• Alpatova, AnghelinaOn the Anniversary of Violetta Yunusova.2012. № 4 (11). С. 5–9. Full text PDF (Rus).
  • Andruschenko, Elena. A New Role of Chalumeau (about Inter-Textual Parallels to A. Lloyd-Webber’s Musical “The Phantom of the Opera”). 2012 № 1 (8). P. 92–99.
  • Antonenko, Ekaterina. On the history of the relationship between Baldassare Galuppi and Russian Imperial Court. 2011 № 1 (4). P. 92–104.
  • Antonenko, Ekaterina. The 18thCentury Venetian Motet: Poetics of a Forgotten Genre. 2011. № 3 (6). С. 40–55.
  • Antonenko, Ekaterina. Baldassare Galuppi and Russian Sacred Music 2012. № 2 (9). P. 34–67.
  • Antonenko, Ekaterina. Tenor and Bass Parts in Music for the Venetian Ospedali of the 18th Century: Historical Evidences and Contemporary Performing Practice (a Study Based on the Analysis of Works by Antonio Vivaldi and Baldassare Galuppi). 2013. № 2 (13). P. 138–157.
  • Ars Bis NovaEvening with Surprises (Not at All a Review). 2012. № 3 (10). P. 40–45.
  • Baeva, Alla. The Rite of Spring: Study for a Portrait of Stravinsky as Stage Director.  2015 № 1 (20)
  • Baluevskaya, Svetlana. Functioning of Burial and Commemorative Lamentations in the Folk Tradition of the Middle Sukhona River. 2013. № 1 (12). P. 169–178.
  • Baranova, Tatiana. Igor Stravinsky as Reader and Bibliophile (On the Composer’s Personal Library). 2013. № 1 (12). С. 5–59
  • Inna Barsova: “The Only Thing I Might Wish You: Don’t Stop Wondering…” (Interview by Valery Berezin). 2011. № 4 (7). P. 188–197.
  • Barsova, InnaMusical Journeys through Moscow: Concert Reviews and Other Entries. Diary 1974–1991. 2012. № 3 (10). P. 8–39.
  • Barsova, InnaAn Attempt of Documental Biography: the Book on Alban Berg. Review of a book: Yulia Veksler. Alban Berg and His Time. 2012. № 3(10). P. 217–224. Full text PDF (Rus).
  • Barsova, Inna. The Art of Music and Vanitas. 2013. № 3 (14). P. 168–184.
  • Barsova, Inna & Petrov, Daniil. Regarding the History of the Production of Anton Rubinstein’s “The Demon” at Vienna Court Opera. The Brief Correspondence of Mahler and the Mariinsky Theater. 2011. № 3. P. 5–23.
  • Barsova, Inna. Seventy-eight Days and Nights in Prison: Composer Mieczyslaw Weinberg. 2014 № 2 (17).
  • Berezin, Valery. Oboe and Oboe Players at the French Court. 2010. № 3 (2). P. 148–182.
  • Berezin, Valery. Some Peculiarities of the Wind Ensemble Classes 2012. № 4 (11). P. 160–175.
  • Bobylev, Leonid. Brief Survey of the History of Composition Department of Moscow Conservatory. 2010. № 1 (1). P. 57–76.
  • Bocharov, Yury. Royal Music. Review of a book: Valery Berezin. The Musicians of French Kings. 2013. № 1 (12). P. 182–184.
  • Boikova, Vasilisa. Siegfried Palm: The Famous Cellist on New Music. 2010. № 2 (2). P. 245–249.
  • Boikova, Vasilisa. Siegfried Palm’s Contribution to the Development of Extended Cello Techniques. Workbook “Pro musica nova: Studien zum Spielen Neuer Musik für Violoncello” 2012. № 2 (11). P. 145–166.
  • Boikova, VasilisaThe Extended Techniques for Cello in the 20th Century: an Attempt of Systematization 2012. № 4 (11). P. 176–205.
  • Bonduryansky, AlexanderMusical Professional Education in Russia: a Prospection. 2011. № 2 (5). P. 48–51.
  • Bulycheva, Anna. Can Popevkas Be by Borodin? On the Appropriateness of Use of the Term Popevka Regarding the Music by Composers of the Modern Era. 2015 № 1 (20).
