Mdivani Tatsiana Gerasimovna

Mdivani Tatsiana Gerasimovna

Mdivani Tatsiana Gerasimovna (nee Vorobiova Tatyana Gerasimovna) was born in Polotsk (Belarus), PhD in Arts (candidate thesis defended in 1983), Docent (since 1988), Dr.Ph. of Arts (doctoral thesis defended in 2005), Professor (since 2010), Laureate of the State Prize of the Republic of Belarus (1998);; Honourable Badge ‘For the Contribution to the Belarusian Culture Development’ from the Ministry of Culture of Belarus (№543). Mdivani Tatsiana – a member of the Belarusian Composers Union and the Belarusian Music Professionals Union, Societies of the theory music (Russia) and GfM(Germany).

In 1972 T.G. Mdivani graduated from the Belarusian State Conservatory named after A. Lunacharsky (G.G. Kuleshova’s class, a Doctor Ph., Professor, Laureate of the State Prize of the Republic of Belarus). In 1979 she completed a post-graduate course; her scientific supervisor was Yuri Nikolaevich Kholopov, a Doctor Ph., a Professor of the Moscow Conservatory, a Laureate of the State Prize of Russia and an Honoured Art Worker of Russia. In 1983 T.G. Mdivani defended her candidate thesis on “The Problems of the Late Romantic Harmony in the Works of Austrian and German Composers of the End of XIX Century and the Beginning of the XX Century (A. Bruckner, H. Wolf, G. Mahler, and M. Reger)”. Her doctoral thesis on “The Western Rationalism in the Musical Thought of the XX Century: the Specific Features of the Development Process” was defended in 2005. Mdivani’s scientific consultants were Y.N. Kholopov and Eduard Maksimovich Soroko, a Doctor of Philosophy, a Corresponding member of Peter the Great Academy of Sciences and Arts (St. Petersburg), a coordinator for the Republican Public Organization “Ecological Culture” (Minsk), and a full member of the International Club of the Golden Section under the International Symmetry Association. A significant part of T.G. Mdivani’s scientific career has been concerned with teaching – she has taught a number of courses in Music Theory at Molodechno Musical College named after M. Oginsky and at the Belarusian State Conservatory named after A. Lunacharsky. In 1989 she became a senior staff scientist and later in 2006 a leading staff scientist of the Musical Art Department of the Research Centre for the Belarusian Culture, Language and Literature of the National Academy of Sciences of Belarus, a branch of the State Scientific Institution “The K. Krapiva Institute of Arts, Ethnography and Folklore”. One of T.G. Mdivani’s most significant achievements has been establishing the Kholopov’s school in Belarus. Among her pupils are Prof. Dr.V.G. Gudey-Kashtalyan, N.V. Matsaberidze, G.P. Tsmyg, A.G. Subbotniaya (Alla de Rooij), I. Gorbushina, E. Kurtenok, post-graduate student O. Dubatovskaya, graduating students E. Karlinskaya, E. Brukhovetskaya, E. Khrabrova, and others.

Scientific Accomplishments
T.G. Mdivani represents the Russian-Belarusian scientific and pedagogical music school. As a music theorist, she has followed her teachers – L.E. Shkolnikov and Y.N. Kholopov, both the alumni of the Moscow Conservatory. As a music historian, she has continued the traditions of G.G. Kuleshova, her scientific supervisor at the conservatory, who assisted T.G. Mdivani in working on the diploma thesis (“Hugo Wolf’s Songs” with words from Eduard Morike). Her decision to choose the career of a professional musicologist was influenced by L.E. Shkolnikov and his experience in musicology, while Y.N. Kholopov provided T.G. Mdivani with basic skills in scientific research.

In her candidate thesis of 1983 T.G. Mdivani was the first to discover and to provide a detailed description to:
    1. the specific types of tonal structures and the forms of tonality (the so-called tonality ‘conditions’) including a flying tonality (a term by A. Schoenberg), a vibrating tonality, a multivalent and a removed tonality (the concept was later elaborated byY.N. Kholopov in his works Harmony. Theoretical Course and Harmony. The Practical Course published in 1988 and 2003, respectively). Apart from forming a system of atonality, these phenomena also prepared a ground for dodecaphony, a related ‘new tonality’ and for the non-classical musical tradition as a whole.
