The article is devoted to the reflection on the problem of the “immersion” in the artistic world of a composer’s creative work in a piano class in the beginning of the 21st century. The wealth and diversity of the music material for piano players determine the new quality of understanding music and set high goals and objectives for a performing musician and a music teacher, the achievement of which becomes a factor of considerable professional and spiritual growth. In the authors’ opinion, the involvement in the never-ending process of immersion in the musical world of images, meanings and moods, inherent in music, requires of a modern music teacher the ability to create a pedagogical environment that would contribute to performance-related, musical and aesthetic, spiritual and moral development of an artist’s personality. This, in turn, is inextricably associated with the training of universally educated musicians, possessing a high humanitarian culture, emotional responsiveness and comprehensive knowledge. In this regard, it seems to be efficient to apply in the pedagogical process the combination of musical-aesthetic and psycho-pedagogical approaches proposed in the article – conceptual, syncretic and comparative-contrastive. Another efficient approach is based on using in a piano class the methodology of artistic identification of a musical composition (“immersion technique”), developed on the basis of L. Ionin’s theory “Identification and dramatization” (Ionin, 1998), which involves stage-by-stage assimilation of external and internal aspects of a comprehended phenomenon as a unity of form and content

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