| DE-NARRATIVIZATION AND (RE-)NARRATIVIZATION OF MUSICAL LANGUAGE AND MUSICAL FORM IN ALEXANDER SCRIABIN’S CREATIVE EVOLUTION |
| SHALVA MSHVELIDZE’S ETHNOMUSICOLOGICAL ACTIVITIES (BASED ON KHEVSURETIAN, PSHAVIAN AND TUSHETIAN RECORDINGS) (Language: Georgian) |
| DELVIG’S POETIC SYMBOLISM AND GLINKA’S MUSICAL NARRATIVE IN THE ‘DO NOT SAY LOVE WILL PASS’ ROMANCE |
| EXTENDED TECHNIQUES OF CLARINET PLAYING – FROM EXPERIMENTS TO CONTEMPORARY PRACTICE (Language: Georgian) |
| GEORGIAN UNPITCHED MUSICAL NOTATION IN THE 10TH CENTURY YELI TROPOLOGION |
| THE CLARINET AND ITS FAMILY OF INSTRUMENTS (HISTORY OF ORIGIN AND ISSUES IN THE DEVELOPMENT OF TIMBRAL-ACOUSTIC CAPABILITIES) (Language: Georgian) |
| THE CHANGING FUNCTION OF THE VIOLA IN SULKHAN NASIDZES CHAMBER-INSTRUMENTAL MUSIC (ON THE EXAMPLES OF THE PIANO QUINTET AND THE STRING QUARTET N3) (Language: Georgian) |
| FOLK DANCE AND MUSIC OF LAZISTAN, TAO, SHAVSHETI AND KLARJETI ON THE EXAMPLE OF 2022 EXPEDITION MATERIAL (Language: Georgian) |
| MUSIC FROM THE PERSPECTIVE OF BIBLE (Language: Georgian) |