Abstract
A set of values and worldviews of professional academic music education in the context of the current sociocultural situation is considered. The complex of views on music is interpreted as a way of musical socialization. The coexistence of a wide range of musical socialization channels in the modern world is positioned as a prerequisite for the intonational images of the world confrontation. It is determined that academic music education transmits the mental attitudes of opus music, according to which it occupies a dominant position in the tone atmosphere. The hierarchy of musical practices as a result of non-academic music evaluation according to the academic sphere parameters is explored. The position of this value and worldview system through the prism of musical-cultural polycentrism is analyzed. Mandatory markers of academic music leadership have been shown to be conditional. It is stated that the writing nature of making music should not be positioned as a criterion for determining the professionalism and value of non-academic music practices. It is emphasized that the protection of this parameter affects the shift of emphasis from the “music as process” to “music as objects”. The primacy of the concert performance communicative model is denied. It is stated that this deprives all its subjects of active participation. It is noted that the parameter of autonomy of musical creativity should not be used in positioning different music practices. The functional distinctiveness of musicians is demonstrated on the two segments of the music services market. The meaning of the categories “elitism” and “art” is refuted on the basis of sociological and cultural transformations. It is indicated that on their basis have been developed new limits of the definition of these concepts.
 Keywords: professional academic music education; training of musical art specialists; value and worldview complex of academic music; ideology of opus music; modern socio-cultural environment; subcultural stratification; chaotic intonational versatility; sociology of music education.
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