| 'TOTALLY BADASS MUSIC': THE SOVIET NATIONAL ANTHEM AS A COMMUNICATION DESIGN (Язык: Английский) | 
3-14 |
| EKA CHABASHVILI’S WORKS THROUGH SOME ASPECTS OF MUSICAL IDENTITY (Язык: Английский) |
15-19 |
| CULTURAL IDENTITY AND COMPOSITIONAL DISCOURSE (Язык: Английский) |
20-24 |
| A BASS-CLARINETT TIMBRE AND THE FEATURES OF THIS USING IN THE SYMPHONYC OPUSES BY BORYS LYATOSHINSKYJ (Язык: Английский) |
25-32 |
| ДВОИЧНАЯ ОСНОВА РАЦИОНАЛИСТИЧЕСКОГО МИРОВОЗЗРЕНИЯ И ЕЁ РЕАЛИЗАЦИЯ В КЛАССИЧЕСКОЙ МУЗЫКАЛЬНОЙ КОМПОЗИЦИИ |
33-40 |
| GEORGIAN POLYPHONY, MUSICAL IDENTITY AND NATIONALISM (Язык: Английский) |
41-45 |
| MUSICAL IDENTITY IN NEW GEORGIAN MUSIC: NATELA SVANIDZE – EKA CHABASHVILI (Язык: Английский) |
46-51 |
| PRINCIPLES FOR IDENTITY ASCERTAINMENT COMPOSER’S CREATIVE WORK (ON THE EXAMPLE OF FUGUE GENRE) (Язык: Английский) |
52-57 |
| “ONE’S OWN” AND “OTHER’S”: MARKERS OF WESTERN AND EASTERN CROSS-CULTURAL PROCESS IN THE XX CENTURY MUSIC (Язык: Английский) |
58-62 |
| THE ALTERNATIVE ROLE OF NEW TUSHETIAN SONGS IN CONTEMPORARY GEORGIAN MUSICAL CULTURE (Язык: Английский) |
63-74 |