The article is devoted to so-called “schemes” by Georgi Conus, in which he recorded the results of the metrotectonic analysis through a “graphical device” he discovered. Studying Conus’ analytical schemes lets us conclude. 1. In the schemes the practice of metrotectonicism is concentrated. 2. Schemes appear to be the significant, quantitywise, and quite self-sufficient part of Conus’ scientific results, in which a particular image dominates the word. 3. Schemes differ by the notation method: there are, first, horizontal numerical schemes, given in one scorelike line and, second, vertical numerical and musical schemes, presented in separate lines. 4. In the numerical schemes the numbers are written in rows, which are similar to the lines of the score. The continuous row of the smallest numbers—called the main row—corresponds to the sequence of the smallest units of the musical structure in terms of length. Above and below, there are additional numerical rows, obtained as a result of successive summation: first of the numbers of the main row, and then of the resulting sums. Those numbers correspond to increasingly larger units of form. 5. Whatever the scheme ought to be, it should demonstrate an equilibrium and symmetry of the musical form.
Gerver, L. L. “The idea and its graphical demonstration: metrotectonic schemes of Bach’s fugues in the archive of Georgi Conus.” Muzykal’naya akademiya [Music Academy], no. 2, 2025, pp. 6–45, doi: 10. 34690/459. (In Russ.)
Acknowledgments
To the National Russian Museum of Music and his director M. A. Bryzgalov. To the staff of the National Russian Museum of Music: to E. V. Khokhlova, head of the reading room, and A. L. Balatskaya, a specialist in the Department of Rare and Archival Collections.
