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ISSN 2308-1333

Issue 2022 №3 (39)

Elena V. Rovenko
Music as a Sensemaking Component of the Van Gogh Myth

Anna A. Amrakhova
Essay on the classification of individual projects in modern composition

Valeriy N. Syrov
Some Features of Form-Building in Modern Rock Music

Irina V. Polozova
Saratov Historical and Theoretical Musicology: History in 110 Years

Issue 2022 №1 (37)

Lyudmila I. Sundukova
On a cultural context of secular borrowings in a liturgical music of Renaissance

Tatyana R. Bochkova
Solo Organ Sonata in the Works of C. Ph. E. Bach: Between Baroque and Classicism


Issue 2021 №4 (36)

Sergey S. Terentyev
Conductor Igor Blazhkov – «Apostle of New Music»

Ekaterina O. Kouprovskaia, Raphaël Cendo
“To Represent the Time of Today”

Ekaterina O. Kouprovskaia, François Meïmoun
"My Music Sings"

Valentina V. Rubtsova, Pavel A. Shatskiy
“Not only to pay tribute…”

Issue 2021 №2 (34)

Anna M. Gorshkova
Alexander Ostrovsky and Anton Arensky: From The Voyevoda to Dream on the Volga

Ivan D. Porshnev
«Pas d’Acier» by S. Prokofiev in USSR (1927–1932): the History of a Stage Fate

Ekaterina O. Kouprovskaia, André Bon
“I prefer a natural sound”

Ekaterina O. Kouprovskaia, Augustin Braud
“To Keep Your Eyes and Brain Open”

Issue 2021 №1 (33)

Andrey M. Lesovichenko
The Foreign Music History Department of the Moscow Conservatory at the Turn of the Century: the 75th Anniversary of Mikhail Alexandrovich Saponov

Nataliya V. Guryeva, Olga V. Tyurina
Old Russian Singing Terminology in the Special Course “History of Russian Music of the 11th – 18th Centuries” at Moscow State Tchaikovsky Conservatory

Violetta N. Yunusova, Ding Rong
Modern Chinese opera (late XX – early XXI centuries) and “The First Emperor” by Tan Dun

Maria S. Shutkova
The Artistic World of Maurice Maeterlinck’s drama “Ariane et Barbe-Bleue” in view of Paul Dukas: The Composer’s Work on the Playwright’s Text

Issue 2020 №4 (32)

Anna A. Amrakhova, Levon O. Akopyan, Ivanka Stoianova, Tatyana V. Tsaregradskaya,
Music at the Period of Post-Postmodernism

Anna A. Amrakhova, Alexander M. Khubeev
Alexander Khubeev Shares His Experience of Working in Germany

Ekaterina O. Kouprovskaia, Philippe Hurel
“To hear what you write”

Ekaterina O. Kouprovskaia, Philippe Leroux
“To Create a Sensation of Continuum”

Issue 2020 №3 (31)

Grigoryeva Galina V. 
Metaphorical Terminology in the Russian Methodology of Holistic Analysis

Nevidimova Maria A. 
From Kammerspiele to Existential Tragedy: the Role of Music in "Stroszek" and "Woyzeck" by Werner Herzog

Timofeeva Anastasia N. 
"Where Did You Come from, Wanderer?": Two Romances by G. V. Sviridov to Words by B. L. Pasternak (1935)

A. Zubova Olesya 
Composition and Drama Role of the Voice in the Following Instrumental Works by Nikolai Korndorf: Canzone Triste for Harp (1998), Chamber Symphony Confessiones for 14 performers and tape recording (1979), Quartet for two violins, viola and chello (1992)

Issue 2020 №2 (30)

Loseva Olga V. 
False Recapitulation: Considerations Regarding the History of the Term and the Method

Dobzhanskaya Oksana E. 
From Heroic Epic Olonkho — to Opera and Film Music (the Stages of Development of the Music of Yakut Composers)

Moskvina Yuliya V. 
A Term imitatio in Authentical and Modern Terminology

Belyansky Dmitry V. 
The Golden Age of Danish Culture. Aesthetics and Poetics of Art

Issue 2020 №1 (29)

Amrakhova A. A.,  Veksler Yulia S., Vustin Aleksandr K.,  Karayev Faraj K., Kirillina Larissa V., Savenko Svetlana I., Umanskiy Kirill A.
Delayed Premieres

Sokolov Aleksandr S. 
Regarding the Problem of Logical Definitions of the Concept of ‘Musical Form’

