In the work "The Found dations of Musical Form and the Problems of the Origins of Music" a new viewpoint as to the genesis of musical thought is suggested. Its peculiarity consists of a complex approach towards the genesis of music where the unity of mental activity, language and music is meant. These three ingredients are linked together with the aid of logical figures that are most evidentii revealed in folklore through the syntactical categories.
The advantages of the suggested approach lie in the fact that they give a key toward deciphering and putting a chronology for the folklore phenomena.
In the 1-st chapter, "The Articulateness of Language and Music" the principle notions of syntax are presented and the decisive role of the problem of the division of form for the logic of form-building process is delineated (that is, the systemic nexus is possible due to the articulateness exclusively).
In the 2-nd chapter, "The Theory of the Syntactical Structure of Musical Form" the history of the researches of musical syntactical problems is treated, the difference of compositional level (in each kind of form, those of many a divisions including) and syntactical level (which doesn't trespasses the board of the so called musical period). The last aspect becomes the object of our investigation.
The 3-d chapter "The Formation of Logic" is dedicated to the development of thinking: from the beginning of anthropo-genesis till the arousal of the figures of logical and magical thinking that lie in the foundations of the phenomenon of art and musik.
In the 4-th chapter "The Sources of the Form-building: Language and Music" the attention is concentrated at the development of language. The parallels are traced and the analogies are indicated between linguistic and musical revelations of syntax. In particular it is in the musical forms of folklore that syntactical analogues towards a simple sentence, parataxis and hipotaxis. As their arousal and development are chronologically attested in the historical grammar their musical analogues givt an opportunity to put a statem ent that their development coincides with the sam e historical periods (according to the law of the unity of thinring and the actions of the unique basic figures of logic in different kinds of hum an activiti).
In the 5-th chapter "Music as a Historical Code" the formation of the art of music as such is reviewed, the role of magical stimuli in the form-boilding processes is marked, an outline of the principle logical and syntactical knots - those of periodicity, parataxis and hypotaxis - is presented. Their development embraces the period from the upper palaeolith to the XVII-th century (when a homophone period, musical responses and musical hipotaxis as a period of two sentences have appeared).
The 6-th chapter is presented as a practical and analutical one: here some sketches are situated so thatt each of them would solve a separate scientific problem that are ensued from the historical and methodological concept of the book and are based upon its methodological principles.
The treatment of the genesis of music and its logical foundations could be demonstrated on the stuff of folklore first of all. Ethnologists, linguists, ethnomusicologists are unanimous as to the conslusion: language and folklore preserve relics and survivals, the age of which achieves tens villeniums (and in some cases hundreds of millenniums, as, for instance, the "mental atoms" of binary oppositions and diplastics). Thus the documentary bases of the researches contain primarily folk songs and melodies.