1.0Res Musica https://resmusica.ee/en/Res Musicahttps://resmusica.ee/en/author/resmusica/rich600338<blockquote class="wp-embedded-content" data-secret="N5pmdk7Qqc"><a href="https://resmusica.ee/en/res-musica-7-2015/">Res Musica 7 (2015)</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://resmusica.ee/en/res-musica-7-2015/embed/#?secret=N5pmdk7Qqc" width="600" height="338" title="“Res Musica 7 (2015)” — Res Musica " data-secret="N5pmdk7Qqc" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://resmusica.ee/wp-includes/js/wp-embed.min.js /* ]]> */ </script> The seventh issue of Res Musica is based on selected essays from the Seventh International Conference on Music Theory held in Tallinn and Pärnu, January 8–11, 2014. The topic of the conference was musical form. Mainly due to its multifaceted nature, the interpretation of form is one of the more sophisticated aspect of music theory. Since musical form is a result of an interaction of many different elements, its analysis always raises the question of its main influencers. Is it primarily a temporal positioning that determines the formal meaning of a section, as claimed in the theory of formal functions, or a relation between a section and a referential set of ordered musical ideas that functions as a model for that section, as claimed in the theory of dialogic form?