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Table of Contents
Musical Genre and Style
| The Russian Waltz | |
| Liudmila P. Kazantseva | 5-25 |
Musical Cultures of Russia
| The Role of the Individual and the Collective Aspects in the Formation of the Genre of the Adyghes’ Heroic-Historical Song | |
| Beslan G. Ashkhotov | 26-38 |
| The Kazan Conservatory School of Composition: Paths of Development | |
| Diliya F. Khairutdinova | 39-45 |
Musical Culture of the Peoples of the World
| The Orteke Tradition: An Examination of the Relationship Between Music and Puppetry in Central Asia | |
| Gökhan Usal | 46-55 |
Dialogue of Cultures
| On the Similarity of the Principles of Church Singing Interpretation of the Sequentia and the Bezstrochen in Western European and Russian Hymnography | |
| Svetlana A. Pavlova | 56-65 |
| “Man and Eternity” vs. “Man and History”: Maria Yudina in Dialogue with Boleslav Yavorsky | |
| Raisa M. Alisova | 66-76 |
Cultural Heritage in Historical Perspective
| New Biographical Data about Piano Makers John Conrad Becker (London) and Yakob Davidovich Becker (St. Petersburg) | |
| Maxim V. Sergeev | 77-86 |
| Development of the Instrumental Group of the Peking Opera from the 19th to the Early 21st Century in the Context of the Academisation of Chinese Musical Art | |
| Yang Teng, Dmitry I. Varlamov | 87-99 |
Contemporary Musical Art
| Musical Thanatos: The Theme of Death in Vladimir Martynov’s and Alexander Bakshi’s Music | |
| Olga B. Elkan | 100-110 |
| Leif Segerstam and His Path to Aleatory Music | |
| Irina V. Koposova | 111-127 |
Performing Arts
| Russian Music in Marc-André Hamelin’s Performing Practice (Part 1) | |
| Irina I. Sukhorukova | 128-144 |
Horizons of Musicology
| Concerning the Question of Anthropomorphic Metaphors in Music (Semiotic Aspect) | |
| Elena M. Alkon | 145-153 |