Tobagabylova A.
Excellent student of Culture of the Republic of Kazakhstan,
International Kazakh-Turkish university named after H. A. Yasawi, Turkestan,
acting associate professor
Alisher Zh.
International Kazakh-Turkish university named after A. Yasawi, Turkestan
2nd year student of the specialty 6B01406-Music education

Abstract
The experience of advanced countries (South Korea, Japan, Germany, Finland) shows that the economic achievements of these states are directly related to the wide and free access of their younger generations to art.in Finland, taxes from show business for many years are directed to the universal musical education of the younger generation, where everyone, without prejudice to the family budget, Asian countries not only limit the share of art in the school curriculum, but also strengthen their influence on the younger generation through various extracurricular art classes. In particular, visiting museums, playing in the orchestra of the school theater or singing in the choir.
The problem of updating the selection of the performing repertoire for choral groups with the promotion of works by Kazakh composers along with works of a global scale was caused by the common problems in the field of cultural introduction to Choral Art. These problems are associated with the global challenges of modernity and pressing problems in the development of music education in general.
The correct choice of a song repertoire for the choral group is of great importance in building the value orientations of society, its ideals. It is the connection of children with beautiful, inspiring music, the transfer of the ideological meaning of the composer of the work to the audience through professional performance that helps to form the socio-cultural, moral priorities and leadership qualities of singers.

Keywords: choral, performing repertoire, singing, Culture, Education, idea, plot, literary text, composer, methods.

Maikovskaia A.
Bachelor degree
Özgün Cocuklar Montessori Anaokulu School
Madenler Mah. Kurukaya Sk. No: 24, Istanbul, Turkey

Abstract
This article explores the life and career of Fazıl Say, a renowned Turkish musician known for his contributions as a pianist and composer. Born into a family deeply rooted in Turkish art and music, Say’s upbringing in an intellectually stimulating environment laid the groundwork for his artistic journey. His initial musical training under Mithat Fenmen in Turkey, followed by further education in Germany, equipped him with a profound classical foundation, while his improvisational skills highlighted his unique musical style. Say’s rise to fame was marked by significant international achievements and accolades, enhancing his reputation across classical and jazz genres. His recordings, particularly of classical masterworks and his own compositions, have been critically acclaimed. Say’s work not only demonstrates his technical mastery and innovative approach but also reflects his deep connection to Turkish cultural heritage. Through his compositions and performances, he acts as a bridge between traditional Turkish music and global musical influences, embodying the fusion of cultural identity and artistic expression. This article illustrates how Say’s career epitomizes the synthesis of personal heritage with a broader artistic panorama, positioning him as a pivotal figure in the modern musical landscape.

 Keywords: Fazıl Say, Turkish musician, pianist and composer, classical and jazz music, cultural heritage, improvisational skills, international recognition, music education, artistic influence, cross-cultural fusion, symphony compositions, musical innovation, family background in arts, international awards, recording achievements.

Mammadova (Sarabskaya) R.
Doctor of art, professor,
head of department “Interrelation of arts”
of Institute of Architecture and Art of ANAS

Abstract
The in folk music. This review is based on the ideas of the outstanding folklorist K.Kvitka – the theory “from simple to complex”.
The article emphasizes the importance of studying the stages of evolution of folk music.

Keywords: formula, semantics, mode, intonation, evolution.

Sadikhova S.
Doctor of philosophy in art-criticism
The senior lecturer of “Descriptive art” of NSU
Nakhchivan State University, Azerbaijan

Abstract
In XVI century, Mannerism replaced the masterpieces of the Renaissance and there was a transition from the High Renaissance to the Baroque style. The term “manierismo” is an Italian word meaning “manner, style”. It is possible to identify two main stages in the Mannerism revolution. The first stage covers the 20s and 30s of XVI century. At this stage, Mannerism is considered as a trend directed against the previous trends. The second stage of Mannerism coincides with the stabilization of the Italian feudal-Catholic movement. It began in the 1540s and lasted until the beginning of XVII century. During this time, Mannerism already went beyond the boundaries of its previous circle, became the dominant trend in palatial art and the entire territory of the country. Y.K.Pantormo, R.Fiorentino, S.Pyombo, P.Vaga, C.Romano, Parmigianino, A.Bronzino, F.Salviati, N.Abbate, F.Barocci, El Greco and others can be mentioned as representatives of the mannerism trend in painting.

Keywords: Mannerism, Italian Renaissance, epigone, Pantormo, Parmigianino, Bronzino, El Greco, fresco, Palacio del Te

Hasanova L.
Doctor of Philosophy
Azerbaijan State Pedagogical University
Department of Music and its Teaching Technology

Atakishizada G.
Lecturer
Azerbaijan State Pedagogical University
Department of Music and its Teaching Technology
Baku/ Azerbaijan
https://orcid.org/0000-0002-5177-9101

Abstract
The article treats the problem of preservation of classical music in the 21st century, with mechanistic and organic paradigms of understanding of classical musical art and creativity in general presented, specific characteristics of the organic philosophical paradigm existing in foreign and Russian intellectual traditions analyzed, and prospects of further studying of the organic paradigm allowing to restore the idea of integrity of classical pieces of music, to resolve the juxtaposition of the objective vs the subjective in art, to realize the need of creativity as an integral part of full-fledged life of future generations shown.

Will there be classical music, will it find its continuation in the work of subsequent generations? If European civilization and cultures that are subject to its centuries-old influence remain, then the traditions of classical music known to us will continue and develop. Firstly, classical music itself was studied and researched as it was at the basis of the subject.

Keywords: attractiveness, art, classical music, culture, organic philosophy, paradigm, creativity.