Just finished a paper on historical theories of sonata form in Russia and the early Soviet Union. It is fascinating to examine how, after relying on translations and adaptations of Western European textbooks by Hugo Riemann, Ludwig Bussler, and Ebenezer Prout, the contributions of Russian scholars such as Anton Arensky, Sergei Taneyev, Georgi Catoire, and Boris Asafiev gradually paved the way for a more individual approach towards the traditional model, regarding sonata form as a paradigm of both composition and analysis. The article will, hopefully, soon be published in ZGMTH, the journal of the German Music Theory Association.