| Issue | Title | |
| No 4 (2023): Contemporary Musicology | On the Narrative and Architectonics Applied to Daniil Kharms’ Prose | Abstract PDF (Русский) |
| Larisa L. Gerver | ||
| No 3 (2023): Contemporary Musicology | On the Role of the ‘Passionate’ Rhythms of French Poetry of the 17th and Early 18th Centuries in the Genres of the chanson à danser and the danse chantée | Abstract PDF (Русский) |
| Larisa D. Pylaeva | ||
| No 2 (2022): Contemporary Musicology | On the Structure of the 16th Century Madrigals on Texts in Fixed Poetic Forms | Abstract PDF (Русский) Abstract (Русский) |
| Larisa L. Gerver | ||
| No 1 (2018): Современные проблемы музыкознания | Opera Parody In Russia The First Third Of The Twentieth Century And Cabaret: Vanishing Point | Abstract PDF (Русский) |
| Natela I. Enukidze | ||
| No 2 (2023): Contemporary Musicology | Opera which Involves Dance, or Ballet which Involves Singing: Comédie Lyrique on the Stage of the Royal Academy of Music in Paris | Abstract PDF (Русский) |
| Alexandra A. Safonova | ||
| Vol 8, No 2 (2024): Contemporary Musicology | Orchestral Texture in Wang Xilin’s Symphonic Works | Abstract PDF (Русский) |
| Anna V. Klepova, Leyun Xian | ||
| No 3 (2022): Contemporary Musicology | Paris Conservatoire and Development of Violin Performance | Abstract PDF (Русский) Abstract (Русский) |
| Polina B. Podmazova | ||
| No 1 (2017): Contemporary Musicology | Parody magnificats by Orlando Lasso and Balduin Hoyoul | Abstract PDF (Русский) |
| Yuliya V. Moskvina | ||
| No 2 (2017): Contemporary Musicology | Plots of Maurice Ravel’s ballets: sources and principles of formation | Abstract PDF (Русский) |
| Irina S. Zakharbekova | ||
| No 2 (2017): Contemporary Musicology | Plurium Motetorum Mass by Claudin de Sermisy and Its Sources | Abstract PDF (Русский) |
| Margarita A. Grigorieva | ||
| No 4 (2021): Contemporary Musicology | Poetic Intonation in the Poems by Alexander Blok and Sergei Yesenin: More on the Methodology of Analysis | Abstract PDF (Русский) Abstract (Русский) |
| Julia M. Oparina | ||
| No 2 (2022): Contemporary Musicology | Political Intrigues of the Court of Florence as a Prerequisite for Giulio Caccini’s Opera The Abduction of Cephalus | Abstract PDF (Русский) Abstract (Русский) |
| Alena D. Verin-Galitskaya | ||
| No 3 (2020): Contemporary Musicology | Prokofiev’s ballet the tale of the stone flower: idea, creation, premiere | Abstract PDF (Русский) Abstract (Русский) |
| Svetlana A. Petukhova | ||
| No 2 (2017): Contemporary Musicology | Quotations and allusions in Francis Poulenc’s Piano Improvisations | Abstract PDF (Русский) |
| Arseny I. Ivanov | ||
| No 3 (2019): Contemporary Musicology | Ravel the arranger: transcriptions of piano and orchestra music | Abstract PDF (Русский) Abstract (Русский) |
| Irina S. Zakharbekova | ||
| No 2 (2017): Contemporary Musicology | Reception of Luca Marenzio’s madrigals | Abstract PDF (Русский) |
| Darya A. Kovalevskaya | ||
| No 3 (2021): Contemporary Musicology | Research in the Gnessins Russian Academy of Music: Priority 2030 Program. Interview with A.S. Ryzhinsky and T.I. Naumenko | Abstract PDF (Русский) Abstract (Русский) |
| Alexander S. Ryzhinsky, Tatiana I. Naumenko, Dana A. Nagina | ||
| No 2 (2022): Contemporary Musicology | Rimsky-Korsakov: Principles of Orchestration and Three Operas on Historical Subjects | Abstract PDF (Русский) Abstract (Русский) |
| Maria V. Skuratovskaya | ||
| No 1 (2019): Contemporary Musicology | Russian musician Johann Leopold Fuchs (1783-1853): the view of a modern researcher | Abstract PDF (Русский) Abstract (Русский) |
| Inga A. Presnyakova | ||
| No 3 (2017): Contemporary Musicology | Secrets of Josquin Desprez's Motet «Ut phoebi radiis» | Abstract PDF (Русский) |
| Lyudmila I. Sundukova, Nikolai I. Tarasevich | ||
| No 3 (2022): Contemporary Musicology | Sequenza IV in Luciano Berio’s Piano Work | Abstract PDF (Русский) Abstract (Русский) |
| Olga V. Sobakina | ||
| No 3 (2020): Contemporary Musicology | Sergei Prokofiev: Unfulfilled Ideas of the 1920s | Abstract PDF (Русский) Abstract (Русский) |
| Elena G. Poldiaeva | ||
| Vol 8, No 2 (2024): Contemporary Musicology | Sergei Raсhmaninoff and American Press at the Turn of the 1920s and 1930s | Abstract PDF PDF (Русский) |
| Vera B. Val’kova | ||
| Vol 8, No 1 (2024): Contemporary Musicology | Small-Scale Opera Genres in Vienna before and after Christoph Willibald Gluck’s Orfeo ed Euridice: Adaptation and Polemics | Abstract PDF PDF (Русский) |
| Irina P. Susidko | ||
| No 1 (2017): Contemporary Musicology | Solo Numbers in Schubert’s Operas: Arias or Songs? | Abstract PDF (Русский) |
| Nina V. Pilipenko | ||
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