  • Burney , Charles. An Account of Musical Performances in Westminster Abbey, and the Pantheon, May 26th, 27th, 29th, and June 3rd and 5th, 1784, in Commemoration of Handel. Translation from English and comments by Anna Loseva, introductory article by Elena Kolokolnikova. 2010 № 1 (1). P. 82–102; 2010. № 2 (2). P. 5–51. 2011. № 3 (6). P. 136–166.
  • Burney Charles. Sketch of the Life of Handel.
    Translation and commentary by Anna S. Loseva. 2014 № 2 (17).
  • Busoni, FerruccioFrom the Literary Heritage (extracts). 2012. № 4. P. 154–159.
  • Cage, John. A Composer’s Confessions. Translation and commentary by Marina V. Pereverzeva2014 № 1 (16).
  • Cage, John. How the Piano Came to be Prepared. Translation and commentary by Marina V. Pereverzeva2014 № 1 (16).
  • Caroso da Sermoneta, Fabrizio. Nobilità di dame. Translation and comments by Alexandra Maximova.2010. № 2. С. 118–134. 2011. № 3. С. 83–93.
  • Carr, Maureen. Stravinsky at the Crossroads After The RiteJeu de Rossignol Mecanique (August 1, 1913). 2015 № 1 (20).
  • Casella, Alfredo. My Russian Diary. Translation from Italian and Comments by Marina Lebed. 2011 № 2 (5). P. 208–217.
  • Chigareva, Eugenia. Where the Music Ends, Enters the Word… (Voice in Nikolay Korndorf’s Instrumental Works) 2012. № 1(8). P. 138–147.
  • Chigareva, Eugenia. A. V. Mikhailov on the Music in Austrian Culture. 2014 № 4 (19).
  • CleonidesHarmonic Introductory. Translation and commentary by Vyacheslav Tsypin. Preface by Sergey Lebedev2014 № 3 (18).
  • Danilina, GalinaWord and Music: a New Look on the “Temptation of Comparison”. Review of a book: Word and Music: Materials of Research Conferences in Memory of Alexander Mikhaylov. Part 2. Eds.: E. Chigareva, E. Tsareva, D. Petrov. 2010. № 2 (2). С. 262–267.
  • Demidova, AnnaThe Heritage of Baroque Orchestration in Haydn’s Early Symphonies: Colla Parte Technique. 2012. № 3 (10). С. 58–77.
  • DemidovaAnnaJoseph Haydn’s Early Symphonies with Concertante Instruments. 2014 № 1 (16).
  • Dolgushina, Marinа. The Story of One Mistake Made by the Publisher of the First “Collection of Russian Songs” Based on Poems by A. S. Pushkin. 2014 № 4 (19)
  • Dontseva, Nadezhda. Bernd Alois Zimmermann on the Future of Ballet: An Attempt of Reform. 2010. № 2 (2). С. 194–199.
  • Dontseva, Nadezhda. Jazz in Zimmermann’s Works: Polystylistics or Utopia of Freedom? 2011. № 1 (4). С. 175–200.
  • Dryazzhina, Ekaterina. “Versuch einer Anweisung die Flote traversiere zu spielen” and its Author: Translator’s Notes. 2011. № 3 (6). С. 94–103.
  • Dubravskaya, Ekaterina. Luigi Dallapiccola: Tre Laudi (1936–37). 2010. № 1 (1). С. 168–181.
  • Dubravskaya, Ekaterina. Malipiero and Dallapiccola: On the History of New Music in the 20th-Century Italy. 2010. № 2(2). С. 212–229.
  • Esipova [Essipova], Margarita. Musical iconography of Buddhism. Introduction into the Theme. 2013. № 4 (15). P. 52–97.
  • Garafola, Lynn. A Century of Rites: The Making of an Avant-Garde Tradition. 2014 № 3 (18)
  • Gerasimova-Persidskaya, Nina. A Unique Monument of Old Russian Choir Tradition and Script of XII Century. Review of a book: Lozovaya, Irina. Old Russian Notated Paraclete of XII Century. Byzantine Sources and Typology of Old Russian Copies. 2011. № 2(5). С. 218–221.
