Issues

The Current State of, and Development Perspective for, Polyphony as an Educational Subject at the Moscow Conservatory
Musical Form as an Educational Subject at the Moscow Conservatory
The Forecast of Professional Music Education in Russia
The Music Theory Department Twenty Years After
The Music Theory Department [of Tchaikovsky Moscow State Conservatory]
“Bridge to Modernity”: The Harmony Course Targeted at the Learning of Musical Styles
Russian Theoretical Concepts of Music History
Polyphony as an Educational Course of the Future
Interdisciplinary Focuses of the General Theory of Music
Carl Dahlhaus about the Future of the 18–20th-century Music Analysis
Modular Form in Music and Principles of Its Analysis
The French Passacaglia and Chaconne in the Context of Grand Siècle Rhetorical Tradition
The Theory of Genres in the Old-Russian Chant
The Treatise De mensurabili musica by Johannes de Garlandia
A “Virtual Quotation” in Tchaikovsky’s Opera “The Queen of Spades” as a “Counter-textual Paradox”
On Perspective of the Functional Approach in the Research of Musical Stylistics
Today’s Musicology and “The Style of the Time”
Pyotr Tchaikovsky as a translator of François Gevaert
The practical targeting of the subject of Polyphony as a topical problem of music teaching in the 21st century
Mensural notation. Mensural and proportional canons
On the technique of canon in Vassily Titov’s oeuvre
On the role of polyphonic fragments in ballets of the 19th and the beginning of the 20th centuries
The development of isorhythm in early motets by Philippe de Vitry
The principles of Formbildung in Gregorian chant in view of the system of its melodic idioms
Studying Harmony in a creative manner
The notions of modalité and tonalité in Russia’s nineteenth-century music theory
Problems and perspectives of Elementary Theory of Music in the context of continuous music education
On certain trends in the studies of the twentieth-century music in Europe and in Russia
Problems and perspectives of Elementary Theory of Music in the context of continuous music education
The Theory of Musical Content, Musical Hermeneutics and Musical Semantics: Similarity and Differences
Methodological Specificities of Music Studies: through the works of Russian Scholars
Approaches to the Interpretation of the Harmonic Rhythm in Foreign Musicology
The Paradoxes of Rhythm in the Musical Form
Rhythm & Meter in Sigfrid Karg-Elertʼs Work
Towards Tact and Tactus in German Baroque Treatises
Towards Tact and Tactus in German Baroque Treatises
Register of Our Delusions (conversations and reflections concerning Russian musicology, presenter — A. A. Amrakhova)
Register of Our Delusions (conversations and reflections concerning Russian musicology, presenter — A. A. Amrakhova)
Register of Our Delusions (conversations and reflections concerning Russian musicology, presenter — A. A. Amrakhova)
Register of Our Delusions (conversations and reflections concerning Russian musicology, presenter — A. A. Amrakhova)
Register of Our Delusions (conversations and reflections concerning Russian musicology, presenter — A. A. Amrakhova)
Register of Our Delusions (conversations and reflections concerning Russian musicology, presenter — A. A. Amrakhova)
Words of Varese and about him (from the Archives of composer in Paul Sacher Stiftung)
Enigma out of the clear sky: partimenti and their role in music theory of 18th century
Music as a subject of philosophical reflection
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)
“Energeticism” as a trend of the twentieth-century music analysis
On the Reinterpretation of Music, Musicology and Aesthetics at the Parisian IRCAM
Ethnic ear-training of the Digital Century
Leo Ornstein as a Russian Composer: On the Problem ‘Leo Ornstein and Russia’
Music and revolution of Erwin Schulhoff: from Dada to “The Communist Manifesto”
A Technique of Inversion in Polyphonic Theory and Practice of the latter half of the 16th–18th centuries: syllables and tones
The Events of the Year 1917 in the Rimsky-Korsakov Family Correspondence
Music of the Soviet Era: a Hundred Years Later
“Cher Chopin”: On the Importance of the Composer for E. Delacroix’s Life and Oeuvre
"Free" or "Intonation" Rhythm: to the Issue of Methodological Approaches in Contemporary Musicology
Konstantin Vladimirovich Zenkin — Music Historian, Aesthetician, Pianist
“Profound Change in Style” in W. A. Mozart’s oeuvre: Sonata KV 533/494
Methodology of the Historical and Geographic Localization of the Latin Musical-Liturgical Manuscripts
On Painting and Musical Analysis: to the Problem of Interdisciplinary Research
Parte del Tomaso Vitalino. “Vitali’s Chaconne” as a Phenomenon of Baroque ArtParte del Tomaso Vitalino. “Vitali’s Chaconne” as a Phenomenon of Baroque Art
Music of the 21st century: first results
Music of the 21st century: first results
Music of the 21st century: first results
Music of the 21st century: first results
Music of the 21st century: first results
Generative Music Theory in Relation to the Schenkerian and Riemannian Traditions
Aesthetics and style of Arvo Pärt’s work: revolution or evolution?
The unknown opera by Edison Denisov
Chinese ‘New Wave’ and the work of Xu Changjun
Chinese ‘New Wave’ and the work of Xu Changjun
Yuri Nikolaevich Tyulin about Musicians and Musicology (Interview with Yu. N. Kholopov of 1 February 1968)
‘Letter to V. Martynov and G. Pelecis’ (1999): Intertextuality and Wealth of Meanings in Nikolai Korndorf’s Final Piano Work
Method of Chronotopical Analysis of Musical Work (by the example of Debussy’s prelude ‘Canope’)
Четверть века в фарватере Новой музыки, или Музыка ХХI века — взгляд изнутри
Четверть века в фарватере Новой музыки, или Музыка ХХI века — взгляд изнутри
Music Press-1917: Peripeteias in the Editorial Policy of the Muzykalny Sovremennik Magazine
Libretto of Vincent d’Indy’s Opera «L’Étranger» and Henrik Ibsen’s Plays: Essay of the Comparative Analysis
‘Die Meistersinger von Nürnberg’ — The Artistic Cosmos of a Metadrama
“An Alien Word” in the Composer's Work: Alfred Schnittke and Nikolai Korndorf
My meetings with Nikolai Korndorf
On Bergiana of Theodor Adorno
Illusion of Traditionality: Music of Alexander Chugaev
Bach, revealed and unfathomable
Self-portrait 1975
Music criticism – yesterday, today… And will it be tomorrow?
Music criticism – yesterday, today… And will it be tomorrow?
Music criticism – yesterday, today… And will it be tomorrow?
Music criticism – yesterday, today… And will it be tomorrow?
Music criticism – yesterday, today… And will it be tomorrow?
Accanto
On the Phenomenon of a Revolution in View of Jean Renoir (materials of the III International Congress of Russian Society on Music Theory)
Genre of symphony concertante in its historical evolution
Musical and Architectural Gesamtkunstwerk: on the Acoustic Determinism of the Orchestral Style of R. Wagner's Drama “Parsifal”
Musical Term As a Problem: About the IV Congress of the Society for Theory of Music
Musical Term As a Problem: About the IV Congress of the Society for Theory of Music
The Concept of “Multimedia” in the Music of Igor Kefalidi
Theoretical System in O. Balakauskas’ “Dodecatonics” (1997): a Discourse of Composer’s Creation
On the Comprehension of the Phenomenon of Musical Time in Vincent d’Indy’s ‘Cours de composition Musicale’
On the Term “Leitmotiv” and Its Synonyms in V. D’Indy’s Terminological System
On Vincent d'Indy's Original Analysis of His Symphonic Works: Regarding the Problem of the French Terminology