473:, the leaders of the Composers' Union of the Soviet Union banned a concert entirely devoted to the composer. After the first publication about Roslavets's original theoretical concept, based on archival materials (Lobanova 1983) had appeared, M. Lobanova's lecture on Roslavets's musical-theoretical system, declared in the program of the international conference "Musica nel nostro tempo" (Milan) was forbidden in 1984: leading functionaries of the Composers' Union of the Soviet Union had accused the researcher of "illegal contacts to the West." After that, dismissal by Lobanova from the Moscow conservatory was attempted as well as deprivation of her scientific degree and rights for teaching; soon, they tried to use an application of retaliatory psychiatry with the dissident diagnosis against Lobanova.
1273:
278:, Roslavets could get no official position for the remainder of his life. Roslavets was not admitted to the Composers' Union, instead he became a member of the Musical Fund. Punitive measures against him had been planned in 1938, and the former "proletarian musicians" had already spread disinformation about him; however Roslavets suffered a severe stroke in 1939 and was a disabled until his death following a second stroke in 1944. His last publication, a song, appeared in 1942.
1727:
1737:
20:
434:
Roslavets belonged "to the arrested peoples’ enemies," did not improve the situation; Roslavets's oeuvre was suppressed. In 1967 the employee of the Glinka-Museum, Georgi Kirkor, refused
Efrosinya Roslavets access to the museum's materials; Kirkor declared Nikolai Roslavets "to be alien to the people" and accused the composer of "relations with the world of
263:, Georgi Polyanovsky, Alexey Sergeev and Boris Shekhter. It resulted in a professional prohibition of employment. In 1930 Roslavets was banned from obtaining a position as a political editor for two years. In order to save his life, Roslavets had to publicly repent for his former "political mistakes".
101:
There are three autobiographies by
Roslavets that differ considerably from one another. In one of them, published 1924, the composer deliberately misrepresented his biography in order to prevent the attacks by the "Proletarian Musician" faction. There are differing accounts of Roslavets' birthplace,
476:
In 1989 Efrosinja
Roslavets requested the Moscow composer organisation, that had just proclaimed itself to be independent from Tikhon Khrennikov's Composers' Union of the Soviet Union, to reconstruct and publish Roslavets's works and to restore Roslavets's grave. In 1990, with the assistance of the
433:
In 1967 the composer's niece
Efrosinya Roslavets undertook the first steps to rehabilitate her uncle. It has been found that the composer never submitted to the politically repressive measures. This important step, that the refusal to play Roslavets's compositions was justified for the reason that
445:
For thirty years, Roslavets's name, expunged from the musical dictionaries, was hardly mentioned in Soviet musical literature. His name reappeared in a Soviet musical dictionary in 1978 in a negative context. Typical of the highly negative official attitude towards
Roslavets were sentences like
1048:
Gojowy D. Die
Musikavantgarde im Osten Europas. Eine Einführung. In: "Internationale Musik-Festivals Heidelberg 1991 und 1992. Russische Avantgarde. Musikavantgarde im Osten Europas. Dokumentation – Kongressbericht." Heidelberg 1992, pp. 145–150; Gojowy D. Wiederentdeckte Vergangenheit. Die
258:
was played in the concert in Moscow celebrating the 10th anniversary of the
Revolution. In 1930 Roslavets was accused of being a "protector" of the Association of the Moscow Authors which according to the group "Proletarian Musician" was promoting "light music" and "spreading of the
577:
Violin
Concerto No. 1 (1925) — Schott ED 7823 (score) (copublication with Sov. Kompozitor, 1990); violin and piano arrangement made by the composer published in 1927 by Muzykal'nyi Sektor Gosudarstvennovo izd-va (engraved) (a manuscript violin and piano reduction is now issued by
409:. The works of his last years in Moscow show a simplification of his characteristic language to admit an expanded conception of tonality (for instance in the 24 Preludes for violin and piano), but are still highly professional. Among Roslavets' later compositions, the
205:, Roslavets fought for professionalism, the best in Russian, Western classical and New Music; criticizing vulgar identifications of music with ideology (exemplified in his article ‘On pseudo-proletarian music’). He wrote the first Russian article about
351:, most of Roslavets’ "synthetic chords" consist of six to nine tones. In the 1920s Roslavets developed his system, expanding it to encompass counterpoint, rhythm, and musical form while elaborating new principles of teaching. In Roslavets' earlier
1049:
russisch-sowjetische
Avantgarde der 10er und 20er Jahre rehabilitiert? – In: Neue Musik im politischen Wandel. Veröffentlichungen des Darmstädter Instituts für Neue Musik und musikalische Erziehung, Bd. 32. Mainz 1991, S. 9–22
421:
After
Roslavets's death his apartment was ransacked by a group of former "Proletarian Musicians" who confiscated many manuscripts. Roslavets's widow succeeded in hiding many manuscripts; afterwards she handed them over to
340:." Although in the 1920s Roslavets criticized Scriabin because of his "oversimplification", the "new system of sound organisation" was first of all inspired by Scriabin's ideas and concepts as these were transmitted by
477:
head of the Moscow composer organisation, Georgi Dmitriev, Roslavets's grave was identified and restored. Later Roslavets's grave was destroyed again, and all protests remain until now unsuccessful.