  • Gero, Olga. “Rhythmica oratio” and its paraphrases in Lutheran singing-tradition. 2011. № 1 (4). P. 133–142.
  • Gero, Olga. Musical Poetry and Poetic Prose in “An filius non est Dei” by Dietrich Buxtehude. 2011. № 2. P. 164–173.
  • Gero, Olga. Mysticism of Heart in “Fallax mundus” by Dietrich Buxtehude 2012. № 2 (2). С. 112–123.
  • Gerver, Larissa. Inganni in Girolamo Frescobaldi’s “Capriccio sopra Ut, Re, Mi, Fa, Sol, La” and “Capriccio sopra La, Sol, Fa, Mi, Re, Ut”. 2013. № 1 (12). С. 116–127.
  • Gerver, Larissa. The Poetry of Romances by Rakhmaninov and Medtner (Notes on the Subject)2014 № 1 (16).
  • Gerver, Larissa; Iglitskaya, Inna. Alexander G. Chugaev as a Musicologist and a Teacher of Polyphony. 2014 № 4 (19)
  • Giambullari, Pier FrancescoApparato et feste nelle noze dello Illustrissimo Signor Duca di Firenze, & della Duchessa sua Consorte, con le sue Stanze, Madrigali, Comedia, & Intermedij, in quelle recitati (fragments). Translation from Italian and comments by Yulia Litvinova. 2011. № 2. С. 91–102.
  • Gillio, Pier Giuseppe. Poetical and Musical Rhythm in Italian Melody: Aspects of Relation from 16th to 19th Century [Ritmo del verso e ritmo musicale nella melodia italiana: aspetti di relazione tra il XVI e il XIX secolo]. Translation from Italian by Anna Kuchina. 2013. № 1 (12). P. 92–115.
  • Goldobine, Dimitri. Kapsperger and his Madrigal Intabulations for Chitarrone: an Old Musical Genre and its New Instrumental Realization. 2011. № 2(9). P. 103–125.
  • Goldobine, Dimitri. On the Right Hand Fingerings in Lute Publications of Nicolas Vallet. 2012. № 1 (8). С. 100–117.
  • Goldobine, Dimitri. The 16th-Century Arrangements of Vocal Polyphony for Guitar and for Cittern 2012. № 2 (9). С. 84–99.
  • Goldobine, Dimitri. Some Particular Features of Contrapuntal Treatment in German Organ Intabulations of XVI–XVII Centuries. 2013. № 2 (13). P. 112–131.
  • Gordon, Tatyana. Amor Divinus: the Union of the Celestial and the Earthly in a “Madrigal” Mass. 2011. № 1(4). P. 122–132.
  • Gordon, Tatyana & Lopatin. Mikhail. Polyphony of Thought. In Memory of Tatiana Dubravskaya. 2011. № 2 (5). С. 222–223.
  • Grigoryeva, Galina. The Last Composition of N. Sidelnikov. 2014 № 1 (16).
  • Gubaidullina, Ida. Interpretative Analysis of Sofia Gubaidulina’s Chaconne. 2014 № 4 (19)
  • Haydn, Joseph. The First London Notebook (1791–1792). Translation from German by Elena Matveeva, comments by Anna Loseva. 2012. № 3(10). С. 172–206.
  • Haydn, Joseph. The Second London Notebook (1791–1792). Translation from German by Elena Matveeva, comments by Anna Loseva. 2012. № 4(11). С. 132–149.
  • Hodson, Millicent. Death by Dancing in Nijinsky’s Rite. 2014 № 3 (18)
  • Iglitskaya, Inna. Debussy: Between Life and Death (Psychoanalytic Fantasy). 2013. № 3 (14). P. 60–81.
  • Iglitskaya, Inna; Gerver, Larissa. Alexander G. Chugaev as a Musicologist and a Teacher of Polyphony. 2014 № 4 (19)
  • Ighnatieva, Nadja. Guarini’s “Il pastor fido” and Monteverdi’s Madrigals from the Fourth and Fifth Books. 2012. № 2 (9). P. 18–33.
