Russian methodology of musical form and analysis.

摘要

The subject of this dissertation is the interaction between two prominent systems of theory that were practiced in the Soviet Union. These two systems are identified by Russian theorists as "form analysis" and "integral analysis." To this day, they remain central to Russian musical thought.; Most of the debates involving formalists and integralists have remained unwritten, and unpublished. The debates have existed in the form of a decades-long confrontation that has never left the walls of the main conservatories. Some of the complex ideas behind this discussion can be explained by references to Western currents in music theory and philosophy, while other ideas have more mysterious origins. The latter deserves explanation both from within and from without the Russian theoretical tradition.; This dissertation presents a selective approach to the issues and concerns of Russian music theory, focusing on form analysis and integral analysis. The method used corresponds to the task of describing the debate between "integralists" and "formalists." It is therefore neither a historical overview of Russian musical culture, nor a comprehensive guide to all Russian analytical techniques. Rather, it is an attempt to discuss the origins of the most essential concepts and their clashes during the Soviet period.