From the History of European Music

From the History of European Music

Research Articles

On Catalogues of Figures in Baroque Music Theory

Anastasiya A. Maltseva

133-145

“Brave New World”: The Question of the Genesis of Serialism

Ekaterina G. Okuneva

136-151

Northern German Spiritual Concert of the Second Half of 17th Century: on the Question of the Regional Tradition

Vitaly A. Zhdanov

137-153

Franz Ludwig Marschner’s Scientific and Compositional Heritage

Denis G. Lomtev

140-157

Topoi of Brahms’ Music

Polina V. Zakharova

143-151

Series and It’s Permutations in the Opera Ulisse by Luigi Dallapiccola

Aleksandra l. Igumnova

152-171

Brian Ferneyhough: fascination of musical gesture

Tatiana V. Tsaregradskaya

154-175

Manfred Bukofzer, Paul Sacher and the Basel Ordinariat

Jeanna V. Kniazeva

162-193

Music Poetry and Poetic Prose in «An filius non est Dei» of Dietrich Buxtehude

164-173

Goldberg Variations by J. S. Bach. Essay II. Compositional Method and the Inner Structure of the Cycle

Alexander Yu. Velikovskiy

174-190

Baroque Suite: From Mythology to Historical Authenticity

Yury S. Bocharov

202-215

The Eighth Word of Christ (On the Spiritual Sense of the Echo Aria Flößt, mein Heiland from “Christmas Oratorio” by Bach)

Roman A. Nasonov

216-225

The Sacrifice of “Omphala”: Baron von Grimm on the Future of the Opera in France

Anastasia A. Khlyupina

324-365

'Musicalische Seelen-Belustigung' by Johann Albrecht Kress as a Musical Devotional Compendium

338–353

Is Alban Berg a symphonist?

Yuliya S. Veksler

368-383

Why the Word Should Be Justified: The Interaction of Text and Music in Salvatore Sciarrino’s L’alibi della parola

Ekaterina G. Okuneva

384-403

Three Faces of Medieval English Motet

Anna S. Teplova

420-443

The Double-Choir “Heilig” by C. P. E. Bach BR-CPEB F 77: An Unknown Pasticcio of 1785

Tatiana V. Shabalina

444‒463

Tonal and Thematic Dramaturgy in the Opera of Richard Strauss "Der Rosenkavalier"

Natalia O. Vlasova

464-477

György Ligeti’s “Wrong Path”?

Marianna S. Vysotskaya

478‒495

“Falsehood” in the Name of Beauty: Musica Ficta in 14th-Century Compositions

Lyudmila I. Sundukova

592-611

Unknown Motets of 1682 by Johann Kuhnau: A Discovery in St. Petersburg

Tatiana V. Shabalina

612-645

The Symphonic Work by Per Nørgård: The Trajectory of the Genre’s Development

Ekaterina G. Okuneva

646-673

Research Article

Public Concert in England as a Socio-Cultural Ritual and Its Historic Forms

Irina G. Makalovskaya

142-157

The Sacrifice of Isaac in the Music of Britten and Stravinsky: Hidden Rivalry and Creative Polemics

Kristina R. Agaronian

148-177

Oboe and Oboe Players at the French Court

Valery V. Berezin

148-182

Helmut Lachenmann’s “Philosophy of the Piano” in Aesthetic Convergences: From Hokku and Leonardo da Vinci to Henri Bergson

Olga A. Krasnogorova

250-277

On the Term con discrezione in the Music of the Era of Gallant Mannerism and Classicism

Alexei A. Panov, Ivan V. Rosanoff

518-535

Review Article

English Style (“la Contenance Angloise”) in the Franco-Flemish Musical Tradition as a Reflection of Social and Political Events in the First Third of the 15th Century

Sayida Z. Iskhakova

316–337

Reviews

Book Review

Musicians of the Kings of France

Yury S. Bocharov

182-184