  • Jordan, Stephanie. Rite of Spring as a Dance: Recent Re-visions. 2014 № 3 (18)
  • Kabalevskaya, Yaroslava. “A Swan Song” of A. Arensky — Incidental Music to Shakespeare’s “The Tempest”. 2011. № 4 (7). С. 40–53.
  • Karaseva, Marina. A Change of Time in a Time of Change: Results of Semi-Centennial Development of Ear Training Education in Russia. 2010. №  1(1). С. 27–43.
  • Karaseva, Marina. On False Marker-Pointers: Musical Strategies in Films by Tarantino. 2013. № 3 (14). P. 82–97.
  • Karaseva, Marina. Teacher, Student and Space “2.0”: Features of Changing Communicative Relations in Modern Music Pedagogy. 2014 № 3 (18).
  • Kazantseva, Yulia. On Performance of Schoenberg’s Piano Works. 2013. № 2(13). P. 184–196.
  • Kassian, Suzanne. The Problem of Identity in the Heritage of Losev and Russian Musicology2014 № 4 (19)
  • Khannanov, Ildar. A New “Complexus Effectum Musices” by Valentina Kholopova: “Musical Emotions”. Review of a book:  Kholopova, Valentina. Musical Emotions. 2011. № 1 (4). P. 201–205. Full text PDF (Rus)
  • Khazdan, Evgeniya. Written and oral forms of the Ashkenazi traditional music culture. 2013. № 4 (15). P. 132–149.
  • Kholopova, Valentina. Interdisciplinary Aspects of General Theory of Music. 2011. № 2 (5). P. 42–47.
  • Kholopova, Valentina. Innovations — Intution — Meaning: Vladimir Tarnopolsky’s “Foucault’s Pendulum”. 2011. № 4(7). С. 160–174.
  • Kholopova, Valentina. Preface to the article: Ida A. Gubaidullina. Interpretative Analysis of Sofia Gubaidulina’s Chaconne. 2014 № 4 (19)
  • Kholopov, Yury. Music and School on the Threshold of New Century (1999). 2012. № 1 (8). P. 208–214.
  • Kholopov, Yury. How to start a harmonic analysis? Publication and foreword by Ivan Starostin. 2012. № 2 (9). С. 167–175.
  • Kholopov, YuryWhy Did Prokofiev Write the “Classical Symphony”? Publication and Preface by Ivan Starostin 2012. № 3 (10). С. 207–216.
  • Kirillina, Larisa. Character and Characterization in Handel’s Operas. 2010. № 1 (1). P. 103–117.
  • Kirillina, Larisa. Turkish Topoi in Mozart’s Works. 2011. № 1 (4). P. 5–25.
  • Kirillina, Larisa. Music at Graz Congress: Meetings and a Cultural Program. 2012. № 1 (8). P. 5–11. Full text PDF (Rus).
  • Kirillina, Larisa. Sarti, Euripides, and the “Third Rome”. 2012. № 1 (8). P. 12–41.
  • Kolokolnikova, Elena. “…This Bold Undertaking will Open a New Era in the History of Music…” (Commemoration of Handel as Seen by Contemporaries)2010. № 1. P. 78–81.
  • Komarov, Alexander. “The Sleeping Beauty”: Tchaikovsky, Siloti, Rachmaninoff. 2014 № 2 (17)
  • Kuzmin, Roman. Music as a Matter of Philosophy: Prince Vladimir Odoevsky and the Origins of Moscow Conservatory. 2012 № 3 (10). P. 103–120.
  • Kuznetsova, Ekaterina. S. Rachmaninoff’s Charity in Exile: Touches to the Portrait of the Composer. 2014 № 2 (17).
  • Kuznetsov, Igor. The Present State and the Prospects of Evolution of the Polyphony Course. 2011. № 2. P. 33–37.
  • Lagutina, Elena. The First Publication of Heinrich Schenkers Theory (“Der Geist musikalischen Technik”, 1895). 2013. № 2 (13). P. 62–68.
  • Lebed, Marina. Alfredo Casella’s Russian Diary: a Trip from St. Petersburg to Moscow and Back. 2011. № 2 (5). P. 202–207.