Chigareva Evgenia I. 
Homonymous Terms in Musical and Philological Studies

Chekhovich Dmitry O.
Difficulties in comparing tempos and a new approach to their measurement

Issue 2019 №4 (28)

Naumenko Tatyana I., Susidko Irina P.
Musical Term As a Problem: About the IV Congress of the Society for Theory of Music

Kholopova Valentina N. ​ 
The Concept of “Multimedia” in the Music of Igor Kefalidi

Daunoravičienė Gražina 
Theoretical System in O. Balakauskas’ “Dodecatonics” (1997): a Discourse of Composer’s Creation

Rovenko Elena V. 
On the Comprehension of the Phenomenon of Musical Time in Vincent d’Indy’s ‘Cours de composition Musicale’

Ryzhkova Nataliya P. 
On the Term “Leitmotiv” and Its Synonyms in V. D’Indy’s Terminological System

Kasimova Anastasiya R. 
On Vincent d'Indy's Original Analysis of His Symphonic Works: Regarding the Problem of the French Terminology

Issue 2019 / 3 (27)

Anna A. Amrakhova, Konstantin V. Zenkin, Tatyana A. Kurysheva, Roman А. Nassonov, Andrey A. Ustinov 
Music criticism – yesterday, today… And will it be tomorrow?

Lachenmann Helmut Friedrich 

Rovenko Elena V. 
On the Phenomenon of a Revolution in View of Jean Renoir(materials of the III International Congress of Russian Society on Music Theory)

Gordon Alexander O.
Musical and Architectural Gesamtkunstwerk: on the Acoustic Determinism of the Orchestral Style of R. Wagner's Drama “Parsifal”

Soldatova Svetlana E.
Genre of symphony concertante in its historical evolution

Issue No.2. 2019 / 26

Hermann Danuser
"Die Meistersinger von Nürnberg" — The Artistic Cosmos of a Metadrama

Evgenia I. Chigareva
“An Alien Word” in the Composer's Work: Alfred Schnittke and Nikolai Korndorf

Yuri V. Vorontsov
My meetings with Nikolai Korndorf

Yulia S. Veksler
On Bergiana of Theodor Adorno

Mikhail M. Iglitskii
Illusion of Traditionality: Music of Alexander Chugaev

Larissa V. Kirillina
Bach, revealed and unfathomable

Helmut Friedrich Lachenmann
Self-portrait 197

Issue No.1. 2019 / 25

Anna A. Amrakhova., Vladimir G. Tarnopolsky
Четверть века в фарватере Новой музыки, или Музыка ХХI века — взгляд изнутри

Tatyana S. Kyuregyan
Yuri Nikolaevich Tyulin about Musicians and Musicology (Interview with Yu. N. Kholopov of 1 February 1968)

Tara Wilson
‘Letter to V. Martynov and G. Pelecis’ (1999): Intertextuality and Wealth of Meanings in Nikolai Korndorf’s Final Piano Work

Olga A. Astachova
Method of Chronotopical Analysis of Musical Work (by the example of Debussy’s prelude ‘Canope’)

Juliya М. Belous
Music Press-1917: Peripeteias in the Editorial Policy of the Muzykalny Sovremennik Magazine

Nataliya P. Ryzhkova
Libretto of Vincent d’Indy’s Opera «L’Étranger» and Henrik Ibsen’s Plays: Essay of the Comparative Analysis

Issue No.4. 2018 / 24

Anna A. Amrakhova., Levon O. Akopyan., Svetlana I. Savenko., Jahangir Selimkhanov., Tatyana V. Tsaregradskaya
Music of the 21st century: first results

Alfred Whitford (Fred) Lerdahl
Generative Music Theory in Relation to the Schenkerian and Riemannian Traditions

Svetlana I. Savenko
Aesthetics and style of Arvo Pärt’s work: revolution or evolution?

Galina V. Grigoryeva
The unknown opera by Edison Denisov

Yan Jianan, Violetta N. Yunusova
Chinese ‘New Wave’ and the work of Xu Changjun

Issue No. 3.2018 / 23

Issue No. 2.2018 / 22

Issue No. 1.2018 / 21

Larisa L. Gerver
A Technique of Inversion in Polyphonic Theory and Practice of the latter half of the 16th–18th centuries: syllables and tones

Zivar M. Guseynova
The Events of the Year 1917 in the Rimsky-Korsakov Family Correspondence

Yulia S. Veksler
Music and revolution of Erwin Schulhoff: from Dada to “The Communist Manifesto”

Veniamin E. Smotrov
Leo Ornstein as a Russian Composer: On the Problem ‘Leo Ornstein and Russia’

