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C O N T E N T
volume 7 year 2016
Chapter 1 Pages
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Zharkova V. B
The French musical theatre of the XVII century: specificity of interaction of the French and Italian traditions
6-22
Podporinova K. V. 
Concertos for Two Keyboards by Antonio Soler in the context of Baroque art
22-37
Belichenko N. N.
Bach’ chorale fughettas in the “variierte – fugierte” chorale system
37-46
 Lebedev E. S. 
Symbolism of musical-rhetorical figures as the plotfactor in J. S. Bach’s cycle «Six Sonatas and Partitas» for Violin solo
46-62
Zherzdyev O. V. 
Instrumental versions in J. S. Bach’ creativity (on the example of the Partita in E major ¹ 3 for Violin in T. Hoppstock’ guitar arrangement)
62-71
Chapter 2
×åêàí Þ. È. 
Îïåðíûå ðåàëèè ýïîõè Áàðîêêî â ðîìàíå Ýíí Ðàéñ «Ïëà÷ ê íåáåñàì»
 71-81
Ivanova I. L. 
Musical Baroque reminiscences in the works of Austrian and German composers of Romantic epoch
81-99
Efremova I. V.
Osip Kozlovsky – the inheritance to the Baroque traditions of world music – and his contribution to the development of ballroom culture of the last quarter of the XVIIIth – first quarter XIXth centuries
99-111
 Solomonova O. B.
“A Fate decided so”: resonances of Baroque symbolism in “Boris Godunov” and “Khovanshchina” by M. Mussorgsky
 111-130
Strilets A. M.
The genre models of Western European Baroque in the Ukrainian bayan composers’ works
131-143
Pyatnitskaya-Pozdnyakova I. S.
Interpretation of intonation and lexical layers of Baroque music in modern composers’ works (on the example of the concert piece “Remembering the Great Vivaldi” by Vladimir Ptushkin)
144-150
Sulim R. A.
Neoclassical tendencies in Jeanne Kolodub’ creativity (illustrated through the example of “Little Suite in Baroque Style” for Chamber Orchestra)
 151-166
Dovzhynets I. G.
«Bach-fest» and «Organum» as the Baroque music territory
167-181
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