  • Lebedev, Sergey. Мουσικς — musicus — musician. An Essay on the Music Terminology of Boethius. 2011. № 2 (5). P. 52–65.
  • Lebedev, Sergey. On Approach and Style of Early Boethius: A Study of His Treatises on Music and Arithmetic. 2011. № 3 (6). P. 24–39.
  • Lebedev, Sergey. The Russian Book on Ptolemy. Review of a book: Claudius Ptolemy. Harmonics: in three books. Porphyry. Commentary to Ptolemy’s “Harmonics”. Translation from Ancient Greek, edition and commentary by Vyacheslav Tsypin. 2013. № 4 (15). P. 176–184. Full text PDF (Rus).
  • LebedevSergey. Epistola by Guido: a Familiar Text on an Unfamiliar Cantus. 2015 № 1 (20).
  •  Lebedev, Sergey; Tsypin, Vyacheslav. Cleonides. Harmonic Introductory. Translation and commentary by Vyacheslav Tsypin. Preface by Sergey Lebedev2014 № 3 (18).
  • Levaya, TamaraUntil the Iron Curtain is Brought Down… Review of the book: Bobrik, Olesya. The Viennese Publishing House “Universal Edition” and the Musicians from the soviet Russia. 2012. № 4. P. 202–205.
  • Levaya, Tamara. The Rite of Spring and the Metamorphosis of Russian Scythianism. 2015 № 1 (20).
  • Litvinova, Yulia. “Intermedij da Principi”: The Seven Prescriptions of Giovanbattista Strozzi the Younger. 2010. № 2 (2). P. 74–105.
  • Litvinova, Yulia. “Antique” Musical Instruments in the Intermedi for the Wedding of Cosimo I de’ Medici and Eleonora da Toledo (1539). 2011. № 2 (5). P. 66–90.
  • Litvinova, Yulia. Strumenti Antichi e Moderni in the Descriptions of Music Rooms of Agostino Amadi and Antonio Goretti (towards the Problem of the Sources’ Interpretation) 2012. № 4 (11). С. 74–119.
  • Lobachova, Nadezhda. Variation on a Kazakh Theme: About Sergei Prokofiev’s Unrealized Opera Khan Buzay. 2010. № 1 (1). P. 154–167.
  • Loos, Helmut. Robert Schumann and Sacred Music. Translation from German by Olga Loseva. 2010. № 3 (3). P. 99–106.
  • Lopatin, Mikhail. Three Images of Ockeghem (a historiographic essay). 2011. № 1 (4). P. 110–121.
  • Loseva, Anna. The Coverage of Handel Commemoration (1784) in Contemporary Press. 2011. № 3 (6). P. 167–176.
  • Loseva, Anna. Translator’s notes to: Charles Burney. Sketch of the Life of Handel. Translation and commentary by Anna S. Loseva. 2014 № 2 (17).
  • Loseva, Olga . “Genovefа”, “Genofejfa”, “Genoveva”  — Schumann’s Opera’s Progress in Russia2010. № 3 (3). P. 107–131.
  • Lutsker, Pavel. To the Origins of Venetian Opera Buffa: Palomba’s “La Maestra” and Goldoni’s “La scuola moderna o sia la maestra di buon gusto” 2012. № 2 (9). С. 68–83.
  • Lyzhov, Grigory. “Many roads lead to the future…”. Review of a book: Composers on Contemporary Composition / ed. by Tatyana Kyureghyan and Valeria Tsenova. 2010. № 1. P. 199–203. Full text PDF (Rus).
  • Lyzhov, Grigory. Notes on Drama Concept in Monteverdi’s Orfeo. 2010. № 2 (2). P. 135–176.
  • Lyzhov, Grigory. Hasten to Join “Academia degli Invaghiti”. Review of a paper and publication: Mikhail Saponov. Libretto of Monteverdi’s “Orfeo”: an Attempt of Interpretation. Text of Venetian edition of Claudio Monteverdi’s opera “Orfeo”, translation from Italian by Mikhail Saponov (journal “Starinnaya muzyka”, 2010, № 3). 2010. № 3. P. 183–188.
  • Lyzhov, Grigory. A Bridge to the Present. On a Style Course of Harmony. 2011. № 2. P. 22–32.
