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George Zervos


The Meaning of Athematism in Weberns Music [Abstract]

Issue 1/1985 (1)


Alban Bergs Allegro Misterioso: The Meaning of the Theme and its Relation with Contemporary Polyphonic Techniques [Abstract]
Issue 3/1985 (3)

The Ontological Features of the Theme and Thematic Abstraction [
Issue 7-8 (1989)

The Crisis of the 20th Century Music. Theme and Form in Contemporary Music [
Issue 9 (1997)

The Concerto for Piano and Orchestra op. 42 of Arnold Schoenberg: An Incombatibility between the Dodecaphonic and the Rhythmic-Melodic Thematic Material [
Issue 10-11 (1998)

The Theme as a Determinant of the Structural Elements and Sections. An Analytical Approach of the Form in Invention no. 4 in d minor of J. S. Bach [
Issue 12-13 (2000)

Book Review: Erwin Ratz, Einführung in die musikalische Formenlehre: über Formprinzipien in den Inventionen und Fugen J. S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens (Universal Edition, Vienna 1973), K. Nasos, Athens 1987 (translation in Greek: K. Nasos) [
Issue 14 (2000)

The Form of Variations in Webern’s Work and its Relation to the Sense of Metamorphoses in Goethe: The Reduction of the Structural Elements of the Compositional Procedure to One Sole Principle [
Issue 15 (2002)


Evaluation Criteria of 20th Century Music, Today [Abstract]

The Value of Music Today (2003)

Music at the Dawn of the 21st Century. Tendencies and Perspectives [
Issue 17 (2003)

The Musicological Studies in France [
Issue 18 (2003)


Types of Thematic Entities (Expositions) and “Recapitulations” in Two-Part Inventions of J. S. Bach [Abstract]

Music Analysis and Interpretation (2006)


Aspects of thematicity and form in the Scherzi of the Symphonies of Mahler. From programme to interiorisation? [Abstract]
Issue 21 (2013)


Form, musical meaning and content in the aria “Erbarme dich” from the St. Matthew Passion, BWV 244, of J. S. Bach [Abstract]
Issue 22 (2015)