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Issue
Title
Authors
No 2 (2024)
Representations of tenor arias from G. Puccini’s operas (“La bohème”, “Tosca” and “Turandot”) by masters of Russian and Chinese vocal schools
Sun X.
PDF
(Rus)
No 3 (2023)
The specificity of opera-vocal performance by Antonio Tamburini
Zhang Y.
PDF
(Rus)
No 3 (2024)
"From the Black Box" by Kirill Molchanov: Sergey Yakovenko's artistic reading of the musical and prose text of the vocal cycle
Podguzova O.A.
PDF
(Rus)
No 5 (2023)
On the Pedagogical Priorities of Teachers-vocalists of the Initial Period of Activity of the Saratov Conservatory
Rudyakova A.E.
PDF
(Rus)
No 3 (2023)
The role of Nicolo Grimaldi (Nicolini) in the Italian opera development in London in the early 18th century
Xinhang C.
PDF
(Rus)
No 4 (2024)
The study of works for voice and piano dedicated to Special military operation by future conductors of a military orchestra
Platonova A.A.
PDF
(Rus)
No 1 (2023)
Investigation of the Peculiarities of the Metrorhythmic Organization of Onegin's Vocal Part in P.I. Tchaikovsky's Opera "Eugene Onegin"
Vasheruk I.I.
PDF
(Rus)
No 3 (2025)
Zhenya Komelkova’s Image in Tan Jianping’s Opera “The Dawns Are Quiet Here”
MEI J.
PDF
(Rus)
No 3 (2024)
Performing aspects of V. Gavrilin’s “Russian Notebook”: dramaturgy, theatricalization, peasant song, folklore genres
Shkirtil' L.V., Serov Y.E.
PDF
(Rus)
No 2 (2025)
Accompaniment in chamber vocal music as an independent branch in the history of piano art
Serov Y.E.
PDF
(Rus)
No 2 (2024)
Female chamber vocal cycle of the 1960s–1970s and the “new folk wave”. Part 1. In search of intonational authenticity
Shkirtil' L.V., Serov Y.E.
PDF
(Rus)
1 - 11 of 11 Items

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