The article examines the problem of forming the performing culture of future musicians in higher education institutions. In the context of the identified contradictions, the authors consider the following directions of reforming the modern higher education institution: conceptual approaches to the education of performers; the content of the educational process in the field of performing arts; forms and methods of everyday art and pedagogical work. The content of these directions in the process of piano training till 1991 is described, it is found that it is closely connected with scientific and methodological works in the music field, where the peak of activity fell during the postwar period. Different positions on formation of musical and professional development of young people, which depend on motivation, are characterized; general outlook; set of qualities, preferences of the authors of theoretical works; the specific potential of the researcher; volume and direction of pedagogical activity; a variety of music and performance; personal actualization. Particular attention is paid to the consideration of the principles of orientation and interest, the application of which gives an opportunity to effectively carry out the process of development of students’ performing culture. It has been found out that the orientation of the teacher’s work in the executive class should include not only technological, artistic-figurative, educational, but also developmental aspects with elements of active creative position. The effectiveness of students’ performing culture will depend on the orientation of the teacher to deepen the processes of perception, imagination, reproduction, which are closely related to all students’ mental operations, and their development of thinking, in general. The principle of interest makes the work of improving the executive apparatus more natural, desirable, which rejects routine and stereotype. If there is interest during the educational process, then there are such components as accessibility, enthusiasm, understanding, commitment, which is very important for performing music and creative activity. Absence in music-pedagogical practice of interest leads to formalism, superficial contemplation, and as a result, to pseudo-creation.