Musicology Annotation << Back The theory of musical and visual counterpoint from Sergei Eisenstein to Juraj Lexmann Egorova Tatiana K. The problem of musical-visual counterpoint with the General recognition of its importance in the work of a film Director, composer and sound engineer is on the periphery and is poorly studied due to the uncertainty of approaches to its study in the theory of film music. The author aims to fill this gap and based on lectures delivered at the St. Petersburg Institute of cinema and television, Saint-Petersburg Rimsky-Korsakov Conservatory, Moscow state Tchaikovsky Conservatory, the all-Russian state Gerasimov Institute of cinematography (VGIK), as well as through years of studying the problem not only conducts the analysis of existing concepts and classifications of musical and visual counterpoint, but also represents their own interpretation of the meaning and function of values types of musical and visual counterpoint with the reasons and motivations of their emergence and function. Keywords: concept of synchronicity and asynchrony of image and sound in cinema, types of musical-visual counterpoint, diegetic and non-diegetic music in cinema, narrative music in cinema, S. Eisenstein, R. Bresson, J. Leksmann. DOI: 10.25791/musicology.11.2019.1018 Contacts: - Pp. 37-44.