| MUSICAL ROUND-UP |
| I. Severina |
MUSICAL ROUND-UP
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| ЗА ЧАШКОЙ ЧАЯ |
| Ксения Кабишева |
Павел Коган:
«Люди хотят и умеют отличать
плохое от хорошего»
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| History |
| E.M. Аlkon |
Scherzo (Valse-Fantaisie)
As a Mirror of the Time:
Towards Understanding of Glinka
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| E.V. Vyaskova |
Taneyev and Mozart:
Some Analogies of Composite Solutions
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| V.B. Valkova |
Russian Musicians among Artistic Corporations of the Silver Age
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| Works of modern composers |
| N.S. Goulianitskaya |
On Sacral Music Today
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| T.V. Tsaregradskaya |
Brian Ferneyhough
and his opera «Shadowtime»
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| THEORY |
| L.L. Gerver |
Inganno in Frescobaldi’s Poliphony
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| ANNIVERSARIES |
| N.V. Pilipenko |
Franz Schubert and Italy
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| PEDAGOGIC WORKSHOP |
| M.I. Imkhanitskiy |
On Expressivenessof the Pronunciation in Music
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| D.K. Kirnarskaya |
Human Talent’s Structure
from Musical Prospective
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| E.E. Dourandina |
Russian Music of the 20th Century:
On the Problem of Historical-Cultural Identification
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| A.V. Malinkovskaya |
Audial-Expressive Culture
of Music Teacher
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| MASS CULTURE |
| N.S. Yakimenko |
Fingerstyle: On the Problem of Definition of the Phenomenon
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| MUSICAL ARCHEOLOGY |
| Е. Фраёнова |
History of Musical Instruments of Ancient Civilizations and Medieval East Based on Musical Archaeology (III thousand BC – I thousand AD). Egyptian Musical Instruments. Part II. Nile Excavations
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| MUSIC IN THE THEATRE |
| L.S. Dyachkova |
Horatio Vecchi’s «L’Amfiparnaso»
as a «Modern Invention»
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| I.P. Susidko, P.V. Lutsker |
Two Images or the Italian Intermezzo
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| Musical Kalendarius |
| И. Шабловская |
Musical Kalendarius
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