Vladimir Tarnopolski

Worlds and Sounds by Alexander Knaifel

Svetlana I. Savenko

“…There is Our Music but There is Also Music Above Us…” In the Memory of Alexander Knaifel

Marina Rakhmanova

The Riddle of the “Rite”

Natalya Plotnikova

On the Authorship of “Antiphons from the ‘Funeral Rite for Bishops’ ”

Ekaterina Okuneva

The Сoncept of “Active Music” by Alexander Vustin

Sofia Ermasova

The Myth of Paganini in Modern Compositions for Solo Violin: New Performing Techniques and New Meanings

Olga Krasnogorova

Salvatore Sciarrino’s Piano: New Textural Principles and Poetics of Interpretation

Tatyana Kamaeva

Musical Dictation: Between Past and Future

Olga Berak

Dictation in School of Music: Pros and Cons

Marina Karaseva

Musical Dictation is Like a Space Rocket: It Blasts Off if All the Components Are Correctly Assembled

Krzysztof Meyer

Witold Lutosławski and the Post-war Avant-garde. A Look Six Decades Later

Irina Vasiruk

The Polyphonic Metamorphoses: On the “24 Preludes and Fugues” by Victor Poltoratsky

Mikhail Mishchenko

Flor Peeters and Lyudmila Kovnatskaya. Letters

Polina Zakharova

Beatitude of Johannes: On Semantics of Johannes Brahms’s Oeuvre

Andrey Filonovich

Playlist for a Bad Mood: Curses in the Operas of Verdi and Wagner

Filipp Ilyin

Michael Joseph Gusikow and the Viennese Fashion for the Four-Row Xylophone in the Second Half of the 1830s

Giula Shamilli

From Zikr to Nigun. Interpretation of the “Shamil’s Solemn March” by M. P. Mussorgsky (to the 185th Anniversary of the Composer)

Danila Lyubimov

“After All, I Am Learning Ballet from Music.” Michel Fokine and Music

Semyon Skigin

A Friendly Toast to a Non-Drinker. To the 80th Anniversary of Vladimir Spivakov