    2. the new shaping principles and types of musical forms (multi-tonal, multi-tonical)
    3. the musical language elements of a new quality (ambivalence, ambiguity, and latency), and also to a wide range of new terms including functional equivalents and tonality indicators
    4. the already existing methods to analyze the European harmony
    5. a special tonal extension method for analyzing the Late Romantic harmony.

Subsequently, these Mdivani’s discoveries were referred to by such distinguished scientists as Y. Kholopov[1], Y. Moskva[2], and others. T.G. Mdivani’s doctoral thesis of 2005 is devoted to the avant-garde musical thought including rationalism, which has manifested itself as non-classical rationality in the works of composers of the first half of the XX century (the so-called period of the Modern Music), and as new non-classical (extended) rationality in the works of composers of the second half of the XX century (the Contemporary Music). Using a synergetic methodology, the author explains such extremes in the western avant-garde music (Boulez, Berio, Cage, Nono, Penderecki and Stockhausen) as aleatoric or chance music (a technique based on randomness and approximativeness), sonority music (sonorism), sound collage, graphic and spatial music, paramusical and also paramusical and theatrical phenomena as a part of new musical performance genres, ‘conditional’ theatre (happening, act, performance, fluxus and installation), and instrumental theatre. All these phenomena are related to the nonlinear music concept, musical intuitionism and meditativeness. Being mediated by the eastern tradition and non-European thoughts, they have also indicated a crisis of the western rationalistic concepts.

The main ‘symptoms’ of the crisis are:
    1. indeterminism as an artistic and structural principle in terms of nonlinearity, musical unbalance and event circulation (happenings)
    2. uncertainty as a symbol of bifurcation process inside the musical civilization and the music of ‘progress’ as a whole (Cage’s Indeterminacy and Stockhausen’s Xi)
    3. interpreting music as silence (Cage’s 4' 33" tacet), which signifies an existential end, a limit for the sound material (according to E. Soroko, 4 minutes and 33 seconds or 273 seconds as an absolute temperature zero, Kelvin scale), or ‘death’, the end of the western ‘musical civilization’ (a term by Y. Kholopov)
    4. moving towards integrity restoring and musical kalokagathia (kalos kagathos) in its original ‘numerical’ meaning[3] (according to Plato and A. Losev)

T.G. Mdivani has also made multiple contributions to other fields of musicology including music philosophy, culturology, theoretical problems of the European (including Belarusian and Russian) and, if to generalize, the western (including American) academic music, musical and also musical and theatrical genres and styles, composing techniques, theoretical systems in music, and research methods for studying the Modern and the Contemporary music.

Publications

Monographs, booklets, author's abstract, sections in scientific periodicals
    1. Mdivani T.G. Methodical Recommendations on Harmony. – Minsk: RMK, 1981. – 77 pages.
    2. Mdivani T.G., Dvilyanskaya B.A. Practical Recommendations on Studying Harmony. – Minsk: RMK, 1986. – 113 pages.
    3. Mdivani T.G. (in co-authorship) The Belarusian Composers. – Minsk.: Belarus, 1997. – 400 pages.
    4. Mdivani T.G. (also a scientific editor), Churko Y.M., Dubkova T.A., Glushakov I.V., Golikova L.F., Kuleshova G. R., Yuvchenko N.A. The Musical Theatre in Belarus: 1917–1959. – Minsk: Navuka i Tekhnika, 1993. – p. 3-16, 408-411
    5. Mdivani T.G., Kuleshova G. R., Yuvchenko N.A. The Musical Theatre in Belarus: 1960–1990. – Minsk: Belaruskaya Navuka, 1996. – p.150-153, 176-196, 196-220, 228-247, 266-276
    6. Mdivani T.G., Kuleshova G. R., Yuvchenko N.A. The Musical Dictionary. – Minsk: Belaruskaya Navuka, 1999. – 559 pages.
    7. Mdivani T.G. The Western Rationalism in the Musical Thought of the XX Century. – Minsk: Belaruskaya Navuka, 2003. – 327 pages.
