Abstract: W. Lutosławski (1913-1994) was an outstanding Polish composer, one of the inventors of the principle of limited (controlled) aleatorics. In his symphonic music, aleatoric and sonoric types of material interact with the thematism of the traditional type. The article is devoted to the analysis of this interaction and the identification of the dramatic role of non-traditional thematism in the musical form. The Third Symphony (1983) serves as the research material. The author of the article characterizes the expressive possibilities of aleatorics of the texture, identifies two types of sonorism, and also describes 8 types of traditional thematism used in the symphony. The "dialogue" of the two main pitch structures in the epilogue of the symphony is traced. The study allows us to conclude that non-traditional thematism prevails in the introduction and in the first part, i.e. where different types of material are exposed. On the contrary, in the second part of the symphony, the personal principle intervenes in the organization of the thematic process. The composer's will, which develops the material, collides it with each other, builds dramaturgy and leads to a certain outcome. And here (with the exception of development), traditional thematism strongly prevails. Awareness of the balance between different types of material leads to the ability to follow the plot of the symphony, which manifests itself not only in the disposition of themes, but also in the interaction of various interval complexes with each other.

Abstract: W. Lutosławski (1913-1994) was an outstanding Polish composer, one of the inventors of the principle of limited (controlled) aleatorics. In his symphonic music, aleatoric and sonoric types of material interact with the thematism of the traditional type. The article is devoted to the analysis of this interaction and the identification of the dramatic role of non-traditional thematism in the musical form. The Third Symphony (1983) serves as the research material. The author of the article characterizes the expressive possibilities of aleatorics of the texture, identifies two types of sonorism, and also describes 8 types of traditional thematism used in the symphony. The "dialogue" of the two main pitch structures in the epilogue of the symphony is traced. The study allows us to conclude that non-traditional thematism prevails in the introduction and in the first part, i.e. where different types of material are exposed. On the contrary, in the second part of the symphony, the personal principle intervenes in the organization of the thematic process. The composer's will, which develops the material, collides it with each other, builds dramaturgy and leads to a certain outcome. And here (with the exception of development), traditional thematism strongly prevails. Awareness of the balance between different types of material leads to the ability to follow the plot of the symphony, which manifests itself not only in the disposition of themes, but also in the interaction of various interval complexes with each other.

Abstract: This article examines the life and artistic journey of the Polish composer Witold Lutosławski over the period from 1913 to 1945. Special attention is given to the fate of his father Józef who along with his brother were executed by a firing squad in September 1918, as well as to the fate of the omposer himself and his brother Henryk during the World War II. In the second part of the article, the subject of research becomes the peculiarities of musical language of W. Lutoslawski, as well as his views upon the sound structure and dramaturgical construct of the compositions. The presence of two substantive aspects in Lutoslawski’s music is proven: 1) gradual transformation of harmonious vertical due to progressive changes or addition of sounds (in combination with intonation transformations); 2) dramaturgy of sections and dramaturgy of layers. The author offers a new perspective on the works of Witold Lutosławski as the continuation G. Mahler in the area of the general concept of symphonic style, as well as in the area of intonation plot. At attempt is made to explain the peculiarity of perception of Lutosławski’s music by Russian audience in the context of comparison of the Russian and Polish mentality.

Abstract: The article continues the elaboration of new methods of tonal melody analysis initiated by the author in previous works. These methods are based on the original interpretation of Heinrich Schenker's theory. The subject of the research is F. Schubert’s song "Das Wandern" (from the cycle "Die Schöne Müllerin") and Lied ohne Worte No 20 by F. Mendelssohn. Melody is considered in four aspects: 1) in the context of harmonic four-part texture; 2) in the context of linear progressions (the Urlinie and middleground pitch-lines according to Schenker); 3) within the melodic ambitus (identifying the primary, secondary and intermediate stable tones); 4) as the intoned conjugation of tones or chords. The researcher describes initial and/or final arrays of keynotes ('solid particles'). Melodic principles are divided into basic, auxiliary and intermediate ones. The final stage of analysis is the producing both detailed and concise schemes of melody. The methods offered by the researcher adequately demonstrate the movement of melody in the context of the linear-harmonic continuity of the mode. The article also includes a brief history of studying melody in the USSR.

