Description
The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book offers both the historical overview and the analytical discourse on this antinomy in both Western and Russian perspectives. It presents an insider’s view of the latter and contains materials never previously published.
Table of Contents
Introduction
1. The Antinomy of Musical Form vs. Work: Integralism vs. Formalism
2. Early Stages of Integralism in Russia: Eleventh through Seventeenth Centuries
3. Encounters with Western Formalism: Seventeenth-Twentieth Centuries
4. Reemergence of Integralism in the Nineteenth and Twentieth Centuries
5. Late Soviet and Post-Soviet Developments of the Opposition Form vs. Work
6. Sample Analyses: Formalist, Integralist and Mixed
7. In Lieu of Conclusion: Contemplation on the Categories of the Whole, Logos and Theory
