The paper deals with the author’s method of learning to play a musical instrument named Music Gym that belongs to professor of flute of University of music and performing arts Vienna Furugh Karimi. The method has been successfully applied in Europe. It is a system of exciting training with the use of different physical, communicative and psychological exercises which are combined with the music making. The method is based on educational kinesiology principles, namely a set of brain development exercises named Brain-Gym that Karimi managed to adapt to wind players. The lack of information on Karimi’s technique in Russian language provides the novelty of this subject. Its practical use could facilitate new methodological principles to improve the quality of national performing school representatives. This is particularly relevant in current realities, because it will help to make a learning process psychologically easier and cope with stress and tenseness during stage performance.

This article is devoted to the features of the formation of art education in the Siberian region as a system of continuing education. The main objective of the study is to analyze the basic forms of interaction between the units of art education, identify urgent problems that impede the development of the system, and consider possible solutions to them. The article deals with the analysis of scientific, practical and methodological work in art educational institutions in the region, the development and implementation of new methods in the educational process in the field of art education, training of students and the formation of human resources. The relevance of the topic is due to the requirements of scientific and technological progress, socio-economic and sociocultural changes in society, the human need for quality professional education for life. The development of the system of art education, as a result, the preservation and development of the culture of society in the Siberian region.

The historical background for the emergence and development of the school of sculpture in Krasnoyarsk is logical and justified, since the city was a regional center, and its growth and rapid development of urban-type settlements in the region caused an urgent need for the development of monumental art. The study of this phenomenon, as a regional and unique in its essence, is very relevant for understanding and identifying the individual features of the Krasnoyarsk school and its thematic focus. The purpose of this research is to study the life and work of the remarkable artists-sculptors G. D. Lavrov (1885-1991) and A. H. Abdrakhimov (1915-2016), who were at the origins of the Siberian school of sculpture. Based on the analysis of the work of sculptors in the context of a complex, constantly changing historical situation, it was concluded about the significance of their work for Russian art in General and about the invaluable contribution to the artistic development of Siberia, both in terms of thematic content and in relation to the indirectly perceived traditional academic school. The relevance of the article is determined by the need to preserve the cultural heritage of Siberia. Masters G. D. Lavrov and A. H. Abdrakhimov made a significant contribution to the development of the regional school of sculpture.

The image of modern architecture, morphogenesis methods, construction technologies, ways of self-expression, interaction with people, purpose, objectives, principles are very different from the architectural representations existed before. Antivitruvian aesthetics, mainly based on the rejection of generally accepted dogmas, generally accepted order, gained a rapid development at the end of XXth century. Despite the fact that a quite long time separates us from the antivitruvian aesthetics appearance moment, antivitruvian aesthetics development question remains to be insufficiently researched. This research paper considers the antivitruvian aesthetics emergence reasons, its influence mechanism on human consciousness, its application in architecture. Research objectives include the antivitruvian aesthetics development dynamic in the modern world, its development vector determination. Research method is the comparative analysis of traditional and modern architecture from the morphogenesis and concepts creation attitude. Research result has showed that the striving of an architects to the antivitruvian aesthetics is rather the recognition of a deep civilizational crisis than the intention of individual creators.