The article reviews Kazakhstan’s concertmastership in the light of new methodological provisions related to the use of the methodological basis of musical ethnography. Primarily, it is a reference to cultural manifestations that are not directly related to ethnomusicology and musical folkloristics, but rather new musical and creative phenomena, which have emerged in the 20th century (V. Konen), including Kazakhstan’s
concertmastership. A wide range of issues neither has become the subject of comprehensive and deep discussion, nor has found any refl ection in the academic literature. Such situation, in author’s opinion, is a consequence of unresolved culturological issues related to the defi nition of the place and role of concertmastership in the contemporary musical culture of Kazakhstan and the resultant methodological problems.
Keywords: accompaniment art of Kazakhstan, ethnomusicology, methodology,
accompanist, processing.
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