Show Summary Details

Page of

Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).

date: 29 January 2020

Aranovsky, Mark Genrikhovichlocked

  • Nina Yur′yevna Afonina


(b Leningrad, Aug 25, 1928). Russian musicologist. He studied at the Leningrad Conservatory under the supervision of E.L. Frid, graduating in 1952, and subsequently undertook postgraduate studies at the Leningrad Institute of Theatre, Music and Cinematography under M.K. Mikhaylov, gaining the degree in 1966. From 1966 to 1980 he was a senior research officer at the Leningrad Institute. In 1980 he was appointed senior researcher at the All-Union Research Institute of the Arts, Moscow, where he later became chief researcher (1983–91), head of the music department (1991–3) and professor in 1993. He was awarded the doctorate in 1982. He has organized a number of musicology conferences and is a member of the Russian Federation Union of Composers.

Aranovsky’s areas of research include the theory of music and musical language, the psychology of musical creativity and the history of Russian classical and contemporary music. In his research on music theory he combines the ideas of Tyulin and Asaf′yev with methods from linguistics and semiotics, and considers the musical language as a symbolic, evolving semiotic system that is governed by a hierarchy of grammatical rules. His theory of melody proposes a melodic syntax of motif–syntagma–exposition; his theory of genre also introduces the notion of a structural semantic archetype. These ideas are continued in his investigations of the axiomatic logic of musical creativity, the interaction of the conscious and unconscious, the intellectual activity in musical thinking and the creative process, and the various types of artistic creativity of composers such as Glinka, Tchaikovsky and Rachmaninoff. His studies of the history of music, particularly the works of Prokofiev and Shostakovich and the evolution of the symphonic genre in 20th-century music, further expand these conceptions of music and lead to descriptions of the origins of intonation and the evolution of musical language, genre and style. His work also highlights for the first time the appearance of a Romantic aesthetic in the Russian classics of the 19th century. (...

You do not currently have access to this article


Please login to access the full content.


Please subscribe to access the full content.

Sovetskaya muzïka