ABSTRACT
Asafiev laid the ground for the method of integral analysis. And it may very well be that the birth of integral analysis in twentieth-century Russia derives from the same critique. Although in Russia the Schenkerian concept did not receive the appreciation it had in the United States, some of Schenker's aesthetic views resonate quite well with Russian integralism. The term intonatsia is crucial for understanding the main strategy of integral analysis and its separation from the classical teaching of form. The very possibility of a connection between the intramusical and the extramusical domains is secured by the meaning of Asafiev's term, and the whole idea of integral analysis hinges on Asafiev's thinking, which was germinated in the very specific atmosphere of the Russian 1910s and 1920s. Yet it is commonly used in all Russian conservatories and has become a cornerstone for integral analysis, music history, aesthetics, and even folk music studies.
