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The Meaning of Athematism in Webern’s Music [Abstract]

Issue 1/1985 (1)

Alban Berg’s “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 [Abstract]
Issue 7-8 (1989)

 
The Crisis of the 20th Century Music. Theme and Form in Contemporary Music [Abstract]
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 [Abstract]
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 [Abstract]
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) [Abstract]
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 [Abstract]
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 [Abstract]
Issue 17 (2003)

 
The Musicological Studies in France [Abstract]
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)