    8. Mdivani T.G. The Musical Panorama of the Second Half of the XX Century: Symphonic, Folk Orchestral and Chamber Instrumental Music, Opera and Religious Music // Belarusians. – Minsk: Belaruskaya Navuka, 2008. – p.511-560
    9. Mdivani T.G., Tsenova V., Ladygina A.B., Mdivani A.Y., Savitskiy M.A., Soroko E.M. // Mdivani T.G., Tsmyg G.P., Yuvchenko N.A. Thought. Creative Work. Creation. – Minsk: Zmiter Kolas, 2009. – 208 pages.
    10. Mdivani T.G. The Modern Belarusian Composers. A.Y. Mdivani // Electronic publication / Trusevich A.G. (chief editor) – Minsk: Vysheishaya Shkola, 2009
    11. Mdivani T.G. The Modern Belarusian Composers. E. Glebov // Electronic publication / Trusevich A.G. (chief editor) – Minsk: Vysheishaya Shkola, 2009
    12. Mdivani T.G. The Modern Belarusian Composers. S. Kortes // Electronic publication / Trusevich A.G. (chief editor) – Minsk: Vysheishaya Shkola, 2009
    13. Mdivani T.G. The Modern Belarusian Composers. I. Luchenok // Electronic publication / Trusevich A.G. (chief editor) – Minsk: Vysheishaya Shkola, 2009
    14. Mdivani T.G. The Western Rationalism in the Musical Thought of the XX Century /author's abstractDHb – Minsk: BGAM, 2005
    15. Mdivani T.G. (author and scientific editor) – Белорусское концертно-исполнительское искусство: последняя треть ХХ-начало ХХI века –– Minsk: Belaruskaya, Navuka 2012
    16. Mdivani T.G. MusicArt / Mdivani T.G // Culture of Belarus: 20 years of development (1991 - 2011) : the monograph, Section IV. Professional art / S.P. Vinokurova [etc.]; Ed.. O.A. Galkina, I.G. Golubeva. - Minsk : Institute of culture of Belarus. - 2012. - P. 119-133.
    17. Mdivani T.G. (author and scientific editor) – Music of the academic tradition: experience West-and Osteuropean composers experts // the European music of the academic tradition: essence, sources, a modern condition (on an example of creativity of composers of Russia and Belarus) –– Minsk: Belaruskaya Navuka, 2013

Articles
    1. The Problem of Harmony Method as a Scientific Discipline // Musicological Issues. – Minsk: Vysheishaya Shkola, 1981, p.83-92
    2. The Problems of Orchestral Texture Organization: General Regularities // The Issues on the Belarusian Culture and Art. – Minsk: Vysheishaya Shkola, 1985. – Issue 4. – p.30-37
    3. The Forms and Methods of Musical Synthesizing in the XX Century // Music Research. – Deposited at NIO Informkultura of the State Library named after Lenin. 15.11.1985. № 915. – 40 pages. The abstract is provided under the abstract and bibliographical index Music 1985. – № 6
    4. The Principles of Orchestral Texture Organization: Dramaturgical Contrasts // The Issues on the Belarusian Culture and Art. – Minsk: Vysheishaya Shkola, 1987. – Issue 6. – p. 8-14
    5. ‘Soul’ Music: New Stylistic and Forming Features in the Belarusian Folk Instruments Music by the Example of A. Drukt’s “Zvany” // Mastatstva Belarusi. – 1988. – № 2. – p. 8-10
    6. Characteristic Features of the Belarusian Folk Instrument Orchestra Music // The Issues on the Belarusian Culture and Art. – Minsk: Vysheishaya Shkola, 1990. – Issue 9. – p. 44-51
