Musicology Annotation << Back Tempo rubato in S. Prokofiev's piano concertos as one of the signs of his style Chernyshov Vladimir I. The relevance of the article and its scientific novelty is characterized by the fact that it is the first attempt to analyze Prokofiev's five piano concertos in their relationship with different types of tempo rubato, which are an integral part of the composer's style. Despite the fact that the term tempo rubato has long existed in performing practice and its types were described in detail in the sources of the XVIII–early XIX centuries, these forms have now been historically thoroughly forgotten. If the audio recordings of Prokofiev-the pianist allow us to analyze only one of the types of tempo rubato-performing agogics, then to analyze the types of tempo rubato that are "encrypted" in the text of Prokofiev's piano concertos, a preliminary study of the historical forms of rubato is required. Understanding Prokofiev's use of rubato techniques of expression will help performers better understand the style of the composer's piano concertos. The object of research in the article is Prokofiev's piano concertos, literature on the typology and historical forms of tempo rubato; the subject of research is the relationship of rubato types with Prokofiev's style. The purpose of research is to identify cases of Prokofiev's use of rubato types by analyzing five of his piano concertos. Keywords: Sergei Prokofiev, tempo rubato, stolen time, agogics, piano concertos by Prokofiev, the style of Prokofiev. DOI: 10.25791/musicology.08.2020.1144 Pp. 33-49.