http://www.jmd.ac.il – Library of Jerusalem Academy of Music, Jerusalem, Israel

http://www.imi.org.il – Israel Music Institute,Tel Aviv, Israel

http://www.huji.ac.il/huji.ac./hujii/eng – Library of Hebrew University, Jerusalem, Israel

http://www.presser.com -Theodore Presser Company. USA

http://www.camerata-israel.com – Israel Camerata, Jerusalem, Israel

http://www.jmc.co.il – Jerusalem Music enter,Israel

http://www.vek.de – Edition Ernst Kurt, Berlin, Germany

http://www.mrsd.com – MRS CLassics

Bradley Deborah, Mark Kopytman’s Imagionary World, Mark Kopytman: Voices of Memories(Essays and Dialogues, ed. by Y. Kreinin), Israel Music Institute, 2004, pp. 59-66 (the volume is mentioned below as YK-MK-VM)

Gradenwitz  Peter, The Music of Israel: from the Biblical Era to Modern Times (second edition, revised & expanded), Portland, Oregon, Amadeus Press, !996; – Music and Musicians in Israel, Israel Music Publications, 1977, pp.404-406, 411, 421

Dubinets Elena, Listening to the Music of Space (Interview and Comments), Muzikal’naya akademia,1998/2, pp.34-39 (in Russian), reprinted in YK-MK-VM, pp.155-172; – A Story About a Medieval Jew, YK-MK-VM, pp. 129-148

Haimovsky Gregory, Ancient and Modern Tunes in Kopytman’s Music, YK-MK-VM, pp.221-226

Hirsberg Jehoash, Kopytman’s Heterophonic Trail: From Memory to Beyond All This, YK-MK-VM, pp. 67-80: – “Mark Kopytman”, The New Grove Dictionary of Music and Musicians, S. Sadie and J.Tyrell, ed., London, Macmillan Press, 2001, pp. 795-796; – “Mark Kopytman”, Die Musik in Geschihte and Gegewart, Zweite Ausgabe, Personteil 10, Barenreiter-Verlag, 2003, pp. 527-528

Just a Few Words,by Ayal Adler, Jonathan Berger, George Crumb, Osvaldo Golijov, Elizabeth Kharitonova, Valentina Kholopova, Grigory Korchmar, Roman Ledenyov, Yinam Leef, Jorge Liderman, Haim Permont, Andrey Petrov, Zecharia Plavin, Sergey Slonimsky, Eitan Steinberg, Tadeusz Strugala, Cornel Taranu, Richard Wernick, Michael Volpe, Mira Zakai, YK-MK-VM, pp. 239-264

Kletinich Yevgeny, From Memory, Sovetskaya Muzica, 1991/10 (October), pp. 37-40 (in Russian); – The 1960’s: Kopytman in Moldova, YK-MK-VM, pp. 81-112; – Casa Mare – the Moldavian Opera of Mark Kopytman, YK-MK-VM, pp. 113-126

Kreinin Yulia (ed), Mark Kopytman: Voices of Memories (Essays and Dialoques), Israel Music Institute, 2004, 288 pp. (abbreviated in other references as YK-MK-VM)

Kreinin Yulia, Mark Kopytman on the way to “Cantus VI” (1965), Israel Music Institute News, 1997/2 – 1998/1, pp. 11-12; – Interview with Mark Kopytman, Muzikalnaya akademiya, 1993/3, pp. 159-162 (in Russian); – Mark Kopytman’s Instrumental Music: Material and Process, YK-MK-VM, pp. 23-40; – Great Integrity of Word and Music, YK-MK-VM, pp. 41-58; – Mark Kopytman: Seeking his Jewish Roots, in “Samuel” Goldenberg and “Schmuyle”: Jewish and Anti-Semitic Elements of Russian Musical Culture, An International Symposium, Studia Slavica Musicologica, SSM 27, Verlag Ernst Kunn – Berlin, 2003, pp. 249-264

Kreinin Yulia, Echoes of Imaginary Lines (part I – by Yulia Kreinin, part II – articles by Mark Kopytman), Studia Slavica Musicologica, SSM 33, Verlag Ernst Kunn – Berlin, 2005

Zeharia Plavin, What is behind Avni’s and Kopytman’s Seventees (?), Kopytman’s Alliterations, Israel Music Institute News, 1995/1, pp.11-13

Shiloach Amnon, The Role of Israeli Etnic Traditions in the Creation of an Israeli Musical Style (Dialogue I), Pe’amim, 1984, pp. 56-64 (in Hebrew), reprinted in YK-MK-VM, pp. 173-180; – The Poetic Text in Vocal Compositions (Dialogue II), YK-MK-VM, pp. 181-186

Smoira-Cohn Michal, Composer goes West, Music and Time, A publication of the Jerusalem Academy of Music and Dance, winter 1993, pp.35-46, reprinted in YK-MK-VM, pp.187-192

Steinicker Anton, Mark Kopytman’s Heterophony; its problems and solutions, Ph D dissertation, Bratislava University Press (in preparation)

Tavor Yossi, Blending into a Culture,Panarama of Israel 220, Jerusalem, 1986, pp. 34-39 (in Russian), reprinted in YK-MK-VM, pp. 149-154