336:
had already stressed the original nature of Roslavets' style. In an article published in 1925 the critic Yevgeni Braudo pointed out that this was no more helpful than calling Schoenberg "the German
453:(1934–2008) had been promoting Roslavets. For his activities Gojowy was constantly ideologically attacked on behalf of the officials of the Soviet Composers' Union, in particular personally by
430:, or Russian state archive for literature and art). Some manuscripts were kept by Roslavets's pupil, P. Teplov; now they are in the State Central Glinka-Museum for Musical Culture.
165:
journals, and futurist artists designed some covers for his music. After 1917 the composer became one of the most prominent public figures of "leftist art" in Russia, together with
461:. The copies of his articles which the journalist sent to his Soviet colleagues were confiscated by the Soviet customs; Gojowy himself was not allowed to get a Soviet visa.
1170:"Internationale Musik-Festivals Heidelberg 1991 und 1992. Russische Avantgarde. Musikavantgarde im Osten Europas. Dokumentation – Kongressbericht ". Heidelberg 1992.
469:
On December, 27th 1980 a concert took place at Mark Milman's club for Chamber music; a section of this concert was devoted to Roslavets's music. According to
446:
those: "Roslavets is our enemy," "he is a composer whose music is not worth the paper on which it is written down," "Roslavets's tomb should be destroyed."
332:). Following an article of Vyacheslav Karatygin, published in February 1915, Roslavets was sometimes referred to as "the Russian Schoenberg," but in 1914
185:(then known as Kharkov, where he was director of the Musical Institute) and Moscow. He had a position in the State Publishing House, edited the journal
106:
to a peasant family, while he actually was born in 1881 into the family of a railway clerk (of Ukrainian origin, according to Detlef Gojowy) posted in
390:(1928), demonstrates an extraordinary mastery, a very complex and highly modern compositional technique, far from the simplification typical for "
317:, Roslavets' quest for a personal language began not later than in 1907; it led to his propounding a "new system of sound organisation" based on "
450:
215:. This led to him being harshly attacked in the 1920s by the "proletarian musician" movement, especially by the representatives of the "RAPM"
274:. In 1933 the composer returned to Moscow, where he earned a meager living by teaching and taking occasional jobs. A victim of the political
259:
counter-revolutionary literature". The "Roslavets case" was led by Viktor Bely, Alexandr Davidenko, V. Klemens, Yuri Keldysh, Semion Korev,
1816:
216:
1319:
863:
1291:
220:
1190:, edited by J. Braun, H. T. Hoffmann, and V. Karbusicky, pp. 159–76. Frankfurt am Main: Peter Lang, 1995. Second edition 1998.
1188:
Verfemte Musik. Komponisten in den Diktaturen unseres Jahrhunderts. Dokumentation des Kolloquiums vom 9.–12. Januar 1993 in Dresden
423:
363:. The mature forms of this "new system of sound organization" are typical for the pieces composed between 1913 and 1917, such as
1821:
1235:
520:, cantata after Vasily Alexandrovsky, Vladimir, Kirillov, Sergey Obradovich—mezzo-soprano, mixed chorus and orchestra (1927)
1776:
382:, Roslavets made an important contribution to the "revolutionary propaganda in music" in such compositions as the cantata
1826:
1811:
1134:
Gojowy D. "Wiederentdeckte Vergangenheit. Die russisch-sowjetische Avantgarde der 10er und 20er Jahre rehabilitiert?" In
1136:
Neue Musik im politischen Wandel. Veröffentlichungen des Darmstädter Instituts für Neue Musik und musikalische Erziehung
190:
890:
1211:, pp. 241–72 . Mitteilungen der internationalen Arbeitsgemeinschaft an der Universität Leipzig 10. Leipzig 2005.