    7. Manifesting Harmonic Phonism in the Belarusian Music // Belarusian Soviet Music Nowadays. – Minsk: BGK, 1990. – p.200-227
    8. Her Music // Mastatstva Belarusi. – 1991. – № 9. – p.70-71
    9. A Survey on V. Kondrusevich’s Creative Style // The Issues on the Belarusian Culture and Art. – Minsk: Vysheishaya Shkola. – 1991. – Issue 10. – p.40-44
    10. The Belarusian Musical Avant-garde: Tomorrow’s Forecast // Mastatstva. – 1991. – № 6. – p.51-54
    11. E. Denisov’s Five Stories of Mr. Keuner by Bertolt Brecht: Compositional Issues // Theoretical Issues of the Modern Music. – Minsk: BGK, 1992. – p.86-112
    12. K. Penderecki’s Matins: Compositional Issues // Laudamus. – Moscow: Kompozitor, 1992. – p.167-173
    13. V. Kuznetsov’s Musical Style Features // Proceedings of the NAS of Belarus. – 1994. – № 2. – p.83-89
    14. The Multidimensional E. Poplavskiy // Mastatstva. – 1996. – №10. – p.26-28
    15. Introduction to the Musical Surrealism Poetics // The Problems of National Musical Cultures at the Turn of the Third Millennium. – Minsk: BSC. – 1992. – p.86-112
    16. The Concept of Numbers in the Works of L. Nono, K. Stockhausen and J. Cage // Theoretical Musicology at the Turn of the Centuries. – Minsk: BSAM, 2002. – p.178-189
    17. Western Musical Surrealism and the XX Century // Sator Tenet Opera Rotas. – Moscow: MGK, 2003. – p. 219-228
    18. The Roots of the Rational Musical Style // Proceedings of the NAS of Belarus. – 2003. – № 3.– p.22-29
    19. The End of the ‘Harmonic Epoque’ in the Avant-garde Music of the First Half of the XX Century // Proceedings of the NAS of Belarus. – 2003. – № 4. – p.76-82
    20. The Notion and the History of Rationality in the European Music // Art Panorama in the Scope of Modern Research. Collection of scientific articles. – Minsk: BelarusianStateCultureUniversity, 2004. – p.27-29
    21. A Number as an Integrity Symbol in Music // Bulletin of BSAM, 2004. – № 5. – p.72-77
    22. Chance Music and Collage in the Avant-garde Music of the XX Century // Mastatstva. – 2004. – № 2. – p.46-47
    23. New Aspects of the Musical Avant-garde Thought in the Second Half of the XX Century // Proceedings of the NAS of Belarus. – Minsk: Belaruskaya Navuka, 2004. – № 2. – p.78-86
    24. Creative Rationalism in the Musical Avant-garde: New Types of Musical Sound // Proceedings of the NAS of Belarus. – Minsk: Belaruskaya Navuka, 2004. – № 3. – p.74-82
    25. Classical, Non-classical and Traditional Features in the Modern and the Contemporary Music of the XX Century // Music and Cultural Globalization. BSAM’s Scientific Works. Issue 10. – Minsk: BSAM, 2005. – p.112-120
    26. A New Creative Outlook of Avant-garde Composers of the Second Half of the XX Century // Proceedings of the NAS of Belarus. – Minsk: Belaruskaya Navuka, 2006. – №1. – p.73-82
