The Violin sonata of Vladimir Martynov (1973) is para­doxical in many ways. The composer himself chara­cterizes it as a paradox: “This is dodecaphony plus minimalism. When I was still in musical college, I was fascinated by the Machaut’s hoquet, its minimalism, I mean that something happens there and nothing happens at the same time.” It is symptomatic that the 14th century hoquet was added to the named directions of the 20th century. The serial technique is paradoxical: Martynov interprets it so individually that it either associates with the medieval counterpoint to the Cantus firmus, or approaches the 12-tone techniques of Hauer and Roslavets. And at the same time it remains the stric­test dodecaphony: “There is not a single free note in it.” On the serial technique, the features of Martynov’s composer image were formed, his creative position developed, the circle of his musical priorities, knowledge, intellectual, and humanitarian interests was reflected.