| Issue | Title | |
| Vol 8, No 1 (2024): Contemporary Musicology | The Structural Poetics of Nikolai Korndorf’s Piano Trio | Abstract PDF (Русский) |
| Yulia N. Panteleeva | ||
| No 4 (2019): Contemporary Musicology | The Theme of Childhood in French 19th-Century Music: a First-Time Overview | Abstract PDF (Русский) Abstract (Русский) |
| Irina S. Zakharbekova | ||
| No 1 (2023): Contemporary Musicology | The “Scholarly Map of Russia” as a Research Project: An Attempt of Systematization of Musicology | Abstract PDF (Русский) Abstract (Русский) |
| Tatiana I. Naumenko | ||
| No 4 (2017): Contemporary Musicology | The «Polyphony» of Compositional Tools in the Music by Michael Nyman | Abstract PDF (Русский) |
| Aleksandra Y. Alekseeva | ||
| Vol 8, No 1 (2024): Contemporary Musicology | Theorist, Composer, Music Teacher Mikhail Berezovsky and His “Adaptation” of Nikolay Diletsky’s Treatise | Abstract PDF (Русский) |
| Anna V. Bulycheva, Aleksandra V. Alexandrina | ||
| No 4 (2022): Contemporary Musicology | Thomas Tallis’ Magnificats: Features Of The Genre | Abstract PDF (Русский) Abstract (Русский) |
| Ekaterina V. Svirskaya | ||
| No 4 (2017): Contemporary Musicology | Three methods of play with «loanword» in Luciano Berio’s music | Abstract PDF (Русский) |
| Nadezhda A. Travina, Mikhail A. Saponov | ||
| No 1 (2020): Contemporary Musicology | To the perfect instruments of Arnolt Schlick | Abstract PDF (Русский) Abstract (Русский) |
| Fedosia W. Tabyisova | ||
| No 2 (2019): Contemporary Musicology | Topoi and Musical Narrative: D. Shostakovich. Prelude op.34 No.7 | Abstract PDF (Русский) Abstract (Русский) |
| Tatiana V. Tsaregradskaya | ||
| No 3 (2018): Contemporary Musicology | Travelling Opera Troupes in Russia: the Locatelli’s Company | Abstract PDF (Русский) |
| Paul V. Lutsker | ||
| No 2 (2022): Contemporary Musicology | Trio texture in choral arrangements and polyclavier organ of Southern Germany in the first third of the 16th century | Abstract PDF (Русский) Abstract (Русский) |
| Fedosia W. Tabyisova | ||
| No 2 (2017): Contemporary Musicology | Tristan Topos in Alban Berg’s Music | Abstract PDF (Русский) |
| Yulia S. Veksler | ||
| No 3 (2017): Contemporary Musicology | Twists of a Theme Self / Other’s with Regard to Shostakovich’s Рiano Cycle «Aphorisms» (оp.13) and Three Fugues (1934) | Abstract PDF (Русский) |
| Larissa L. Gerver | ||
| No 3 (2022): Contemporary Musicology | Under the Sign of the Gnesins’ house: Marking the Anniversary of prof. Malinkovskaya | Abstract PDF (Русский) Abstract (Русский) |
| Dmitry V. Belyak | ||
| No 3 (2021): Contemporary Musicology | Variations on an old Russuan chant: nostalgia for Imperial Russia in the Vladimir Dukelsky's oeuvre | Abstract PDF (Русский) Abstract (Русский) |
| Antonina S. Maksimova | ||
| No 4 (2018): Contemporary Musicology | Vasily Kalafati’s opera Tsygany (“The Gypsies”) after Alexander Pushkin | Abstract PDF (Русский) |
| Stanimira S. Dermendzhieva | ||
| No 1 (2017): Contemporary Musicology | Vasily Titov—Gerasim (Zavadovsky)—Kirill Zayushevich: Artistic Dialogue, Artistic Emulation | Abstract PDF (Русский) |
| Anna V. Bulycheva | ||
| No 2 (2019): Contemporary Musicology | Vienna Metamorphoses: From Waltz to L. Wittgenstein's Theory of Language | Abstract PDF (Русский) Abstract (Русский) |
| Irina S. Stogniy | ||
| No 4 (2020): Contemporary Musicology | Vladimir Dukelsky. In Defence of Forgotten Music | Abstract PDF (Русский) Abstract (Русский) |
| Antonina S. Maksimova | ||
| No 3 (2017): Contemporary Musicology | Vladimir Martinov’s Structural Archeology: Archetypes and Intertexts. | Abstract PDF (Русский) |
| Margarita I. Katunyan | ||
| No 2 (2021): Contemporary Musicology | War and Peace: Biographical Milestones | Abstract PDF (Русский) Abstract (Русский) |
| Svetlana A. Petukhova | ||
| No 4 (2022): Contemporary Musicology | Western Slavic Motifs in the Works of Russian Composers of the Second Half of the 19th Century | Abstract PDF (Русский) Abstract (Русский) |
| Elizaveta A. Shavyrina | ||
| No 1 (2018): Современные проблемы музыкознания | Why americans so love Schenker (and Riemann even more) | Abstract PDF (Русский) |
| Philip Ewell | ||
| No 2 (2021): Contemporary Musicology | Wilhelm Friedemann Bach’s Clavier Fantasies: A Creative Dialogue with the Father. | Abstract PDF (Русский) Abstract (Русский) |
| Arseny I. Ivanov | ||
| No 4 (2017): Contemporary Musicology | Working on the Soviet Opera after 1936 | Abstract PDF (Русский) |
| Tatiana I. Naumenko | ||
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