    27. The Stylistics of Orthodox Psalms and Their Implementation in the Works of Modern Composers // The Issues on Art, Ethnology and Folklore Studies. Part 2: The Problems of Theatre, Music and Cinema Arts in the Current Context of Slavic Cultures / K. Krapiva Institute of Arts, Ethnography and Folklore Studies of the NAS of Belarus; scientific editor A.I. Lakotka.– Minsk: Belaruskaya Navuka, 2007.– p.279-288
    28. The Belarusian Music at the Turn of the XXI Century: the Creative Search // The Issues on Art, Ethnology and Folklore Studies. Issue 3 / K. Krapiva Institute of Arts, Ethnography and Folklore Studies of the NAS of Belarus; scientific editor A.I. Lakotka. – Minsk: Law and Economics, 2007. – p.344-350
    29. Belarusian Music in Search of the National Identity: Text, Intertext, Context // The Issues on Art, Ethnology and Folklore Studies. Issue 2. – Minsk: Law and Economics, 2007 – С. 228-233
    30. Manifestation Forms of the National Features in the Belarusian Music of the Last Third of the XX Century // Bulletin of BSAM – Minsk: BSAM, 2007. – p.13-20
    31. The Department of Musical Art and Ethnomusicology (in co-authorship) // K. Krapiva Institute of Arts, Ethnography and Folklore Studies: 50th Anniversary. – Minsk: Law and Economics, 2007. – p.67-76
    32. A Word on the Author // Ladygina A.B. Musical and Theatrical Life of Minsk in the End of the XX Century and the Beginning of the XXI Century. – Minsk: Four Quarters, 2007. – p.11-12
    33. Rationalistic Paradigms of the Contemporary Music // The Issues on Art, Ethnology and Folklore Studies. Issue 4. – Minsk: Law and Economics, 2008. – p.128-133
    34. The Specific Implementation of the Modern and Contemporary Music Composition Principles in the Works of Eastern European Composers in the Last Third of the XX Century and the beginning of the XXI Century // Musical Culture and Life: New Realities. BSAM’s Scientific Works. Issue 20. – Minsk, 2009. №1— Minsk: BSAM, 2009. – p.66-86
    35. New Non-classical (Extended) Rationality as a Paradigm of the Contemporary Music // Bulletin of Vitebsk State University: Scientific Journal / editorial board: A. Rusetskiy (chief editor) [and others] – Vitebsk: VSU, 2009. – №1. – p.92-98
    36. Memoirs on Yuri Nikolaevich Kholopov // Collection of Articles / editorial board: V. Kholopova (chief editor) [and others]. – Moscow: Moscow Conservatory, 2008. – p.163-165
    37. The CurrentState of the Belarusian Academic Musicology // Proceedings of the NAS of Belarus. Collection of Scientific Articles, Series of Humanitarian Sciences / editorial board: M. Myasnikovich (chief editor) [and others]. – Minsk, 2009. – №3 – p.73-78
    38. E. Glebov’s Opera “Master and Margarita”: Structure, Style and Stage Work Universals / The Issues on Art, Ethnology and Folklore Studies. Issue 7 / K. Krapiva Institute of Arts, Ethnography and Folklore Studies of the NAS of Belarus; scientific editor A.I. Lakotka. – Minsk: Law and Economics, 2009. – p.165-171
    39. The CurrentState of the Belarusian Academic Musicology: Thinking Inertia and New Directions // Muzikas zinatne sodien: pastav?gais un main?gais– Daugavpils: Saule, 2010. – 240 pages.