Tatyana V. Tsaregradskaya
Music of the Soviet Era: a Hundred Years Later

Review of the book: Hakobian L. Music of Soviet Era: 1917–1991. Second edition. London, New York: Routledge, Taylor & Francis Group, 2017. xvi, 512 p. (Routledge Russian and East European Music and Culture)


Issue No. 4.2017 / 20

Anna A. Amrakhova, Vladimir G. Tarnopolskiy, Yury S. Kasparov, Yury V. Vorontsov, Faradj K. Karayev, Kirill A. Umanskiy, Dmitriy A. Kurlyandskiy
Register of Our Delusions. Part 2: conversations with composers (presenter — A. A. Amrakhova)

Tatyana V. Tsaregradskaya
“Energeticism” as a trend of the twentieth-century music analysis

Ivanka Stoianova
On the Reinterpretation of Music, Musicology and Aesthetics at the Parisian IRCAM

Marina V. Karaseva
Ethnic ear-training of the Digital Century


Issue No. 3.2017 / 19


Issue No. 2.2017 / 18

National Schools in the Era of Globalization: “history with geography”
(interviews and conversations with L. O. Akopyan, K. V. Zenkin, L. V. Kirillina, A. M. Raskatov, J. Selimkhanov, V. N. Yunusova, presenter — A. A. Amrakhova)

Valentina N. Kholopova
Boris Vladimirovich Asafyev: Ideas for Centuries

Albina V. Boyarkina
Russian translations of works by Hugo Riemann

Alexandra A. Safonova
The phenomenon of introduction of an opera to foreign-language culture: XVIII century, Sheremetev’s versions


Issue No. 1.2017 / 17

Diana ELokotyanova

Issue No. 4.2016 / 16

Lyudmila K. Shabalina, Elena E. Polotskaya
H. G. Neuhaus and his disciples in the Urals
Larisa L. Gerver


Issue No. 3.2016 / 15


Issue No. 2.2016 / 14


Issue No. 1.2016 / 13


Issue No. 4.2015 / 12

Mikhail A. Saponov, Konstantin V. Zenkin, Tatiana V. Tsaregradskaya
Three Variations on a Theme of an Opera Premiere
Materials of the virtual “round-table” discussing the trends and challenges of today's musical theater
(foreword and three interviews by Anna A. Amrakhova)
Vladislav V. Tarnopolsky
The Phenomenon of New Musical Theater

Issue No. 3.2015 / 11

Yulia S. Veksler
Two Viennese Schools of Twelve-tone Technique: Schönberg vs. Hauer

Elena A. Nikolayeva
Traditions and Prospects of Stylistically Oriented Ear Training by Prof. Nina Kachalina

Grigory I. Lyzhov
The World of Music from a Bird’s-eye View. Review of a book: Science with No Borders. Collection of Articles Dedicated to the 15th Anniversary of the Journal Musiqi dünyası (Baku). Moscow: Publishing House Kompozitor, 2015.


Issue No. 2.2015 / 10

Yulia V. Nikolayevskaya
The Obvious and the Latent in the Dramaturgy of a Musical Work 

Tatyana A. Litvinova
Ear Analysis of Tone Color in the Course of Ear Training 

Olga A. Dubatovskaya
Specificities of Choral Texture within a Non-Classical Context as Exemplified by Choral Works of Russian and Belorussian Composers 


Issue No. 1.2015 / 9

Konstantin V. Zenkin
Public Organizations of Russian Musicologists and Today’s Music Culture Development

Simon S. Desbruslais
The Western Reception of Sergei Taneyev

Marina R. Chernaya
Conventional and Special Aspects of Using Counterpoint by W. A. Mozart in His Keyboard Works


Issue No. 4а.2014 / 8а

Evgeniya I. Chigareva
Motif as a Musical Category within the Structure of a Literary Work

Galina V. Grigoryeva
Viktor Tsukkerman’s Method of Analyzing the Integrity of a Musical Piece in the Light of the History of Its Teaching during the Soviet Period and Its Renewal in Today’s Russian Scholarly Tradition

Olga P. Savitskaya
François Couperin’s Trio Sonatas as a Phenomenon of Genre and Style in the Instrumental Music of the Time of Baroque

Lyudmila S. D’yachkova
The Paths of Evolution of Leo Mazel’s School

Marina S. Skrebkova-Filatova
Sergey Skrebkov’s Theory of the Historical Evolution of Musical Styles in Today’s Context


Issue No. 4.2014 / 8

Grigory I. Lyzhov
Two interpretations of the notions of authentic and plagal as exemplified by Michael Praetorius