  • Lyzhov, Grigory. “The Uprise of Texture”. The Aspects of Pitch and Mode in Sofia Gubaidulina’s Partita “Seven Words”. 2011. № 4. P. 54–77.
  • Lyzhov, GrigoryWelcoming Speech to the Hero of the Anniversary. 2012. № 3. С. 5–7.
  • Lyzhov, Grigory. Feast on the Streets of Russian Castalia. Review of a book: A. M. S. Boethius. Institutio musica. Translation from Latin, edition and comments by Sergey Lebedev. 2013. № 3 (14). P. 185–198.
  • Lyzhov, Grigoriy. “The Rite of Spring” in the Analytical Essays of Yuri Kholopov. 2014 № 4 (19).
  • Manulkina, Olga. John Cage and the History of American Music. 2013. № 2 (13). P. 8–397.
  • Matveeva, ElenaThe London Notebooks of Joseph Haydn. The translator’s Preface. 2012. № 3. С. 154–157.
  • Matveeva, ElenaThe First Visit to London of Joseph Haydn. 2012. № 3. P. 158–171.
  • Maximova, Alexandra. Dance in Italian Theater of Late Renaissance and Fabrizio Caroso’s Treatise “Nobilita di dame” (1600). 2010. № 2. P. 106–117.
  • Maximova, Alexandra. Musical Genres in Fabrizio Caroso’s Treatise “Nobilta di Dame” (1600). 2011. № 3. P. 56–82.
  • Melnikov, Maxim. Russian Translations of Ferruccio Busoni’s Literary Heritage. 2012. № 4. P. 150–153.
  • Melovatskaya, Anna. Debut of “The Rite of Spring” in the USSR. 2014 № 3 (18)
  • Mikheyev, Sergey. Gustav Mahler’s Tenth Symphony: From Written Text to Sound Realization. On Two Orchestral Versions of an Unfinished Work (Versions by Deryck Cooke and Rudolf Barshai). 2011. № 1. P. 61–82.
  • Mikheyev, Sergey. Some Peculiarities of Form and Harmony in the First Part of Mahler’s Tenth Symphony. 2012. № 3. P. 46–57.
  • Moiseev, Grigory. P. I. Tchaikovsky and Grand Duke Konstantin Nikolaevich of Russia. The History of Relationship. 2013. № 3 (14). P. 136–167.
  • Moiseev, Grigory. Vasily Safonov and the August Patrons of the Moscow Conservatory. 2014 № 4 (19)
  • Moskva, Yulia. The Gregorian Modality and Composition (on the basis of the Franciscan Manuscript Graguals). 2011. № 4. P. 144–159.
  • Nassonov, Roman. Two Gazes on Baby Christ: The Story of the Nativity told by H. Schütz and by J. S. Bach. Essay I. “…Ich verkündige euch große Freude”. 2010. № 1. P. 118–136.
  • Nassonov, Roman. Two Gazes on Baby Christ: The Story of the Nativity Told by H. Schutz and by J. S. Bach. Essay II. “Wie soll ich dich empfangen?”. 2010. № 2. P. 52–73; № 3. P. 21–56.
  • Nassonov, Roman. Dies illa: the motif of “the punishment of God” in two chefs-d’oeuvre of W. A. Mozart. 2011. № 1. P. 36–60.
  • Nassonov, RomanOn the Trail of “People’s Faith” (N. A. Rimsky-Korsakov’s “The Legend of the Invisible City of Kitezh and the Maiden Fevroniya” and I. F. Stravinsky’s “Les noces”). 2012. № 3. P. 121–135.
  • Nassonov, Roman. The Mystery of “Jephte” (G. Carissimi’s Masterpiece in the Light of A. Kircher’s Musica Pathetica Theory). 2013. № 1 (12). P. 128–153.
  • Nassonov, Roman. Johann Joachim Quantz’s Musical Rhetoric. 2013. № 1 (12). P. 162–168.
  • Nassonov, Roman; Zhdanov, VitalyRestless Cosmopolitan or Classic of North German busic? Kaspar Forster the Younger (1616¬1673) in the Mirror of Historical Evidence and Modern Research. 2014 № 3 (18).
