| Alexander Ostrovsky and Anton Arensky: From The Voyevoda to Dream on the Volga |
Gorshkova Anna M. |
34 |
| The Artistic World of Maurice Maeterlinck’s drama “Ariane et Barbe-Bleue” in view of Paul Dukas: The Composer’s Work on the Playwright’s Text |
Shutkova M. S. |
33 |
| Modern Chinese opera (late XX – early XXI centuries) and “The First Emperor” by Tan Dun |
Ding Rong, Yunusova Violetta |
33 |
| Old Russian Singing Terminology in the Special Course “History of Russian Music of the 11th – 18th Centuries” at Moscow State Tchaikovsky Conservatory |
Guryeva N. V., Tyurina O. V. |
33 |
| The Foreign Music History Department of the Moscow Conservatory at the Turn of the Century: the 75th Anniversary of Mikhail Alexandrovich Saponov |
Lesovichenko Andrey |
33 |
| “To Create a Sensation of Continuum” |
Kouprovskaia Ekaterina |
32 |
| “To hear what you write” |
Kouprovskaia Ekaterina |
32 |
| Alexander Khubeev Shares His Experience of Working in Germany |
Amrakhova Anna |
32 |
| Music at the Period of Post-Postmodernism |
Akopyan Levon, Amrakhova Anna, Stoianova Ivanka, Tsaregradskaya Tatyana |
32 |
| Composition and Drama Role of the Voice in the Following Instrumental Works by Nikolai Korndorf: Canzone Triste for Harp (1998), Chamber Symphony Confessiones for 14 performers and tape recording (1979), Quartet for two violins, viola and chello (1992) |
Zubova Olesya A. |
31 |
