| THEORY |
| N.A. Petruseva, N.N. Alekseeva |
"Seven Haiku" by O. Messiaen: Interpretation of the Cycle, Orchestra, Compositional Techniques
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| HISTORY |
| Guo Qing |
The Evolution of the Viennese Waltz in the First Half of the XIX Century
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| PERFORMING ART |
| A.M. Semishova |
Domra – Prospects and Opportunities. Interview With the Laureate of All-Russian and International Competitions, Associate Professor of the Gnesin Russian Academy of Music E.N. Mochalova
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| Wang Bojian |
Teaching the Art of Playing Wind Instruments in an Ensemble: the Experience of Building an Experimental Model
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| V.N. Sukhorukov |
Conducting Gesture as a Means of Artistic and Non-Verbal Communication of a Military Conductor
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| TEACHER’S WORKSHOP |
| E.A. Kuzmina |
The Influence of Francois Delsarte on the Development of Plastic Theater
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| S.A. Tyaglova, D.A. Morozova |
The Upbringing of a Conductor in the XXth Century
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| FOLKLORISTICS |
| A.V. Gucheva |
Semantics and Semantic Motivations of the Cultural Meanings Mozdok Kabardians Song-Address of the to the Overlord of Smallpox «Sozyreshchym i bg"er Dyshches!» (Sozaresh has Golden Breasts!)
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| ARTISTIC PORTRAIT |
| E.I. Pererva |
Eclectic and Cosmopolitan: to the 70th Anniversary of Composer Mikhail Bronner
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| WORKS BY CONTEMPORARY COMPOSERS |
| O.A. Krishtalyuk |
Mythopoetics in the Music of Samara Composer Ilona Diagileva
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