Елизавета Мирошникова

Alexei Lyubimov: “My Programs are Attempts to Compose Supermusic”

Nastasia Khrustcheva

Internet as a New Square

Александр Хубеев

Is Composer a Director?

Леонид Десятников

To Me, I Like It When a Worthless Dauber is Botching up a Rafael’s Madonna

Елизавета Мирошникова

Andres Mustonen: “An Avangardist is a Flair and Constantly Fresh Intuition”

Rauf Farhadov

Not Occam’s Razor, or Multiply Entities, Ladies and Gentlemen

Наиля Алпарова

Waves of Evolution of Vladimir Nikolaev

Ivan Sokolov

About Style

Oleg Paiberdin

Without the Main

Александр Болдачёв

Ethical Considerations in Crossdisciplinary Projects

Полина Фрадкина

Confrontation or Integration?

Marina Nest’eva

The New in the Relationship of Different Stylistic Layers

Анна Пастушкова

Opera-Based Instrumental Parodies in Antonio Vivaldi’s Concertos

Юрий Карпов, Александра Нагорнова

Rubin Abdullin: “Technologies that Allow Us to Watch Carnegie Hall Streams Sitting on the Coach are Provocation”

Гузель Яруллина

Mikhail Kondratyev: “The Spirit of Self-preservation is Strong in the Cultures of Volga-Ural Region Nations”

Ирина Степанова

Dargomyzhsky’s Esthetics: Traditional Approach with Non-traditional Conclusions

Евгения Скурко, Ангелина Щевелёва

Implementation of the Jewish Musical Tradition in the Opera “Uriel Akosta” by Valentina Serova

Angela Khachayants

Interpretation of Medieval Repentance Poetry in the Choir Cycle by Alfred Schnittke “Stikhi Pokayannye”

Yuliya Bederova

“Another Space” Festival 2020: Promises at Dawn

Евгения Кривицкая

Choral Works by Rodion Shchedrin. 21st Century

Елена Шабшаевич

Vasily Sapelnikov vs Imperial Russian Musical Society (1903): New Materials

Сергей Аникиенко

Honorary Members of the Ekaterinodar Branch of the Imperial Russian Musical Society: On the History of the Issue

Yana Ferran

The Amount of the Composer’s Fee in Russian Publishing Contracts of the 1870s–1900s

Татьяна Белова

Self-portrait in Intertext