Music and Time Annotation << Back To the question of the formation of the aesthetic taste of students musicians in instrumental classes O.A. Blok The scientific article reveals the relevance of the topic under study. The idea is emphasized that in modern musical and educational conditions, the formation of the aesthetic taste of student instrumentalists is an important direction of the educational process and, at the same time, a strategic task of their integral development. Attention is paid to the improvement of values, which largely determine the success of the formation of the aesthetic tastes of the instrumentalists in training. The criteria and indicators of this process are systematized. An example of a pedagogical formula is given that is used in instrumentalist classes and allows for the effective formation of the aesthetic taste of students: “feel + emotionally respond (aesthetic,“ smart ”emotions), think + understand + empathize + evaluate + reproduce + convey artistic images to the listener with using a musical instrument, expanding the experience of cognition (sensory, mental, object-motor), horizons, spiritual and creative activity = the way to improve the phenomenon. "Aspects of positive and negative pedagogical interaction in instrumentalist classes at the level of subject-object and subject-subject relations are analyzed. The ways of creative cooperation between the teacher and the student are indicated, which determine the dynamism of the formation of the aesthetic taste of the wards. The significance of the formation of aesthetic-motivational readiness of the instrumentalists in training is revealed. It represents an important complex pedagogical task, the solution of which includes: showing the final artistic product (motivated and stimulating beginning), the process of achieving it through a wide range of perception, presentation, comprehension, pre-hearing, sound control, corresponding actions-movements, as well as – methodology mastering the aesthetics of sound, sound culture, ways to overcome technical difficulties and difficulties. Indicators of the high aesthetic taste of the instrumentalists studying in the mainstream of mastering the art of interpretation are established: stylistic environmental friendliness (clear use of a set of expressive means, "drawing" the specific look of the era of the composition creation); a sense of proportion between stylistic purity and original performing thinking; beauty, harmony of sound, which determines the intonation depth, with the help of which the idea and concept of the composition is realized; the proportionality of the emotional-sensual and logical-semantic principle; observance of optimal proportions between performing traditions and innovations; harmonious unity of form and content; adherence to the performing plan within the framework of the established drama according to the laws of the genre of a musical work, etc. In conclusion, the results are summed up and conclusions are drawn. Recommendations and topics for further promising research on selected issues are presented. Keywords: aesthetic taste, formation, learning instrumentalist, teacher-musician, musical work, performer, musical educational process. Pp. 16-21.