Tischler Alice, A Descriptive Bibliography of Art Music by Israeli Composers, Studies in Music Bibliography 62, Warren, Michigan: Harmonie Park, 1998, pp. 149-153

Trembovelsky Yevgeny, Utmost Precision in Music Theory, YK-MK-VM, pp. 193-204; – Past in the Present: Homage to my Teacher, Muzikalnaya Akademiya, 1999/4, pp. 74-78 (in Russian), reprinted in YK-MK-VM, pp. 227-238

Yuzefovich Victor, And Once More a Lyric Tragedy, Sovetskaya Muzica, 1969/5, pp.35-40 (in Russian); – A Chain of Human Destinies, YK-MK-VM, pp. 205-220

Uscher Nancy, A 20th century Approach to Heterophony: Mark Kopytman’s Cantus II, Tempo156, 1986, London, pp.19-22, reprinted in Music and Time, A publication of the Jerusalem Academy of Music and Dance, winter 1993, pp. 36-41, and later in YK-MK-VM, pp. 17-21

Listed in the reverse chronological order

About Melody Writing (2002)
(Studies in Composition, IV)
A compositional approach to contemporary melodic writing, based on the micro-analysis of the composer’s compositionEight Pages for solo voice on a text by Edmond Jabes, with a general discussion on creative problems, MS

Composition with Blocks (1984-1999)
(Studies in Composition, III)
A comprehensive approach to the problems and devices of contemporary composition, based on the understanding of the musical form as a layered process. MS

Symmetrical Modes (1984)
(Studies in Composition, II)
A practical guide to the symmetrical partition of the chromatic spectrum as a method of discovering new scale resources, MS.

About Heterophony (1982-1994)
(Studies in Composition, I)
A textbook for the composers describing various heterophonic devices in 20^th c century music, their expressive features, and methods of practical writing; includes a wide range of musical examples from the composer’s symphonic and chamber compositions, MS.

Bach’s Secret Counterpoint (1985)
An attempt to analyze complex contrapuntal devices in Bach’sPartita in C major, MS.

Rotations – Transformations and Pitch Graph (1975)
An explanation of the composer’s Pitch Graph, designed for the analysis and creation of pitch sets and their symmetrical variants, MS

Pitch Graph (1972)
A practical device for analysis and composition, based on the use of newly discovered symmetrical variants (dodecaphonic or free composed); registered by the Library of Congress,Washington, 1974; first edition: Unipress, Jerusalem, 1974: second edition: Jerusalem Academy of Music and Dance, 2000.

Theoretical writings by S. Bogatiryov (1972)
A review of one the most important researches of canonic forms, presented in two books, written by S. Bogatiryov. Published in the collection: S. S. Bogatiryov: Studies, Articles,Recollections, Sovetsky Kompozitor, Moscow, 1972 (Russian)

Choral Composition (1965)
An official textbook for writing a cappella choral music, for students of the Composition and Conducting departments at the musical Academies in the former USSR, Sovietsky Kompozitor, Moscow,  1971 (Russian).

Symphonic Music (1962)
About the features and historical trends of large-scale symphonic compositions written by Kazakh composers in the period up until 1960′ s (in cooperation with N. Tiftikidi). Published in the collection: Essays in the History of Kazakh Music, Alma-Ata, 1962 (Russian)

About Polyphony (1961)
A brochure from a series of popular publications for students and teachers of music schools and amateurs, Sovetsky Kompozitor, Moscow, 1961.

Multi-part Canon and Canon Sequence (1958)
A theoretical research of complex canonic devices based on proposed by the author innovative theory of chains and their use in practical composition, published in Voprosy musickoznaniya (Problems of Musicology), Volume 3, Muzika, Moscow, 1961 (Russian).

About Canonic Imitation (1958)
An article about complex contrapuntal combinations, Sovetskaya Muzika 2 (1958), Moscow (Russian).

Monodrama (1975) ca. 12′
music for ballet for cl, bn, 3 vcl, perc, hpd &pno

Prism (1976) ca. 10′
music for ballet for tmb & perc

Two Poems (1978) ca. 14′
music for ballet for fl, vln, vcl & pno

And a time for Every Purpose (1979) ca.16′
music for ballet For fl, tpt, trb & perc

Wings (1979) ca. 42
music for drama 1, 0, 1, 0 – 0, 1, 1, 0, vln, vcl, db, pno & perc

IMI – Israel Music Institute (Tel Aviv)
MF – Muzfond (Moscow) Muz – Muzika (Moscow)
SK – Sovetsky Kompozitor (Moscow)
KM – Kartya Moldavaneske (Cishineu) Lu – Lumina (Cishineu)

Polyphonic pieces (1962-85) ca. 28′
(SK 1485, 1963;Muz 1295,KM 1667, Lu 1971)

For Piano (1973) ca. 12
(IMI 7387)

Basso Recitativo (1977) ca. 9′ f
or two pnos (IMI 7387

Variable Structures (1985-87) ca. 18′
Twelve short preludes (IMI 7397)

Alliterations (1993) ca.12′
(IMI 7215)

For Gregory (2000) ca.9′
Three miniatures (IMI 7512)

Bucolics (2002) ca. 6′
five little  pieces for children (IMI 7513)