    40. The Concept of All-European (Avant-garde) Musical Style of the XX Century // Art and Culture. – 2011. – №1 – p.25-34
    41. Communication Metadiscourse in the Avant-garde Composing Practice of the Second Half of the XX Century / Communication: Metaphysics and Metadiscourse. – St. Petersburg: St. Petersburg Philosophy Society, 2010. – p.137-140
    42. Short Opera and New Musical and Performing Genres as Paradigms of the Postmodern Music: a Theoretical Issue // The Issues on Art, Ethnology and Folklore Studies. Issue 9 / K. Krapiva Institute of Arts, Ethnography and Folklore Studies of the NAS of Belarus; scientific editor A.I. Lakotka. – Minsk: Law and Economics, 2010.– p.160-168
    43. Avant-garde and Postmodern Music (Analytical Reflection) // Malevich. Classical Avant-garde. Vitebsk. – Minsk: Ekonompress, 2012. – p.91-99
    44. Contrabass Concerto and Performing Art in Belarus: Nikolai Krivosheev // The Issues on Art, Ethnology and Folklore Studies. – Issue 13 / The Centre for the Belarusian Culture, Language and Literature Research of the NAS of Belarus; scientific editor A. I. Lakotka. – Minsk: Law and Economics, 2012. – p. 207-214
    45. Interpreting the National and Current Trends in the Modern Music (by the Example of the Belarusian Composing Practice at the Turn of the ХХ-ХХІ Centuries) – Moscow: MusicalAcademy, 2011. – №4 – p.32-35
    46. Postmodern Music: Stating the Issue // Muzikas zinatne sodien: pastavigais un mainigais – Daugavpils: DaugavpilsUniversity, Акаdemijais аpgads “Saule”, 2012. – p.230-243
    47. Uber die Verbindung der weissrussischen Kultur mit der deutschen Kultur: Ausbildungssystem //Musikgeschichte in Mittel- und Osteuropa. Heft 13. / Mittellungen der internationalen Arbeitsgeinneinschaft an der Universitat Leipzig – Lpz.: Gudrun Schr?der Verlag, 2012. – S.295-307
    48. The Academic Music and Cultural Globalisation // Bulletin of BSAM – Minsk: BSAM, 2012. – №21 – p.119-124
    49. Musical Art // Belarusian Culture: Twenty Years of Development. 1991-2011. – Minsk: Belarusian Culture Institute, 2012 – p.119-133
    50. Composer Andrei Mdivani // Bulletin of BSAM – Minsk: BSAM, 2012. – №20 – p.142-151 (in co-authorship)
    51. Viktor Rovdo and His Works: the Problem of Performer’s Music Interpretation // Bulletin of BSAM – Minsk: BSAM, 2012. – №21 – p.127-130
    52. Requiem in the Belarusian Composers’ Works (by the Example of Works Devoted to the Great Patriotic war) / The Issues on History and Culture of the Northern Countries and Provinces – Syktyvkar, 2012. – Issue 4. – p.63-67
    53. Oeuvre of Andrei Mdivani in European cultural context // International Scientific and Practical Conference (ISPC) / London, 2013 – P.227-247.
    54. Folk and Instrumental Performing Art in Belarus // The Issues on Art, Ethnology and Folklore Studies. – Minsk: Law and Economics, 2011. – Issue 11. – p.246-252
    55. The National and the Universal in Music // Bulletin of BSAM – 2011 – №18 – p.70-74

Scientific editing of the following books
    1. Belarusian Musical Theatre. 1917-1959. – Minsk: Navuka i Tekhnika, 1993. – 432 pages.
    2. Belarusian Concerto and Performing Art in the Last Third of the XX Century and the Beginning if the XXI Century – Minsk: Belaruskaya Navuka, 2012. – 560 pages.

Anumberofarticlesinthefollowingencyclopedias:
    1. Belarusian Culture
    2. Belarusian Encyclopedia of Literature and Arts
    3. Encyclopedia “The National academic Bol’choj Opera and Ballet Theatre of Belarusian”
The most important articles in encyclopedias and vocabularies
    Approximativeness, Atonality, Chance music, Diapason, Diatonicism, Dissonance, Dodecaphony, Electronic music, Flying tonality, Humoresque, Jazz, Multivalent tonality, Musical analysis, Music iconographi, Intermezzo, Improvization in music, Instrumentation, Introduction, Intonation in music, Collage, Musical illustration, Musical Genre, Opera dramatic concept, Polytonality, Post-Modernism, Scale, Symphonic music, Symphony, Removed tonality, Tonality conditions or Atonality conditions, Theatrical symphonism, Tonality, Vibrating tonality; E. Glebov’s “The Alps Ballad”, E. Tikotskiy’s “Alesya”; N. Aldanov, O. Yeromkin, I Yeromkina, V. Zakharov, V. Dolgikh, A. Dedik, M. Zhiliuk, R. Minin, A. Ostrometskiy, I. Savelyeva, etc.

