Full Issue
| View or download the full issue | FULL ISSUE № 4 (English) (Russian) |
Table of Contents
History and Theory of Music
| Wolfgang Amadeus Mozart: the Composer’s First Steps | |
| Irina P. Susidko, Pavel V. Lutsker | 5-19 |
| Nicola Sala’s Regole del contrappunto pratico (1794): History, Theory, and Practice | |
| Anastasia I. Maslova | 20-34 |
| Revisiting Musical Semiotics: Returning to Greek Stoic Definitions | |
| Ildar D. Khannanov | 35-40 |
Musical Theater
| Michael Nyman’s Opera Noises, Sounds and Sweet Airs and Questions of Interpretation of Shakespeare’s The Tempest | |
| Ekaterina G. Okuneva, Anastasiya A. Nogovitsyna | 41-54 |
| Cendrillon, Cenerentola, and Agatina: The Plot Structure and Composition in the Operas by Nicolò Izouard, Gioachino Rossini and Stefano Pavesi | |
| Nina V. Pilipenko | 55-68 |
Contemporary Musical Art
| Simon Steen-Andersen — a Composer of the Postmodernist Era | |
| Tatiana V. Tsaregradskaya | 69-76 |
| Total Music in the Creative Experiments of Composer Alexander Manotskov | |
| Olga A. Putecheva | 77-86 |
| A Successful Blend of Diverse Styles, Genres and Techniques in Andrew Thomas’ Orchestral Works from the End of the 20th Century | |
| Anton A. Rovner | 87-100 |
Cultural Heritage in Historical Perspective
| Musical Terminology in 19th Century Russian Tutorial Translated Editions | |
| Elena S. Derunets | 101-109 |
| Nikolai Rimsky-Korsakov’s Third Textbook in Alexander Ossovsky’s Notes: Concerning the History of the Formation of the St. Petersburg School of Music Theory | |
| Tamara I. Tverdovskaya, Alla I. Yankus | 110-118 |
Musical Education
| Pedagogical Practice at the Gnesin Russian Academy of Music: Temporal Parallels | |
| Dmitri V. Belyak | 119-128 |
| Elena Malinovskaya: Theatrical and Musical Education in the Late 1910s–1930s | |
| Petr N. Gordeev | 129-137 |