3-9
| THEORY OF THE MUSICAL SEMIOTIC BY YU. SOZANSKYJ (MAIN IDEAS AND MEANING FOR MUSICOLOGY) (Language: Russian) |
3-9 |
| UKRAINIAN GUITAR MUSIC: SPIRITUAL INTENTIONS OF CREATIVITY (Language: Russian) |
10-15 |
| ENSEMBLES OF COPPER SPIRITUAL TOOLS IN THE MUSICAL CULTURE OF THE ANCIENT WORLD. (Language: Russian) |
16-24 |
| VAZJA AZARASHVILI SOLO VIOLIN SONATA (Language: Georgian) |
25-37 |
| INTERPRETATION OF FACTS AND EVENTS IN THE HISTORY OF MUSIC (FROM THE HISTORY OF TBILISI CONSERVATOIRE) (Language: Georgian) |
38-45 |
| “TIME FACTOR” IN 20TH CENTURY CHORAL MUSIC (ACCORDING TO THE EXAMPLE OF COMPARATIVE ANALYSIS OF THE “REQUIEM” BY G.LIGETI AND THE “ENTREATY” BY S. NASIDZE) (Language: Georgian) |
46-62 |
| RESEARCH ISSUE ABOUT „SHEKHVETILIANI’S“ HISTORICAL AND MUSICAL STRUCTURE’S DEVELOPMENT (Language: Georgian) |
63-71 |
| THREE CYCLES OF 24 PRELUDES BY SULKHAN TSINTSADZE (Language: Georgian) |
72-78 |
| ON THE ROLE OF POLYPHONY IN P. TCHAIKOVSKYS OPERA DUETS (Language: Russian) |
79-84 |