  • Naumov, Alexander. S. Rachmaninoff and V. Nemirovitch-Danchenko. From the History of a Void Cooperation. 2014 № 2 (17)
  • Neff, Severine. How not to Hear Le Sacre du Printemps? Schoenberg’s Theories, Leibowitz’s Recording. 2015 № 1 (20).
  • Nekrasova, Galina. The Concept of Orientalism in Russian 20th-Century Musicology (based on Researches and Published Materials) 2012. № 4. P. 16–27.
  • Nogovitsyna, Ksenia. “Erminia” Guido Casoni — Biagio Marini: Renaissance Theatre on the Baroque Stage. 2011. № 2. P. 126–163.
  • Novikova Tatiana. On the Tradition of One Masterpiece. “The Moonlight Sonata”: L. Beethoven — D. Shostakovich — V. Ryabov — V. Ekimovskiy. 2014 № 4 (19)
  • [Palm, Siegfried.] “Capriccio per Siegfried Palm”. Fragments of M. Schmidt’s Interview with Siegfried Palm. Translation from German by Vasilisa Boikova. 2010. № 2. P. 250–261.
  • Pankina, Elena. Marco Cara, “Musicus Excellens” at the Court of Mantua. 2012. № 2. P. 6–17.
  • Pazycheva, Inna. Mugham Rast: from General to Different in the Interpretation of the Genre Canon. 2013. № 4 (15). С. 122–131.
  • Pereverzeva, Marina. John Cage’s “Aleatory” Way: from Indeterminacy to Chaos. 2014 № 1 (16).
  • Podguzova, Marina. “I write the score absolutely anew”, or Unknown Circumstances of One Opera Production (About M. V. Koval’s Opera “Yemelyan Pugachyov” Orchestrated by D. R. Rogal-Levitsky). 2011. № 1 P. 105–109.
  • Potyarkina, Elena. K. D. Balmont and A. N. Scriabin: The Creative Parallels. 2012. № 3. P. 83–95.
  • Pustlauk, AnneThe Traverso  — on the History of the Instrument. Translation from German by Ekaterina Dryazzhina. 2012. № 1. С. 128–137.
  • Puz’ko, Olga. Nono’s Serial Thinking Pattern: Analysis of the First and the Second Parts of “Il Canto Sospeso” Cantata. 2010. № 2. P. 230–244.
  • Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen. Translation from German and comments by Ekaterina Dryazzhina. 2011. № 3 (6)2011. № 4(7);  2012. № 1(8); 2012. № 2(9); 2012. № 3(10); 2012. № 4(11); 2013. № 1(12); 2013. № 2(13).
  • Rovenko. Elena. Claude Debussy’s and Odilon Redon’s Art in the Context of Henri Bergson’s Philosophy of Time. 2011. № 3. P. 194–209.
  • Rovenko, Elena. Henry Bergson’s Intuitive Method: on the Problem of Methodology of Humanitarian Disciplines. 2012. № 1. P. 170–205.
  • Rovenko, Elena. Henri Bergson: “…the Music by Debussy is the Music of ‘la duree’”. 2014. № 1. P. 14–37.
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  • Rychkov, Konstantin. 4D-Model of Hollywood Film Music. 2013. № 3(14). P. 98–119.
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  • Sokolov, Alexander. On the Dispute over Russian Interpretation of “Bologna Process”: Constants or Dogmata? 2010. № 3. P. 6–10.
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  • Zenkin, Konstantin. On the Semantic Function of Genre in Chopin’s World. 2010. № 3. P. 71–83.
  • Zenkin, Konstantin. On Russian Theoretic Conceptions of Music History. 2011. № 2. P. 14–21.
  • Zenkin, Konstantin. On the Mobility of Structures in Liszt’s Works: from Romantic FormProcess to “Open” Form. 2011. № 4. P. 5–13.
  • Zenkin, KonstantinFrom Scriabin to the Second Avant-garde: Why Is Everything That Surrounds Us the Music? 2012. № 3. P. 96–102.
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  • Zhdanov, Vitaly. Northern German Spiritual Concert of the Second Half of 17th Century: on the Question of the Regional Tradition. 2014 № 2 (17).
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