The dissertation is dedicated to the analysis of the problem of artistry of musician-instrumentalist of academic tradition in the context of the European musical art of the late XX – of the beginning XXI century. Artistry in the context of the study is argued as a self-sufficient noetic value-semantic worldview category, as a phenomenon of artistic creativity, “playing” art in the broad sense, which implements among other functions a suggestive one, marked with magnetism of exposure-influence of the personality of interpreter – musician-instrumentalist on the spectator-listener audience.It is grounded a scientific concept of the performer’s artistic universum, ap-pearing in the process of playing-creativity on a musical instrument, as a stylistic interpretation of the text of a musical work. It is defined the structure of the artistic universum as a necessary and sufficient aggregate multiplicity of individual, personal characteristics, professionally important qualities of the musician-instrumentalist. For the first time in the performing musicology a universal approach is ap-plied – the opening of the multiplicity and the unity of musicological method of perception and evaluation of artistic creativity on the basis of existing conceptions and summarized achievements of various sciences: philosophy, psychology, psychoanalysis, socionics, musicology, cultural studies, sociology, etc. Education and training of the artist and his artistic technique is possible only in the process of the concert activity on the basis of the formation of the artistic consciousness, able to enter into “altered states”. It is proposed the technique of complex analysis of the tools of the spiritual exposure-influence of the performer-artist on the audience. It is grounded the concept of the performing synergy. It is elaborated a range of new concepts: artistic synergy, artistic universum, the configuration of artistry, artistic giftedness, artistic synergy, post-neo-classicism, etc. For the first time in the theory of musical performance it is proposed the algorithm of training of the artistry of the musician-instrumentalist. New approaches to the typology of performing styles are proposed, through the prism of which it is presented the panorama of the contemporary performing creativity of outstanding musicians-instrumentalists – artists of our time.
