| Issue | Title | |
| No 123 (2018) | About individual style bases of musical authorship | Abstract PDF (Українська) |
| Victor Mockalenko | ||
| No 123 (2018) | About some features of authorship in a music video project | Abstract PDF (Українська) |
| Elena Shemiakina | ||
| No 123 (2018) | About the uniqueness of the timbre-textured organization in the trio of Béla Bartók “Contrasts” | Abstract PDF (Українська) |
| Viktor Duldier | ||
| No 126 (2019) | Alexander Shchetinsky's Symphony for Mixed Choir a'cappella “Know Yourself”: From Neo-Baroque to Metastyle | Abstract PDF (Українська) |
| Yuliia Volovchuk | ||
| No 125 (2019) | Alfred Schnittke’s concert for piano and string orchestra the role of polystylistics in the formation of intoniation-character dramaturgy | Abstract PDF (Українська) |
| Bohdan Reshetilov | ||
| No 128 (2020) | Allonymy as the Paradox Phenomenon of Authorship in the Musical-historical Process | Abstract PDF (Українська) |
| Kateryna Babenko | ||
| No 122 (2018) | An «author’s signs» from style in instrumental music by Hennady Liashenko | Abstract PDF (Українська) |
| Maryna Denysenko-Sapmaz | ||
| No 121 (2018) | Andrey Shtogarenko’s third symphony (“Kyivan”): analysis experience in the light of musical epic | Abstract PDF (Українська) |
| Oksana Sergіeva | ||
| No 123 (2018) | Anti-recipe as a component of composer’s creativity | Abstract PDF (Українська) |
| Boryslav Stronko | ||
| No 123 (2018) | Architectonic integrity of the polyphonic composition in the aspect of discourse-analysis | Abstract PDF (Українська) |
| Nataliya Belichenko | ||
| No 124 (2019) | Art rock concert practice and its projection into the XXIst century | Abstract PDF (Українська) |
| Volodymyr Romanko | ||
| No 125 (2019) | Artistic Image of Hetman Ivan Masepa through the prism of synthesis of arts of the Ukrainian diaspora | Abstract PDF (Українська) |
| Hanna Karas | ||
| No 127 (2020) | Belarusian Music in the Solfeggio University Course: Style Aspect | Abstract PDF (Українська) |
| Lyudmyla Zapevalova, Ala Tikhomirova | ||
| No 126 (2019) | Characteristic Features of Valentin Silvestrov’s Own Style in “Two Romances” on Oleksandr Blok's Poems | Abstract PDF (Українська) |
| Anna Kalinina | ||
| No 129 (2020) | Charles-Simon Catel’s “Traité D’harmonie” as an Origin of Conservatory Harmony Teaching Traditions | Abstract PDF (Українська) |
| Oleksiy Vоуtenko | ||
| No 129 (2020) | Chilean Guitar Music: Violeta Parra’s “Anticuecas” | Abstract PDF (Українська) |
| Tetiana Filatova | ||
| No 128 (2020) | Chilean Guitarron as an Instrument of Folk and Religious Usage | Abstract PDF (Українська) |
| Tymur Ivannikov, Tetyana Filatova | ||
| No 125 (2019) | Choral works by Alexander Jacobchuk: genre and style parameters | Abstract PDF (Українська) |
| Olga Kushniruk | ||
| No 129 (2020) | Concept of the “Open Form” by Nadezhda Goryukhina in the Paradigm of Modern Musicology | Abstract PDF (Українська) |
| Lyudmila Zapevalova | ||
| No 125 (2019) | Conceptualization of the Notion “Musical Project of Academic Art” | Abstract PDF (Українська) |
| Liudmyla Obukh | ||
| No 126 (2019) | Conductor's Component of Mikhail Pletnev's Style of Musical Creativity | Abstract PDF (Українська) |
| Valeriia Kovtoniuk | ||
| No 124 (2019) | Connections between Paweł Szymański's works and Ukrainian history and culture | Abstract PDF |
| Violetta Kostka | ||
| No 125 (2019) | Cultural And national identity of the conductor: implication of concepts | Abstract PDF (Українська) |
| Roman Dzundza | ||
| No 124 (2019) | Dialogue of epochs in music thinking of Arvo Pärt: “Credo” | Abstract PDF (Українська) |
| Natalia Liva | ||
| No 124 (2019) | Directions in Romanian Music of Banat Region in National and European Context | Abstract PDF |
| Veronica Demenescu | ||
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