Conference Materials
    1. Late Romantic Harmony in a Musical and Theoretical Course at Higher Educational Establishments // Abstracts of the Scientific and Theoretical Conference on the Problems of Training and Educating a Musical Pedagogue. – Tbilisi: State Conservatory named after V. Saradzhishvili, 1980.
    2. Francisk Skorina’s Image in the Modern Belarusian Music // Report and Speech Abstracts of the International Conference held on May 24-27, 1990. The Slavs: Unity and Diversity under the Festival of Slavic Written Language and Culture. – Minsk: NAS of Belarus, 1990.
    3. A New Stylistic Trend in the Modern Belarusian Professional Music (the Issue of Christian Ethos in the Works by the Belarusian Composers) // Abstracts of the Scientific Conference. Belarusian Culture: History, CurrentState and Development Perspectives. Minsk, 1993. – Minsk: IAEF, 1993.
    4. The Belarusian Composers’ Works in the Context of Western and Eastern European Art Music // Proceedings of the International Scientific Conference held on April 10-11, 1995. Slavic Cultures Following the Second World War. – Minsk: UNESCO, 1996.
    5. The Problems of Composers’ Style and Artistic Method // Proceedings of the International Scientific Conference. The Slavic Cultures: the Historical Experience and the Current Problems. – Minsk: UNESCO, 1996.
    6. The Rational Construction Crisis in the Musical Avant-garde of the XX Century // Proceedings of the International Conference held on April 25, 2002. The Prospects for Rationality in the XXI Century. – Minsk: Ecoperspectiva, 2002.
    7. Happening and Instrumental Theatre: the Correlation Principle of the Rational and the Irrational in the XX Century Music // Proceedings of the International Scientific Conference on the Actual Problems of the World Art held on April 25-26, 2002 in Grodno. – Grodno, 2002.
    8. The Composing Thought Development in the Last Third of the XX Century // Modern World and National Musical Cultures. Proceedings of the Scientific Conference on the National Traditions and the Modernity held on October 5-7, 2004 inMinsk. – Minsk: Covcheg, 2004, p.177-184
    9. The Avant-garde Musical Thought: the Results of the XX Century // The First Nefedov’s Conference on the Belarusian Art: History and Modernity held on February 18-19, 2003 in Minsk. – Minsk: BSAM, 2004.
    10. The Rational Constructs in the XX Century Music// Musical Art and Education at the Turn of the XXI Century. Issue 1. – Minsk: BSAM, 2004, p.63-70
    11. The Uncertainty Principle in the Avant-garde Music of the Second Half of the XX Century // Proceedings of the International Scientific Conference on the Actual Problems of the World Art held on March 25-26, 2004 in Grodno. – Grodno, 2004.
    12. The Specific Features of Musical Entity in the Second Half of the XX Century // Philosophy and the Future of Civilization. – Moscow: Sovremennye Tetradi, 2005.
    13. Synergetics and the Contemporary Music (Research Methods for Studying the Avant-garde Composers’ Works in the Second Half of the XX Century). Proceedings of the International Scientific Conference on the Actual Problems of the World Art held on March 25-26, 2004 inGrodno. – Grodno, 2006.
    14. ‘Music in the Context of European Art’ as an Academic Subject // The World of Art and Children: the Problems of Art Pedagogy. Proceedings of the III International Scientific and Practical Conference, Vitebsk, September 25-26, 2007 / VitebskStateUniversity. – Vitebsk: Publishing House of the VitebskStateUniversity named after P.M. Masherov, 2007.
    15. Innovations in the Modern Musical Education System // Esthetic Education: Problems and Prospects. Proceedings of the International Scientific and Practical Conference, Brest, November 15-16, 2007 / BrestStateUniversity named after A.S. Pushkin. – Minsk, 2007.
    16. Integrity and the Contemporary Music: the Issue of Correlations between the Western and Eastern Musical Civilizations in the Second Half of the XX Century (Synergetic Approach) // Philosophy as Self-actualization of Culture and a Mediator for the Cultures’ Dialogue / Proceedings of the International Scientific Conference, Minsk, November 9-10, 2006. – Minsk: Belaruskaya Navuka, 2007.
