Problems of Music Theory

Problems of Music Theory

Research Articles

Quantitative Mode of the Antiquity

Vyacheslav G. Tsypin

8-43

The Problem of “Le Mineur Inverse” and Its Riemannian Origin from the Point of View of Vincent d’Indy

Elena V. Rovenko

18-29

Aristides Quintilianus and the Theory of Mode in Antiquity

Vyacheslav G. Tsypin

26–33

Fausto Romitelli: Harmony of Altered Mind

Mikhail M. Iglitskii, Anna K. Iglitskaya (Demidova)

30-41

Stravinsky’s Oeuvre Viewed through a Historical Change of the Paradigm of the Art of Music

Konstantin V. Zenkin

34-53

Is Metrotectonic Perfection Characteristic of Madrigals by Luca Marenzio?

Larissa L. Gerver, Darya A. Kovalevskaya

44-69

“Rhythmic Tessitura” and “Tempo Transposition” of the Rhythm

Dmitry O. Chekhovich

54-83

The Tempi in Beethoven’s Instrumental Works: Historical Evidence and Modern Considerations

Dmitry O. Chekhovich

92-147

Non-Musical Origins of Musical Categories

Tatyana S. Kyuregyan

96-111

On the Verge of Verbal and Musical: Verbal Text and New Techniques of Composition

Grigory A. Rymko

98-111

…Warum? — Compositional Surprises in Schumann’s Music

Tatyana S. Kyuregyan

98-115

Towards New Methods of Tonal Melody Analysis (F. Schubert’s Songs)

Yuri K. Zakharov

100-119

Corporality, Gesture and New Technologies in Contemporary Musical Composition (Example of Thierry De Mey)

Vera Geslin Potapova

112-127

Some Particular Features of Contrapuntal Treatment in the German Organ Intabulations of XVI–XVII Centuries

Dimitri Yu. Goldobine

112-131

Subject Co-Creation Dislocations in the Context of B. V. Asafiev’s Triad

Elena Yu. Kuprina

116-131

Epistola by Guido: a Familiar Text on an Unfamiliar Cantus

Sergey N. Lebedev

120-145

Alexander Chugaev’s “Privileged Tone Rows” Technique

Mikhail M. Iglitskii

124-150

Can Popevkas Be by Borodin? On the Appropriateness of Use of the Term Popevka Regarding the Music by Composers of the Modern Era

Anna V. Bulycheva

146-157

Between “Musical Form” and “Analysis of Musical Works”. Georgy Catoire’s Doctrine of Musical Form

Elena M. Dvoskina

148-163

Finding Privileged Tone Rows Based on Given Segment

Alexander G. Chugaev

151-163

Genre as a Classification Category in the History of Musical Science

Alla G. Korobova

408-419

Sergey I. Taneev’s Lessons of Counterpoint in the Music Books of Sergey V. Evseev

Larissa L. Gerver

768–797

A Genealogic-Structural Hypotesis of Harmonic Dualism

Gianluca Dai Prà

798-813

Research Article

About the Principle of Fortspinnung in Musical Science and Practice

Tatyana S. Kyuregyan

72‒100

Musical Gesture as a Means of Composition: Some Observations

Tatiana V. Tsaregradskaya

78-93

On an Elusive System of Relationship: Nikolay Roslavets and His Theory of “Key-relationship” for “Synthetic Chords”

Yaroslav I. StanishevskIiy

123-135

On the Role of “Significant Tonalities” (tonalités significatives) in the Compositions for Musical Theatre by Vincent d’Indy

Nataliya P. Ryzhkova

124–135

Review Article

Gregorian Semiology as a Method of Modal Identification in Early and Renaissance Polyphony

Julia V. Moskva

108-121

From the History of European Music

Research Article

Johannes Lippius’ Harmonic Theory

Ilia K. Kulikov

56-67

Research Articles

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

Ekaterina G. Okuneva

136-151

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

Aleksandra l. Igumnova

152-171

Reviews

Book Review

New "complexus effectuum musices" by Valentina Nikolaevna Kholopova: "Musical emotions" (2010)

Ildar D. Khannanov

201-205