| Issue | Title | |
| No 123 (2018) | The phenomenon of “the death of the Author” in European postmodernspace as a sign of transitionalcultural processes at the end of the 20th century | Abstract PDF (Українська) |
| Natalya Liva | ||
| No 126 (2019) | The Role of Italian Periods of Maksym Berezovsky’s Life and Creativity in the Formation of Individual Musical Style | Abstract PDF (Українська) |
| Olga Shumilina | ||
| No 127 (2020) | The Second Violin Consert Of Bela Bartok In The Context Of Genre Development | Abstract PDF (Українська) |
| Nataliia Dzizinska | ||
| No 128 (2020) | The Sounding of Fancy Gestures: Visual in Music for the Performance “Camille” by Alexei Retinsky | Abstract PDF (Українська) |
| Svitlana Gomeniuk | ||
| No 122 (2018) | The specificity of the double simple imitation and its role in the dramaturgy of the Renaissance epoch musical works | Abstract PDF (Русский) |
| Zoran Bozanic | ||
| No 122 (2018) | The Theory of Heinrich Christoph Koch and its role in the context of the analysis of musical works | Abstract PDF (Русский) |
| Jasna Veljanovic | ||
| No 127 (2020) | The Viola Music of Yevhen Stankovych as a Phenomenon of Composer`s Creation | Abstract PDF (Українська) |
| Andrii Tuchapets | ||
| No 122 (2018) | Three More drops in the sea of searches of musical sense | Abstract PDF (Українська) |
| Mykola Kovalinas | ||
| No 121 (2018) | Tour routes of the Poltava symphony orchestra under D. V. Akhsharumov: from press reviews | Abstract PDF (Українська) |
| Inna Dovzhynets | ||
| No 121 (2018) | Ukraine and Europe in research papers of Myroslaw Antonowych | Abstract PDF (Українська) |
| Ulyana Hrab | ||
| No 127 (2020) | Variation Cycles of Mark Andre Hamelin: Composer Interpretation of the Genre | Abstract PDF (Українська) |
| Roksana Nikolenko | ||
| No 124 (2019) | Vitaly Gubarenko and Stefan Turchak: Stellar times of the creative community of the composer and interpreter-conductor | Abstract PDF (Українська) |
| Maryna Cherkashina-Gubarenko | ||
| No 125 (2019) | Wandering Chapel Choirs of the Dniprosoyuz: Importance for the Present from the Perspective of Historical Retrospect | Abstract PDF (Українська) |
| Olha Zasadna | ||
| No 127 (2020) | Wedding Genre in the Works of Composers of the Kyiv Choral School Early XX Century | Abstract PDF (Українська) |
| Olha Zasadna | ||
| No 124 (2019) | Zoltan Kodály and Stanislav Lyudkevych | Abstract PDF |
| Yurii Chekan | ||
| No 127 (2020) | «Alphabet-Singer» from the Manuscript Collection of the XVIІth Century: Palogeographic Description and Comparative Analysis | Abstract PDF (Українська) |
| Mykola Pidhorbunskyi | ||
| No 124 (2019) | «Everyone writes Music to Poems, and I write Poems to Music...» (features to the problem of intermediality in the cycle «Night concerts» by Mykola Bazhan) | Abstract PDF (Українська) |
| Valentyna Redia | ||
| No 128 (2020) | “Distant Bells” by Phank Kok Jun: Chamber-Instrumental Version of the Dialogue between Chinese and European Traditions | Abstract PDF (Українська) |
| Liu Xiaoxi | ||
| No 121 (2018) | “Ethno-chaos” of “Dakha Brakha” band as an example of the principle of “pile” in music | Abstract PDF (Українська) |
| Iia Fedorova | ||
| No 128 (2020) | “Iolanta” by Peter Tchaikovsky and “Dolls” by Joseph Roth Directed by Lydia Steier | Abstract PDF (Українська) |
| Adelina Yefimenko | ||
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