3-10
| WINE AND MUSIC IN GEORGIAN PAINTING AND ADVERTISEMENT |
3-10 |
| REGIONAL, NATIONAL, GLOBAL? CAUCASIAN MUSIC IN WESTERN PERSPECTIVE |
11-15 |
| GLOBAL MUSIC PROCESSES: ABOUT THE INFLUENCES AND ANALOGUES IN THE GEORGIAN MUSIC OF THE 60S OF THE LAST CENTURY |
16-28 |
| FORMS OF EXPRESSION OF INTERACTIVE ART AND HYBRID GENRES (ON THE EXAMPLE OF MY OEUVRE) |
29-34 |
| A NEW TYPE OF PERFORMER-LISTENER INTERACTION IN EKA CHABASHVILI’S SYMPHONY-EXHIBITION “KHMA” |
35-40 |
| SOLO VIOLIN SONATA OF EKA CHABASHVILI WITH A "SHINING BOW" (COMPOSITIONAL AND PERFORMING ISSUES) (Language: Georgian) |
41-49 |
| PROHIBITION VERSUS APOTHEOSIS OF A TRITONE: RHETORICAL ASPECTS |
50-61 |
| THE PREMONITORY POINT AND THE REAL APEX IN RIMSKY-KORSAKOVS OP. 4 NO. 1 ROMANCE |
62-69 |
| LITHUANIAN FREEDOM FIGHTERS: THE HISTORICAL NARRATIVE AND THE SINGING TRADITION |
70-80 |
| SIGNS OF CHRISTIAN ECUMENISM IN IGOR STRAVINSKY’S “SYMPHONY OF PSALMS” |
81-88 |
| THE FORBIDDEN FRUIT SYNDROME VS. THE FILLING AN EMPTY NICHE SYNDROME: A CASE STUDY OF THE MUSICAL OUTPUT OF DIASPORA LATVIAN COMPOSERS |
89-95 |