The essay summarises and sums up the dis­cussion on the vectors of contemporary music. The author shares his impressions of how difficult the pro­ject started when several composers refused to partici­pate, citing the uncertainty of the current situation in music, and how some of discussants gradually increased. Farkha­dov identifies several vectors outlined by the participants in the project. He gives special importance to the conversation about melody, the opera genre, the notion of emotion, beauty, rationalism and structure in contemporary composition, issues of sonority and microtonics, and synthetic, multimedia and commercial trends in new art. In some ways agreeing and, in some ways, polemicising with the participants of the discussion, the author concludes that the multiplicity and multi-directionality of new music is a chance to overcome the “time of crossroads and reassessments.” And that it is the multi-directionality of development that is the strategy of music of the future.