| TWO INDEPENDENCES OF GEORGIAN MUSIC (1918/21 - 1991 ...) (Язык: Английский) | 
3-11 |
| THREE-PART POLYPHONIC CYCLE AND NODAR MAMISASHVILI’S “PRELUDE, CHORALE AND FUGUE” (Язык: Английский) |
12-17 |
| “СЕМЬЯ УНДИЛАДЗЕ” / “КОЛЬЦО НИБЕЛУНГА”: ЕСТЕСТВЕННАЯ И НЕИЗБЕЖНАЯ АНАЛОГИЯ (Язык: Английский) |
18-23 |
| INFINITY OF THE CREATIVE SELF-EXPRESSION – SYNCRETIC COUNTERPOINT IN THE SYMPHONY-EXHIBITION “KHMA” BY E. CHABASHVILI (Язык: Английский) |
24-27 |
| К ВОПРОСУ СООТНОШЕНИЯ СОДЕРЖАНИЯ И ФОРМЫ ХЕРУВИМСКОГО ГИМНА (Язык: Грузинский) |
28-41 |
| MULTICULTURALISM AS A CREATIVE TRIGGER: A MUSIC COMPOSERS' INSIGHT AND EXPERIENCE (Язык: Английский) |
42-47 |
| ALTERATIONS: A SERIES OF WORKS TITLED “MUSIC NOVELLAS” BY GREEK COMPOSER THOMAS BAKALAKOS AS A CONTEMPORARY SUGGESTION FOR THE RESURRECTION OF GREEK NATIONAL SCHOOL OF MUSIC. (Язык: Английский) |
48-59 |
| A PERFORMANCE-ORIENTED ANALYSIS OF THE INFLUENCE OF ARGENTINIAN FOLK DANCES IN ALBERTO GINASTERA’S SUITE DE DANZAS CRIOLLAS, OP. 15 (Язык: Английский) |
60-71 |
| MUSICAL ART, CULTURAL MEMORY AND POSTHUMAN (RAISING A POINT) (Язык: Английский) |
72-81 |