| Issue | Title | |
| No 2 (2020): Contemporary Musicology | “Chinese Style” in Music at the Turn of the 19th-20th Centuries | Abstract PDF (Русский) Abstract (Русский) |
| Yulia P. Medvedeva | ||
| 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) |
| Irina S. Stogniy, Olga O. Moskvina, Svetlana A. Pavlova | ||
| 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) |
| Anna V. Bulycheva | ||
| 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) |
| Polina B. Podmazova | ||
| 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 |
| Karina I. Zybina | ||
| No 1 (2017): Contemporary Musicology | “Own” as “another’s”, “another’s” as “own”: Prokofiev’s self-quotations, quotations and compilations | Abstract PDF (Русский) |
| Svetlana A. Petukhova | ||
| No 4 (2019): Contemporary Musicology | “Russian Trace” in the Work of Harrison Birtwistle | Abstract PDF (Русский) Abstract (Русский) |
| Tatiana V. Tsaregradskaya | ||
| 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) |
| Olesya A. Bobrik | ||
| No 2 (2023): Contemporary Musicology | “The Riddle” about the Centre in the Fifth Movement of Anton Webern’s Cantata op. 31 | Abstract PDF (Русский) |
| Larisa L. Gerver | ||
| No 2 (2020): Contemporary Musicology | “The Shadow of Night” by Harrison Birtwistle: Poetics of the Composition | Abstract PDF (Русский) Abstract (Русский) |
| Tatiana V. Tsaregradskaya | ||
| 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) |
| Petr N. Gordeev | ||
| No 1 (2020): Contemporary Musicology | ‘Serious’ and ‘non-serious’ music by Natalya Khondo | Abstract PDF (Русский) Abstract (Русский) |
| Ekaterina V. Маkartseva | ||
| No 4 (2017): Contemporary Musicology | «Deconstruction» of Symphony Orchestra in Electroacoustic Compositions by I. Xenakis | Abstract PDF (Русский) |
| Anna V. Stoyanova | ||
| No 4 (2018): Contemporary Musicology | «On censorial requests of the officials and “censorial desperations” of opera composers during the Czarist-era» | Abstract PDF (Русский) |
| Svetlana K. Laschenko | ||
| No 4 (2018): Contemporary Musicology | «Opera “The Gambler” in Prokofiev’s diary» | Abstract PDF (Русский) |
| Larisa L. Gerver | ||
| No 2 (2017): Contemporary Musicology | «Own» and «Another’s» in Creative Works by Nikolai Korndorf | Abstract PDF (Русский) |
| Evgeniya I. Chigareva | ||
| No 4 (2019): Contemporary Musicology | «Préludes» by Claude Debussy — the Idea of the Work as a Cycle | Abstract PDF Abstract |
| Tijana P. Mladjenović, Ivana P. Lozo | ||
| 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) |
| Yulia N. Panteleeva | ||
| No 2 (2022): Contemporary Musicology | С. Le Jeune's Dodecahorde: The Composer’s Approach to the Original Source | Abstract PDF (Русский) Abstract (Русский) |
| Grigory I. Lyzhov | ||
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