“…Analysis of the various studies on the problem allows us to highlight the uneven distribution of interest in motivation in music education and, as a consequence, the assertion of the priority of intrinsic motivation: to a greater extent, the development of this problem is inherent in foreign authors (Huguet-Benabdelmouna, 2007;Hallam, 2010;King, 2016;Egılmez & Engur 2017;Harris, 2017;Cheng, 2021), while the post-Soviet art and educational environment directs forces to other and, in some cases, no less important topics (Kirnarskaya, 2014), but with a few exceptions concerns the ratio of motivational components in the context of learning and teaching the subject of piano playing (Volyuvach, 2005;Toropova, 2011;Rostovska, 2017;Bondarenko & Nalyvaiko, 2021). It is important to expand the tools for measuring the manifestations of this phenomenon (Vallerand, Blais, Brière & Pelletier, 1989), the introduction of new diagnostic techniques (Comeau, Huta, Lu, et al 2019), which allows more flexible assessment of the current situation, taking into account multiparadigmatic psychological and pedagogical research in the field of music art.…”