The dissertation is devoted to the research of musical and instrumental art as a specific system phenomenon, which is able to inspire musical sound-sense and ideal- conceptual intentions. The emergence, functioning and self-growth of the phenomenon of musical instrumentalism from the origins to the "explosion" of autonomy, with the outline of vectors of further development and self-development was systematicly analyzed. The concept of "non-instantaneous insight" on the separation (autonomy) of musical instrumentalism into an independent sphere of creativity, which is fixed in the Baroque period, is introduced. The key sign of self-sufficiency of the new system musical and instrumental art - were its specific linguistic and mental developments: textured clichés; articulatory and dynamic means; tendency to virtuoso-motor, clear rhythmic and cantilena-singing incarnations; purely instrumental genre-stylistic and compositional forms (suite, sonata, symphony, concert) and principles of thinking (sonata, symphony, suite, concert, etc.); formation of specific musical-instrumental thinking, able to embody "big" conceptual ideas, correlated with philosophical concepts, as well as - constantly increase all these material and ideational potentials and translate them to modern techniques of musical composition, vocal art, other arts, philosophy , natural and exact sciences, etc.
Implemented musicological definitions of the main categories - components of the system "musical and instrumental art" (musical instrument, musical instrumentalism, etc.); such concepts as "musical and instrumental language", "musical and instrumental thinking", "musical and instrumental style", "complementary musical instrument", etc. were introduced and differentiated into scientific circulation. The historical way and sources of formation of a specific language-instrumental system as a key factor in the functioning of musical-instrumental art are traced. Musical, non- musical, musical and instrumental origins of formation and development of specific "thinking by the instrument" and "thinking with the instrument" are revealed. The instrumental roots of the formation of the most important genre forms of musical art are determined. The role of musical instrumentalism in the assertion of the homophonic mental paradigm of music is investigated. The correlation of virtuoso, cantilena and textural properties of musical instrumentalism with the main cultural-philosophical and musical-linguistic universals is revealed. The logic of modernization of folk instruments (first of all, accordion) as one of the factors of functioning of the system of musical- instrumental art of the present is proved.