Pyotr A. Chernobrivets
The specificities of pitch relations in the context of the system of twenty-tone equal temperament

Elena V. Ferapontova
Musurgia universalis of the 21st century: review of a book The Phenomenon of Music by Valentina Kholopova (Moscow-Berlin: Direct-Media 2014)


Issue No. 3.2014 / 7

Styles. Trends. Schools.
Irina A. Skvortsova
From the history towards the theory
Fyodor M. Sofronov
Vladimir G. Tarnopolsky

Issue No. 2.2014 / 6

Alexey Panov, Ivan Rozanov
"Towards Tact and Tactus in German Baroque Treatises"

Gezina Schröder
"Rhythm & Meter in Sigfrid Karg-Elertʼs Work"

Nina Afonina
"The Paradoxes of Rhythm in the Musical Form"

Svetlana Chashchina
"Approaches to the Interpretation of the Harmonic Rhythm in Foreign Musicology"


Issue No. 1.2014 / 5

Konstantin Zenkin
Methodological Specificities of Music Studies: through the works of Russian Scholars

Valentina Kholopova
The Theory of Musical Content, Musical Hermeneutics and Musical Semantics: Similarity and Differences


Issue No. 4.2013 / 4 

Prof. Irina Susidko, D.A.
Issues of the analysis of the seventeenth-eighteenth-century Italian opera

Prof. Tatyana Tsaregradskaya, D.A.
On certain trends in the studies of the twentieth-century music in Europe and in Russia

Ascc. Prof. Lola Djumanova, Ph.D. in Art Studies
Problems and perspectives of Elementary Theory of Music in the context of continuous music education


Issue No. 3.2013 / 3

Prof. Zoya Glyadeshkina (1937–2014), Ph.D. in Art Studies (doctoral thesis completed and submitted)
The notions of modalité and tonalité in Russia’s nineteenth-century music theory

Assc. Prof. Margarita Katunyan, Ph.D. in Art Studies
Studying Harmony in a creative manner

Prof. Yulia Moskva, D.A.
The principles of Formbildung in Gregorian chant in view of the system of its melodic idioms

Assc. Prof. Marina Girfanova, Ph.D. in Art Studies
The development of isorhythm in early motets by Philippe de Vitry

Assc. Prof. Anna Grutsynova, D.A.
On the role of polyphonic fragments in ballets of the 19th and the beginning of the 20th centuries

Assc. Prof. Natalya Plotnikova, D.A.
On the technique of canon in Vassily Titov’s oeuvre

Prof. Nikolay Tarasevich, D.A.
Mensural notation. Mensural and proportional canons

Prof. Tatyana Frantova, D.A.
The practical targeting of the subject of Polyphony as a topical problem of music teaching in the 21st century

Prof. Elena Polotskaya, D.A.
Pyotr Tchaikovsky as a translator of François Gevaert


Issue No. 2.2013 / 2

Tatiana Naumenko
Today’s Musicology and “The Style of the Time”

Petr Tchernobrivets
On Perspective of the Functional Approach in the Research of Musical Stylistics

Elena Titova
A “Virtual Quotation” in Tchaikovsky’s Opera “The Queen of Spades” as a “Counter-textual Paradox”

Rimma Pospelova
The Treatise De mensurabili musica by Johannes de Garlandia

Boris Shindin
The Theory of Genres in the Old-Russian Chant

Larisa Pylaeva
The French Passacaglia and Chaconne in the Context of Grand Siècle Rhetorical Tradition

Marina Pereverzeva
Modular Form in Music and Principles of Its Analysis

Michail Pylaev
Carl Dahlhaus about the Future of the 18–20th-century Music Analysis

Tatiana Kyuregyan
Musical Form as an Educational Subject at the Moscow Conservatory


Issue No. 1.2013 / 1 

Alexander Sokolov
The Music Theory Department Twenty Years After

Evgeny Nazaykinsky
The Music Theory Department of Tchaikovsky Moscow State Conservatory

Valentina Kholopova
Interdisciplinary Focuses of the General Theory of Music

Konstantin Zenkin
Russian Theoretical Concepts of Music History

Alexander Bonduryansky
The Forecast of Professional Music Education in Russia

Grigory Lyzhov
“Bridge to Modernity”: The Harmony Course Targeted at the Learning of Musical Styles

Natalia Simakova
Polyphony as an Educational Course of the Future

Igor Kuznetsov
The Current State of, and Development Perspective for, Polyphony as an Educational Subject at the Moscow Conservatory