Form Vs. Work: A Major Antinomy of Music Theory and Analysis

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Introduction
Chapter 1: The Antinomy of Musical Form vs. Work: Integralism vs. Formalism
	1.1: Conceptual Framework of the Problem: Music Analysis and Its Objects
	1.2: Practical Implications
	1.3: Philosophical Investigation of the Problem
	1.4: Musicological Dimension
	1.5: Distinction of Antinomy “Form vs. Work” from the Binary Opposition “Form vs. Content”
	1.6: Russian and Soviet Ideas on Relationship of Form vs. Work
	1.7: Elaborations on the Same or Similar Topics in Western Music Theory
	1.8: The Semiotic Angle and the French Approach to the Problem
	1.9: The Definition of Form during the Classical Period: A. B. Marx
	1.10: The Russian Approach to Classic-Romantic Musical Form
	1.11: Russian Definitions of Musical Work
	1.12: German Theory of the Mid-Twentieth Century: Similarities with Soviet Ideas
	1.13: Eastern European Contributions to the Subject
	1.14: The Antinomy of Form vs. Work in Chinese and Arabic Traditions
Chapter 2: Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries
	2.1: Holistic Nature of Russian Orthodox Church Chant
	2.2: The Theory of Russian Orthodox Church Chant
	2.3: Similarities and Differences with Byzantine Chant
	2.4: Holistic Definitions of Neumes
	2.5: The Folk Song as a Source for the Chant
	2.6: Aesthetic and Philosophical Components of Russian Orthodox Chant Theory
	2.7: Some Possible Questions for and Critique of Western Theory from the Russian Chant Theorists
Chapter 3: Encounters with Western Formalism: Seventeenth-Twentieth Centuries
	3.1: Transitional Period: Acceptance of Formalist Aesthetics and Techniques
	3.2: Russian Eighteenth and Nineteenth Centuries: Adoption of Core Categories of Music Theory
	3.3: The Indigenous Russian Category of Lad and the Problems of Its Translations
	3.4: Lad and New Music: Yavorsky’s Use of the Term
	3.5: Russian Theories of Harmony: From Diletsky to Kholopov
	3.6: The Chord, Function, Voice Leading, Scale Step and Their Further Development
	3.7: Tonal-Harmonic Function, Metric Period, and Musical Syntax
	3.8: The Art of Harmonization of Unfigured Melody
	3.9: Modulation, the Russian Style
	3.10: Counterpoint, Figured Bass and Partimento as Formalist Strategies
	3.11: The Importance of Motive as the Nucleus of Form
	3.12: Rhythm as the Essence of Motive
	3.13: Dual Function of Motive, as a Part of Formal Design and the Element of Integralist Semantics
	3.14: Nineteenth Century: Mature Formalist Approaches
	3.15: Formalism and Integralism as Reflections of Conservatory vs. University Training Systems
	3.16: Russian and Soviet Formenlehre
	3.17: Formal Functions and Their Types of Presentations by Sposobin, Tyulin and Skrebkov
	3.18: Alexei Losef’s Definition of Form as Eidos and Number
	3.19: Russian Literary Formalism as a Source for Understanding of Musical Form
Chapter 4: Reemergence of Integralism in the Nineteenth and Twentieth Centuries
	4.1: Russian Integralism in the Nineteenth Century
	4.2: Integral, Tselostnyi Analiz: The Ideas of the 1920s
	4.3: Integral Analysis and the Phenomenology of a Musical Work
	4.4: References to Musical Semiotics and Semantics
	4.5: Soviet Theory of Musical Genre as a Core of Integralists Strategy
	4.6: The Crowning Category of Integralism: Intonatsia of Yavorsky and Asafiev
	4.7: The Language of Description: a Major Requirement of the Integral Analysis
	4.8: A Hybrid Graph as the Tool of Integralist Analysis of Musical Dramaturgy
	4.9: Folk Song as an Artwork and as the Source of Forms
	4.10: The Folk Song and Mid-Twentieth Century Musical Modernism
	4.11: Formalism and Modernism
	4.12: Soviet Events of 1936 and 1948 as the Struggle with Formalism and Modernism
Chapter 5: Late Soviet and Post-Soviet Developments of the Opposition Form vs. Work
	5.1: The Thaw
	5.2: The Coexistence of Both Doctrines in the Conservatory Programs
	5.3: One More Round of Struggle in the 1960s and 1980s
	5.4: 1991 Until 2014: Formalism as the Way of Re-Integration into the Western Tradition
	5.5: 2014: New Paradigms in lieu of an Old One
Chapter 6: Sample Analyses: Formalist, Integralist and Mixed
	6.1: A Sample of Yuri Kholopov’s Formalist Analysis
	6.2: Viktor Tsukkerman’s Sample of Integral Analysis
	6.3: A Sample of Analysis Using Both Integralist and Formalist Methods
Chapter 7: In Lieu of Conclusion: Contemplation on the Categories of the Whole, Logos and Theory
	7.1: The Whole
	7.2: Logos
	7.3: Theory
Appendices
Notes
Index