{"title":"以科罗廖夫的《牧歌》和无伴奏合唱圣歌《圣母颂》为例,从历史、理论和教学角度看现代作曲家对复调的掌握","authors":"N. V. Koshkareva","doi":"10.31862/2309-1428-2022-10-1-79-91","DOIUrl":null,"url":null,"abstract":"","PeriodicalId":36182,"journal":{"name":"Musical Art and Education","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Historical, Theoretical and Pedagogical Views on the Polyphonic Mastery of Modern Composers by the Example of Anatoly Korolev’s Works “Madrigal” and Motet “Ave Maria” for Choir a Cappella\",\"authors\":\"N. V. Koshkareva\",\"doi\":\"10.31862/2309-1428-2022-10-1-79-91\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\",\"PeriodicalId\":36182,\"journal\":{\"name\":\"Musical Art and Education\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Musical Art and Education\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.31862/2309-1428-2022-10-1-79-91\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Musical Art and Education","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31862/2309-1428-2022-10-1-79-91","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
Historical, Theoretical and Pedagogical Views on the Polyphonic Mastery of Modern Composers by the Example of Anatoly Korolev’s Works “Madrigal” and Motet “Ave Maria” for Choir a Cappella