1157:
1801:
1122:
Lobanova, Marina. "L’eredità die N. A. R. ne campo della teoria musicale". "Musica/Realtà" 12 (1983), p. 41–64
1796:
1312:
281:
He is buried in Vagan'kov cemetery in Moscow and the authorities have now granted permission to mark his grave.
1806:
1786:
1598:
35:
1287:
1791:
1245:
von Arnold Schönberg. Übersetzung, Einleitung (Roslawez und Schönberg) und Kommentar von Marina Lobanova".
927:
von Arnold Schönberg. Übersetzung, Einleitung (Roslawez und Schönberg) und Kommentar von Marina Lobanova",
1771:
1648:
1337:
1282:
1183:
Lobanova, Matina. "Der Fall Nikolaj Roslawez". "Neue Zeitschrift für Musik" 1995, no. 1; pp. 40–43.
223:" (Production Collective of the Students at the Moscow Conservatory). Roslavets was accused of being a "
1730:
1305:
1125:
Gojowy D. "Sinowi Borissowitsch im Keller entdeckt. Sowjetische Musikwissenschaft in der Perestrojka".
818:
Four Compositions (1919–1921): Prélude (lost); Poème; Prélude (lost); Prélude — Schott (in preparation)
457:, and the magazine "Soviet Music." Until 1989, Gojowy was treated as a "militant anti-communist" and a
442:, a close friend of Roslavets, had promoted Jewish music; the ASM had also promoted Jewish composers.
413:(1934–35) demonstrates one of the peaks of his "new system of sound organisation" in its later phase.
321:" that contain both the horizontal and vertical sound-material for a work (a concept close to that of
1781:
375:(1913–14), and the Piano Sonatas Nos. 1 (1914) and 2 (1916, reconstructed by Eduard Babasian), etc.
355:
and chamber instrumental compositions those sets were already elaborated side by side with expanded
289:
While still a student, Roslavets had been engaged in vigorous artistic debates provoked by Russian
131:
1718:
1740:
1699:
591:
Chamber symphony for 18 players (1934–35) — ed. by M. Lobanova; Kompositor International 51581
1683:
1176:
Lobanova, Marina. "Nikolaj Roslawez. Biographie eines Künstlers—Legende, Lüge, Wahrheit". In
402:
401:, he turned for a while to working with folk material, producing among other works the first
326:
224:
43:
1766:
1761:
1062:, with a foreword by György Ligeti (Frankfurt/Main: Peter Lang, 1997), pp. 13–20; Lobanova
526:, symphonic poem—mixed chorus and orchestra (1928) — ed. by Marina Lobanova; Schott ED 8256
379:
548:
3 Volumes ed. by Marina Lobanova by Schott Music International: Schott ED 8435, 8436, 8437
8:
1583:
232:
119:
1200:
Lobanova, Marina. "Das neue System der Tonorganisation von Nikolaj Andreevič Roslavec".
123:
1578:
1506:
1101:
333:
310:
298:
174:
135:
1736:
1491:
1376:
1328:
1231:
1153:
839:
581:
Violin Concerto No. 2 (1936) — ed. by Marina Lobanova; Kompositor International 52700
458:
454:
391:
322:
206:
58:
composer of Belarusian and Ukrainian origin. Roslavets was a convinced modernist and
765:
Three Compositions (1914) — Schott ED 7907 . First published 1915 (author's edition)
1704:
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1638:
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1501:
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1471:
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1021:
E.Roslavets' letter to M. Lobanova from 22.06.1987; cited in: Lobanova 1997, p. 48.
886:
844:
558:
Symphony in C minor (1910) — ed. by Marina Lobanova; Kompositor International 51585
439:
341:
318:
294:
170:
162:
127:
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768:
Two Compositions (1915) — Schott ED 7907 . First published 1915 (author's edition)
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1613:
1511:
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352:
348:
302:
211:
70:
59:
532:, symphonic poem after Alexandre Zharov—bass, chorus and orchestra (1929?), lost
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1391:
565:
511:
470:
337:
114:, where Roslavets began to study violin, piano, theory of music and harmony in
74:
66:
47:
39:
815:
Prelude (1919 or 1921) — reconstructed by M. Lobanova; Schott (in preparation)
667:
No. 4 (1920) — published in 1926 (see IMSLP); also available as Schott ED 8044
347:
Though the "new system of sound organisation" regulates the whole twelve-tone
1755:
1643:
1371:
1163:
Hust "Chr. Tonalitätskonstruktion in den Klaviersonaten von N. A. Roslavec".