    17. The Types of Rationalism in the European Musical Culture of the Second Half of the XX Century / The Belarusian Philosophic Heritage as a Spiritual Basis for the National Identity. Proceedings of the International Scientific Conference, Minsk, November 8-9, 2007. – Minsk: Law and Economics, 2007. – p.129–132
    18. ‘Short Opera Genre’ as a Part of Academic Subjects in Music History / Proceedings of the International Scientific and Practical Conference. Science, Education and Culture: the PresentState and Innovative Development Perspectives, Mozyr, March 27-28, 2008. – Mozyr: BSPU named after Shamyakin, 2008. – p.169–171
    19. ‘Multi-tonal Forms’ as a Part of Academic Subjects in Music Theory and Musical Forms / Proceedings of the International Scientific and Practical Conference. The Actual Problems of Art: History, Theory. Minsk, April 10-11, 2008. – Minsk: BSPU named after M. Tank, 2008. – p.130–133
    20. Rationalistic Paradigms of the Contemporary Music / The Issues on Art, Ethnology and Folklore Studies. Issue 4 – Minsk: Law and Economics, 2008 – p.128–133
    21. The Creative Power of Orthodox Psalms in Terms of Globalization / The ХІІІ International Cyril and Methodius Conference under the festival of Slavic Culture and Written Language. Minsk, May 24-26, 2007. – Minsk: BSUCA, 2007. – p.102–108
    22. Vyacheslav Kuznetsov’s Opera ‘A Diary of a Madman’: Poetics, Intonation System, Structure / Proceedings of the Scientific Conference on the Belarusian Musical Culture: History and Modernity held in Mir on May 31, 2008.– Mir, 2008.– p. 55–63
    23. Francisk Skorina and the Modern Belarusian Music // Proceedings of the IV International Scientific Conference on F. Skorina and the Modernity, GomelStateUniversity named after F. Skorina. Gomel, November 14, 2008. – Gomel: GSU named after F. Skorina, 2008. – p.49-52
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[1] “The concept of ‘tonality conditions’ was first developed <…> in T.G. Mdivani’s candidate thesis on ‘The Problems of the Late Romantic Harmony in the Works of Austrian and German Composers of the End of XIX Century and the Beginning of the XX Century (A. Bruckner, H. Wolf, G. Mahler, and M. Reger)’ in 1983.”– Ref.: Y.N. Kholopov. Harmony. The Theoretical Course. М.:Muzyka,1988, p.383-384.
[2] “The term ‘modus conditions’ is used by analogy with a well-known term of ‘tonality conditions’ <…> developed by T.G. Mdivani (the candidate thesis on ‘The Problems of the Late Romantic Harmony in the Works of Austrian and German Composers of the End of XIX Century and the Beginning of the XX Century (A. Bruckner, H. Wolf, G. Mahler, and M. Reger)’, Minsk, 1983) and by Y.N. Kholopov (Harmony. The Theoretical Course. М.,1988, p.383-399).” – Ref.: Moskva Yuliya Viktorovna. Gregorian Chant Modality by the Example of FranciscanMass. – Doctoral Thesis Abstract.- Moscow, 2007, p.16
[3] “Of special importance are these fragments signifying an exceptional actuality of A.F. Losev’s philosophy, which is based on the so-called ‘higher synthesis’ and integrated knowledge. For this reason A.F. Losev tried to bring together music, mathematics and esthetics. It is a common knowledge that numbers make up an original basis for both music and mathematics. Therefore, these Losev’s ideas, which may seem paradoxical, are in fact supported by strong scientific evidence and have been put in practice by the contemporary avant-garde composers. A detailed explanation for this phenomenon is provided by a distinguished specialist in the field T.G. Mdivani in her work on ‘The Western Rationalism in the Musical Thought of the XX Century’ (Minsk, 2003)”. – Ref.: Working with A.F. Losev’s records ( Этот адрес электронной почты защищен от спам-ботов. У вас должен быть включен JavaScript для просмотра. )