Musicologist and teacher.
She began working at the Gnesin State Music and Pedagogical Institute in 1985 as a lecturer in the Department of Harmony and Solfege for performance faculties. Since 1996 she has supervised diploma and postgraduate students in the Faculty of History, Theory, and Composition.
In 1988 she defended her Candidate of Art History dissertation «A Critical Analysis of the Compositional Methods of P. Boulez, K. Stockhausen, and M. Babbitt: Towards a Comparative Study of the Musical Avant‑Garde of the 1950s» under the supervision of Professor N. S. Gulyanitskaya. In 2002 she defended her Doctoral dissertation «Time and Rhythm in Music of the Second Half of the Twentieth Century: O. Messiaen, K. Stockhausen, P. Boulez, I. Xenakis».
Between 1999 and 2013 twelve Candidate dissertations were completed under her supervision.
Her research activity includes monographs, articles, teaching materials, and papers at all‑Russian and international conferences. Her scholarly interests centre on contemporary music in its various forms, from the academic avant‑garde and post‑avant‑garde to mass musical culture. Since 2011 she has been a member of the governing board of the Russian Society for Music Theory.
For ten years (2002–2012) she collaborated with the Khanty‑Mansiysk branch of the Gnesin Russian Academy of Music, working with the Department of Humanities and Music Theory, evaluating the Centre for the Arts for Gifted Children of the North, and giving master classes for regional teachers on mass musical culture, for which she received a letter of appreciation from the Governor of Khanty‑Mansi Autonomous Okrug.
In 2004 she organised a conference in Khanty‑Mansiysk on the Bologna Process in music education.
From 1997 to 2009 she headed the Department of Contemporary Problems of Music Pedagogy, Education, and Culture.
Since 2008 she has served as Head of the International Relations Office of the Gnesin Russian Academy of Music. From 2008 to 2013 the office concluded a number of bilateral agreements with foreign institutions, primarily in Europe, and organised academic exchanges of students, master’s candidates, and doctoral students with European and CIS countries.
She contributed to Russian‑language translations of documents of the Association of European Conservatoires, providing the basis for Russian versions of Bologna‑Process documentation, and took part in the international public accreditation of the Choral Conducting Faculty of the Gnesin Academy.
In 2010 and 2011 she lectured on contemporary music at Goldsmiths College (London, UK) and the Peabody Conservatory (Baltimore, USA). In 2013 the International Relations Office organised the Academy’s first international festival of European conservatoires, «Window onto Europe».
She is a member of two Dissertation Councils (the Gnesin Russian Academy of Music and the State Institute for Art Studies), frequently serves as an official opponent, and reviews numerous scholarly works.
Candidate dissertations supervised by T. V. Tsaregradskaya:
- 1998 – S. Z. Iskhakova, «Non‑Classical Sound Space: Early Twentieth‑Century Musical Composition in the Context of Contemporary Ideas»;
- 2000 – I. V. Ivanova, «The Serial Idea and Its Realisation in the Music of P. Boulez»;
- 2005 – Yu. I. Agisheva, «Jugendstil in Music: The Works of M. Reger and F. Schreker»;
- 2006 – M. V. Arkhipova, «The Stage Works of M. F. Gnesin: From “Music of the Word” to Musical Intonation»;
- 2007 – O. V. Nevskaya, «The Piano Works of M. Ravel: Music in Dialogue with Literature»;
- 2008 – A. S. Ryzhinsky, «The Choral Works of Arnold Schoenberg»;
- 2010 – Shao Xiao Yun, «The Choral Works of Tien Feng»;
- 2010 – O. A. Nikolskaya, «The Genre of the March in Late Nineteenth‑ and Early Twentieth‑Century Symphonic Music»;
- 2011 – E. A. Kindyukhina, «The Musical Theatre of Francis Poulenc»;
- 2012 – Yu. A. Finkelshtein, «The Ballets of N. N. Cherepnin in the Context of Their Time»;
- 2012 – O. V. Tytyk, «American Blues: The Poetics of the Genre (Blues of the 1930s–1960s)»;
- 2013 – A. Yu. Sysoev, «The Phenomenon of Free Improvisation in Twentieth‑Century Music»;
- 2013 – V. V. Zaytseva, «The Orchestral Style of A. K. Lyadov»;
- 2013 – I. S. Zakharkbekova, «The Musical Theatre of Maurice Ravel»;
- 2014 – G. Sidorova, «The Works of Kaija Saariaho in the 1980s»;
- 2015 – A. Lyakhova, «Morton Feldman’s Late Works: Between Idea and Realisation»;
- 2016 – S. Lopushanskaya, «The Piano in the Ensemble and Orchestral Works of O. Messiaen»;
- 2016 – A. V. Stoyanova, «The Electroacoustic Music of I. Xenakis»;
- 2017 – N. P. Ruchkina, «The Music of I. G. Sokolov: The Formation of a “Simple Style”»;
- 2017 – N. Yu. Khrust, «New Instrumental Techniques: An Attempt at Classification»;
- 2018 – D. O. Grotsky, «The Symphonies of Barkauskas: Poetics of the Genre»;
- 2020 – A. V. Tavrizyan, «The Film Music of Thomas Newman: Poetics of the Score»;
- 2020 – I. V. Zingg, «Harp Treatises of the Late Eighteenth and Early Nineteenth Centuries: The Formation of Professional Performance»;
- 2021 – M. S. Krivitsky, «The Orchestral Style of Edgard Varèse from Amériques to Arcana», Candidate dissertation;
- 2023 – S. A. Bulanov, «The Comic in the Music Theatre of R. Shchedrin»;
- 2025 – T. A. Sapegina, «Classical Music in American and European Animation of the First Half of the Twentieth Century».
Among her many publications are the monograph Vremya i ritm v muzyke Olivye Messiana (Time and Rhythm in the Music of Olivier Messiaen), Moscow, Klassika‑XXI, 2002, and numerous articles in Russian and international journals.
In 2020 she received an official Letter of Appreciation from the Minister of Culture of the Russian Federation and an Honorary Diploma from the Ministry of Science and Higher Education of the Russian Federation.