1127:
306:
86:
1401:
976:
Music of the Repressed Russian Avant-garde, 1900–1929 By Larry Sitsky, pg.41
568:(approx. 1912–13) — reconstructed and ed. by Marina Lobanova; Schott ED 8107
1678:
1633:
1547:
1542:
1421:
1411:
1381:
1366:
314:
115:
82:
78:
724:
Sonata No. 1 (1926) — reconstructed and ed. by M. Lobanova; Schott ED 8177
1618:
1603:
1173:
McKnight "Ch. Nikolaj Roslavets". Diss. Ithaca: Cornell University, 1994.
260:
228:
150:
1197:, with a foreword by György Ligeti. Frankfurt am Main: Peter Lang, 1997.
985:
Lobanova 1983; 1997, pp. 132–88; 2001; 2004, S. 226–232 1983; 1997; 2001
1668:
1658:
1628:
1361:
271:
236:
202:
146:
118:'s musical classes. In 1902 Roslavets was accepted as a student at the
90:
1186:
Lobanova M. Nikolaj. "Roslavetz—Ein Schicksal unter der Diktatur". In
1653:
1573:
1456:
360:
329:
55:
1092:
Foreman, Lewis. "In Search of a Soviet Pioneer: Nikolai Roslavets",
777:
No. 1 (1914) — Published by Muzyka, 1990 (edited by Eduard Babasyan)
19:
889:
Andreevich Roslavetz. Internet Edition compiled by Onno van Rijen)
661:
No. 2 (1917) — reconstructed and ed. by M. Lobanova; Schott ED 8043
634:
No. 2 (1920) — reconstructed and ed. by M. Lobanova; Schott ED 8059
398:
356:
290:
267:
240:
103:
1297:
1207:
Lobanova, Marina. "Nicolaj Roslavec und sein tragisches Erbe". In
426:(Central state archive for literature and art, Moscow; now called
673:
No. 6 (1930s) — identified and ed. by M. Lobanova; Schott ED 8431
435:
252:
231:" artist, "alien to the proletariat", as well as "formalist", a "
182:
139:
107:
640:
No. 4 (1927) — identified and ed. by M. Lobanova; Schott ED 8036
62:
thinker; his music was officially suppressed from 1930 onwards.
178:
161:
In the 1910s Roslavets' compositions were published in Russian
51:
1178:
Visionen und Aufbrüche. Zur Krise der modernen Musik 1908–1933
812:(1919) — reconstructed by M. Lobanova; Schott (in preparation)
538:(14. IV. 1930) after Pimen Panchenko—bass and orchestra (1930)
824:
Two Poems (1920) — published 1928 (Muzgiz, Universal Edition)
752:
Sonata No. 2 (1921–1922) — ed. by M. Lobanova; Schott ED 8039
427:
275:
111:
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No. 2 (1916) — reconstructed by Eduard Babasyan; Schott 8391
1216:
Magier, Theosoph, Theurg: Alexander Skrjabin und seine Zeit
602:
598:
1180:, edited by W. Gruhn, et al.. Kassel 1994, pp. 45–62.
1099:
Gojowy D. "N. A. Roslavec, ein früher Zwölftonkomponist".
727:
Sonata No. 2 (1930s) — ed. by M. Lobanova; Schott ED 8178
438:". This dangerous accusation was caused by the fact that
1195:
M. Nikolaj Andreevič Roslavec und die Kultur seiner Zeit
1143:
Beobachtungen, Verfolgungen und Chroniken neuer Tonkunst
1060:
M. Nikolaj Andreevič Roslavec und die Kultur seiner Zeit
386:(1927) and numerous songs. However, his symphonic poem
177:
and others. Roslavets taught violin and composition in
1077:
M. Nikolai Andreyevich Roslavets i kultura ego vremeni
1064:
M. Nikolai Andreyevich Roslavets i kultura ego vremeni
1096:, New Series, No. 135, (Dec., 1980), pp. 27–29.
679:
Trois poèmes: Poéme douloureux, Poème lyrique, Poème
514:(before 1919) – baritone, chorus and orchestra; lost
309:
and others. Deeply influenced by the later works of
138:. He graduated in 1912, with a silver medal for his
1228:
Nikolai Andreyevich Roslavets i kultura ego vremeni
873:
871:
266:During 1932–33 he worked at the Musical Theater in
344:, a close friend of both Scriabin and Roslavets.
