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