Nastasia Khrustcheva

About “A Man Who Has Seen Everything”: To the Memory of Sergei Slonimsky

Elena Dolinskaya

Commemorative Word for Sergei Slonimsky

Sergei Slonimsky

The Miracle of Tonal Music

Anna Shtrom

On Tone-Painting Elements of Music Language in Vocal Chamber Music by Nikolai Medtner

Elena Dolinskaya

London Harbor on the Way of Nikolai Medtner

Andrey Bakhmin

Ivan Sokolov: “By the Flats Ustvolskaya Rushes into the Depths of Sound”

Ekaterina Tsareva

From the History of the String Quartet. Felix Mendelssohn and Fanny Hensel in a Dialogue with Beethoven

Larisa Gerver

What New Data About Shostakovich’s Polyphonic Technique Can be Told by the Manuscripts of His Works?

Rauf Farhadov

Important Messages from Alexander Wustin

Bogdan Korolek

Неспокойной ночи

Marina Kuklinskaya

Score and Musical Performance: Dynamics of Interaction on the European Opera Stage of the 20th — Early 21st Century

Nina Sviridovskaya

Nikolay Evreinov and Opera Theater: Strokes to His Creative Biography

Olga Sedakova

“La novità del suono e ‘l grande lume.” Dante and Music

Yana Ferran

Copyright Issues in the Correspondence Between “P. Jurgenson” and German Music Publishing Houses (1905–1908)

Marina Nest’eva

Shards of 2019 Summer and Autumn Impressions

Арина Ляхова

The Composer Makes Plans, Music Laughs

Victor Sradzhev

Articulation: Techniques or a Way to Performing Art?

Natal’ya Serova

Historical and Revolutionary Theme in the Work of Domestic Composers

Grigoriy Khaymovskiy

An Unfinished Concert

Irina Vershinina

Non-fiction with Commentary