1753:
887:http://home.online.nl/ovar/roslavetz.htm(Nikolai
868:
762:Three Etudes (1914) — published 1914 by Grosse
574:— symphonic poem after Baudelaire (1921), lost
1313:
1066:(St. Petersburg: Petroglif, 2011), pp. 11–21.
491:"Pakhta" (Cotton), ballet-pantomime (1931–32)
130:, counterpoint, fugue and musical form under
605:, 2 violas and cello (1913) — Schott ED 8129
235:" and in the late 1920s and early 1930s, a "
217:Russian Association of Proletarian Musicians
740:(1912) — ed. by M. Lobanova; Schott ED 8045
1320:
1306:
1261:Studien zum russischen Musikdenken um 1920
611:No. 1 (1913) — published ca.1913 by Grosse
1292:International Music Score Library Project
1079:(St. Petersburg: Petroglif, 2011), p. 13.
246:
1209:Musikgeschichte in Mittel- und Osteuropa
1108:Gojowy D. "Sowjetische Avantgardisten".
821:Five Preludes (1919–22) — Schott ED 7907
480:
416:
18:
1754:
1263:. Frankfurt am Main: Peter Lang, 1991.
714:24 Preludes (1941–42) — Schott ED 7940
369:Three Compositions for Voice and Piano
1301:
1222:Die Musik in Geschichte und Gegenwart
1138:, vol. 32, pp. 9–22. Mainz 1991.
1117:Neue sowjetische Musik der 20er Jahre
449:In the West, the German musicologist
373:Four Compositions for Voice and Piano
371:(1913), String Quartet No. 1 (1913),
749:Sonata No. 1 (1921) — published 1924
102:some indicating that he was born in
1817:20th-century Russian male musicians
1327:
1274:Works by or about Nikolai Roslavets
1230:. St. Petersburg: Petroglif, 2011.
681:(1909–10) — Schott (in preparation)
293:, and was close to artists such as
13:
1003:Lobanova 1997, pp. 189–95, 208–11.
564:, symphonic poem presumably after
191:Association for Contemporary Music
189:and was one of the leaders of the
14:
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1150:Music of the Soviet Age 1917–1987
687:(1910s) — Schott (in preparation)
1735:
1726:
1725:
1288:Free scores by Nikolai Roslavets
806:(1919) — Schott (in preparation)
800:(1919) — Schott (in preparation)
789:No. 5 (1923) — published in 1925
711:(1935) — Schott (in preparation)
617:No. 3 (1920) — published in 1929
1283:Schott Musik International Site
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771:Prelude (1915) — Schott ED 7907
620:No. 4 (1939) (incomplete score)
1599:Modes of limited transposition
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880:
864:Nikolaj Andrejewitsch Roslawez
857:
703:Seven Pieces in first position
637:No. 3 (1921) — published 1925.
122:where he studied violin under
69:(three of them are lost), two
54:) was a significant Ukrainian
1:
1256:, fourth edition. N.Y., 1971.
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623:No. 5 (1941) — Schott ED 8128
196:
32:Никола́й Андре́евич Ро́славец
562:In the Hours of the New Moon
504:— mystery after Byron (1912)
28:Nikolai Andreevich Roslavets
7:
1777:People from Surazhsky Uyezd
1649:Quartal and quintal harmony
1338:List of modernist composers
1204:54 (2001), pp. 400–28.
1167:54 (2001), pp. 429–37.
828:
792:No. 6 (1928) (not complete)
156:
10:
1843:
1827:Moscow Conservatory alumni
1812:20th-century musicologists
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1012:Lobanova 1997, pp. 231–34.
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38:23 December 1880] in
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1141:Gojowy, D. Musikstunden.
1131:39 (1991), H. 11, S. 1224
1030:Lobanova 1997, pp. 11–12.
994:Lobanova 1983; 1997; 2001
958:Lobanova 1997, pp. 87–95.
949:Lobanova 1997, pp. 72–86.
940:Lobanova 1997, pp. 60–72.
126:, free composition under
65:Among his works are five
31:
1249:61/1999, pp. 22–27.
738:Dance of the White Girls
705:(1930s) — Schott VLB 131
284:
132:Mikhail Ippolitov-Ivanov
1802:Russian music theorists
1039:Gojowy 2008, pp. 11–12.
