Problems and features of the concertmaster's work in the conditions of distance learning

. The article analyses the problems of organizing the work of the accompanist in the context of distance learning in art schools using a systematic approach. It describes the knowledge, skills, abilities and qualities that a concertmaster must have for a full-fledged professional activity. The art of concertmaster is considered as an important and integral part of musical performance and education. By right, this type of activity belongs to music pedagogy. The universal character of the concertmaster's activity, which combines performance and teaching, is noted. Important aspects and specifics of the accompanist's work with music students using remote technologies are revealed. A number of studies in which the authors promptly responded to the introduction of distant forms of work in the field of music education are analysed. The main directions of the accompanist's work, advantages and disadvantages of online interaction with a soloist or ensemble are considered. Emphasis is placed on the software that can be used for individual and group classes, notably Zoom, Google Meet, Skype, Viber, Messenger and Telegram. All of them differ in the number of possible participants and not all of them can be applied for group classes. They provide an opportunity to create high-quality video communication, which allows participants to discuss the drama of the musical work, to analyse the artistic and figurative content, to outline the problematic issues that arise in the process of performance. Feedback from students and monitoring their mastery of works should be a constant practice. The article highlights the main stages of the accompanist's work in the context of distance learning with the use of distance technologies.