as well as identifying possible prospects for its development. The leading approach to the study of the problem is a comparative approach in assessing the development of the art of playing woodwind instruments in China and in Western Europe and America. A close relationship between performing, composing and musical education is revealed. It is proved that the development of performing arts should be aimed at enhancing the ensemble qualities of musicians, which is due to the priority of the chamber-instrumental genres in modern concert practice. The significance of the article, both in theoretical and practical terms, is due to the fact that its results can be used as elements of a methodological base for further research on the issues identified.