699:(1923) — published 1925
693:(1915) — Schott ED 8261
510:— symphonic poem after
96:
34:; 4 January 1881 [
1797:Russian male composers
1700:Second Viennese School
1693:Schools of composition
709:Invention and Nocturne
670:No. 5 (1922–23) (lost)
247:Political persecutions
24:
1822:Pupils of Jan Hřímalý
1807:Russian musicologists
1787:Soviet male composers
1684:Twelve-tone technique
1214:Lobanova M. Mystiker
1112:1969, p. 537–42.
536:To Mayakovsky’s Death
481:Works (selected list)
417:Posthumous reputation
270:, now the capital of
225:counter-revolutionary
44:Chernigov Governorate
22:
1259:Wehrmeyer, Andreas.
1252:Slonimsky, Nicolas.
1241:Roslawez, Nikolai. "
967:Gojowy 1980, p. 329.
905:Lobanova 1997, 25–30
877:Lobanova 1997, 25ff.
508:On the Earth’s Death
380:Bolshevik revolution
50:– 23 August 1944 in
1792:Composers for piano
1105:22 (1969), S. 22–38
931:61/1999, pp. 22–27
923:Nikolaj Roslawez. "
786:No. 4 (1923) (lost)
608:5 String Quartets:
572:The Man and the Sea
543:For voice and piano
251:In 1928 Roslavets'
187:Muzykalnaya Kultura
120:Moscow Conservatory
1772:People from Surazh
1226:Lobanova, Marina.
1202:Die Musikforschung
1165:Die Musikforschung
1102:Die Musikforschung
893:2016-01-09 at the
334:Nikolay Myaskovsky
311:Alexander Scriabin
299:Aristarkh Lentulov
175:Vsevolod Meyerhold
136:Alexander Ilyinsky
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1236:978-5-98712-059-0
1152:. Stockholm 1998
1148:Hakobian, Levon.
1110:Musik und Bildung
914:Lobanova 1997, 44
840:Alexander Mosolov
774:6 Piano Sonatas:
459:persona non grata
455:Tikhon Khrennikov
207:Arnold Schoenberg
23:Nikolai Roslavets
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1782:Soviet composers
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1705:Darmstadt School
1639:Post-romanticism
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1278:Internet Archive
1254:Music since 1900
1145:. Cologne, 2008.
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845:Leonid Sabaneyev
650:Violin and piano
502:Heaven and Earth
440:Leonid Sabaneyev
411:Chamber symphony
342:Leonid Sabaneyev
319:synthetic chords
295:Kasimir Malevich
171:Kazimir Malevich
143:Heaven and Earth
128:Sergei Vasilenko
71:violin concertos
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16:Russian composer
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1579:Experimental
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664:No. 3 (lost)
658:No. 1 (1913)
643:No. 5 (lost)
631:No. 1 (lost)
614:No. 2 (lost)
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116:Arkady Abaza
100:
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60:cosmopolitan
27:
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1767:1944 deaths
1762:1881 births
1629:Polyrhythms
1604:Neotonality
1492:Szymanowski
757:Piano music
655:6 Sonatas:
524:Komsomoliya
388:Komsomoliya
327:twelve-tone
261:Zara Levina
233:class enemy
151:verse drama
124:Jan Hřímalý
91:piano trios
89:, and five
1756:Categories
1674:Surrealism
1669:Stochastic
1659:Sound mass
1594:Microtonal
1566:techniques
1564:Genres and
1512:Stravinsky
1472:Skalkottas
1377:Schoenberg
1115:Gojowy D.
851:References
744:Meditation
553:Orchestral
530:Black Town
392:propaganda
378:After the
323:Schoenberg
272:Uzbekistan
237:Trotskyist
197:Musicology
30:(Russian:
1654:Serialism
1574:Atonality
1502:Prokofiev
1345:Composers
1247:Dissonanz
1193:Lobanova
1075:Lobanova
1058:Lobanova
929:Dissonanz
361:atonality
359:and free
330:serialism
229:bourgeois
56:modernist
1731:Category
1664:Spectral
1589:Futurism
1523:Americas
1507:Scriabin
1478:Hungary
1453:Germany
1437:Messiaen
1432:Koechlin
1408:Finland
1398:Czechia
1392:Pousseur
1388:Belgium
1358:Austria
891:Archived
829:See also
798:Berceuse
595:Nocturne
578:Schott.)
405:ballet,
399:Tashkent
394:works".
367:(1913),
357:tonality
353:romances
313:and his
291:Futurism
268:Tashkent
243:"; etc.
241:saboteur
163:Futurist
157:Futurism
104:Dushatyn
1716: ←
1644:Process
1533:Antheil
1498:Russia
1488:Poland
1468:Greece
1462:Strauss
1442:