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Issue |
Title |
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No 2 (2020): Contemporary Musicology |
“Chinese Style” in Music at the Turn of the 19th-20th Centuries |
Abstract
PDF (Русский)
Abstract (Русский)
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Yulia P. Medvedeva |
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No 4 (2021): Contemporary Musicology |
“Every Teacher is the Driving Force Behind Science and Education” (An interview with Irina S. Stogniy). |
Abstract
PDF (Русский)
Abstract (Русский)
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Irina S. Stogniy, Olga O. Moskvina, Svetlana A. Pavlova |
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No 3 (2020): Contemporary Musicology |
“I laughed like a madman at the music alone...” Borodin’s operetta heroic warriors in Victor Krylov's letters to Nikolay Savitsky |
Abstract
PDF (Русский)
Abstract (Русский)
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Anna V. Bulycheva |
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No 2 (2020): Contemporary Musicology |
“Le Père-Créateur” of Modern School of Violin Playing: Marking the Anniversary of Giovanni B. Viotti |
Abstract
PDF (Русский)
Abstract (Русский)
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Polina B. Podmazova |
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No 1 (2019): Contemporary Musicology |
“Listen, Salieri, my Requiem”: Requiem by V.A. Mozart in the cultural life of Russia in the 19th and early 20th centuries |
Abstract
PDF
Abstract
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Karina I. Zybina |
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No 1 (2017): Contemporary Musicology |
“Own” as “another’s”, “another’s” as “own”: Prokofiev’s self-quotations, quotations and compilations |
Abstract
PDF (Русский)
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Svetlana A. Petukhova |
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No 4 (2019): Contemporary Musicology |
“Russian Trace” in the Work of Harrison Birtwistle |
Abstract
PDF (Русский)
Abstract (Русский)
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Tatiana V. Tsaregradskaya |
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No 1 (2017): Contemporary Musicology |
“The Blackamoor of Peter the Great”: the Introduction and a Short Guide to the Opera, Which has not received its Performance |
Abstract
PDF (Русский)
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Olesya A. Bobrik |
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No 2 (2023): Contemporary Musicology |
“The Riddle” about the Centre in the Fifth Movement of Anton Webern’s Cantata op. 31 |
Abstract
PDF (Русский)
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Larisa L. Gerver |
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No 2 (2020): Contemporary Musicology |
“The Shadow of Night” by Harrison Birtwistle: Poetics of the Composition |
Abstract
PDF (Русский)
Abstract (Русский)
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Tatiana V. Tsaregradskaya |
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Vol 8, No 1 (2024): Contemporary Musicology |
‘I Invoke You to Understand My Despair Due to the Disruption of the Production Plan.’ Yuri Shaporin, Elena Malinovskaya and the Bolshoi Theater in the First Half of the 1930s |
Abstract
PDF
PDF (Русский)
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Petr N. Gordeev |
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No 1 (2020): Contemporary Musicology |
‘Serious’ and ‘non-serious’ music by Natalya Khondo |
Abstract
PDF (Русский)
Abstract (Русский)
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Ekaterina V. Маkartseva |
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No 4 (2017): Contemporary Musicology |
«Deconstruction» of Symphony Orchestra in Electroacoustic Compositions by I. Xenakis |
Abstract
PDF (Русский)
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Anna V. Stoyanova |
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No 4 (2018): Contemporary Musicology |
«On censorial requests of the officials and “censorial desperations” of opera composers during the Czarist-era» |
Abstract
PDF (Русский)
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Svetlana K. Laschenko |
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No 4 (2018): Contemporary Musicology |
«Opera “The Gambler” in Prokofiev’s diary» |
Abstract
PDF (Русский)
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Larisa L. Gerver |
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No 2 (2017): Contemporary Musicology |
«Own» and «Another’s» in Creative Works by Nikolai Korndorf |
Abstract
PDF (Русский)
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Evgeniya I. Chigareva |
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No 4 (2019): Contemporary Musicology |
«Préludes» by Claude Debussy — the Idea of the Work as a Cycle |
Abstract
PDF
Abstract
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Tijana P. Mladjenović, Ivana P. Lozo |
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No 2 (2019): Contemporary Musicology |
«The Composer’s Word and the Composer as Seen by Others»: the 18th Anniversary of the Musicology Project in the Gnessins Russian Academy of Music |
Abstract
PDF (Русский)
Abstract (Русский)
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Yulia N. Panteleeva |
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No 2 (2022): Contemporary Musicology |
С. Le Jeune's Dodecahorde: The Composer’s Approach to the Original Source |
Abstract
PDF (Русский)
Abstract (Русский)
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Grigory I. Lyzhov |
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