Abstract: The author of the article discusses the purpose and means of musical-theoretical analysis and the possibility to reveal the beauty or the aesthetic value of a music piece. The first part of the article provides a brief insight into ancient philosophy to identify the differences between science and art, their purpose and methods. In Aristotelian philosophy science and art are the steps towards the truth. According to Plato, human can become the creator himself and imitate 'the eternal ideas realized in creation' by creating images of things. In the second part of the article, being based on Yu. Kholopov’s concept of musical analysis and interpretation of artistic value given by T. Cherednichenko, the author argues that the purpose of the analysis is to reveal laws of musical matter structuring, to build a model of the music work and to make a hypothesis about the initial ideas embodied by the composer. According to the author, analysis can not show the beauty of a music piece, and its value can only be partly justified. However,  analysis can give the access to the perception of Eidos impressed in musical work through enabling a better understanding of the music piece's structure. The value of analysis also depends on a researcher's ability to select an adequte method and strategy of analysis. 

Abstract: The article discusses the scientific biography of the Soviet musicologist and folklorist Lev Kulakovsky (1897-1989). Particular attention is paid to the original methodology of melody analysis developed by Kulakovsky in 1928-1930. This methodology was based on the Theory of modal rhythm by B. Yavorsky. Kulakovsky identified three formants of melody (modal structure, mode-metric structure, melody pattern), consistently demonstrating the methods of analysis of each of them. His work shows the results of the statistical analysis of 255 songs of different nations on the basis of calculating the mode-metrical index of each tune. Kulakovsky considered melodic patterns and modal tensions as two opposing forces. Nevertheless Kulakovsky’s theory was undeservedly forgotten in the USSR due to the ideological factors. In the following years scientist turned to the study of Russian folklore; also he developed the hypothesis of syncretic unity of word and singing at “The Tale of Igor's Campaign”.

Abstract: In this article, based on the analysis of musical oeuvre, the author attempts to determine the concept of its harmonic structure and formulate the leading idea that gave rise to this concept. The first part is dedicated to the elucidation of the phenomenological status of the notion “composer’s design”. Referring to the philosophical works of Aleksei Losev, the author defines the correlation between the notions “idea”, “eidos”, “realistic-material image of the final product”, and compares this triad with the correlation of initial idea (in composer’s mind), concept, and finished oeuvre. The object of research in the second part of the article is the Mozart’s chorus “Abendruhe”, Schumann’s chorus “Gute Nacht”, and piano play of Nikolai Myaskovsky from the cycle “Yellowed Pages” (Op. 31, No. 1). Having built the models of harmonic structures, the author formulates the leading ideas behind them, after which he makes the conclusions on the level of adequacy of the acquired formulations with the harmonic design. The novelty of this research consists in the elucidation of the content of the notion “composer’s design”, in comparison of the design with the analytical model, and in substantiation of the possibility of transition from the structure of the work towards the idea within it.

Abstract: In this article, based on the analysis of musical oeuvre, the author attempts to determine the concept of its harmonic structure and formulate the leading idea that gave rise to this concept. The first part is dedicated to the elucidation of the phenomenological status of the notion “composer’s design”. Referring to the philosophical works of Aleksei Losev, the author defines the correlation between the notions “idea”, “eidos”, “realistic-material image of the final product”, and compares this triad with the correlation of initial idea (in composer’s mind), concept, and finished oeuvre. The object of research in the second part of the article is the Mozart’s chorus “Abendruhe”, Schumann’s chorus “Gute Nacht”, and piano play of Nikolai Myaskovsky from the cycle “Yellowed Pages” (Op. 31, No. 1). Having built the models of harmonic structures, the author formulates the leading ideas behind them, after which he makes the conclusions on the level of adequacy of the acquired formulations with the harmonic design. The novelty of this research consists in the elucidation of the content of the notion “composer’s design”, in comparison of the design with the analytical model, and in substantiation of the possibility of transition from the structure of the work towards the idea within it.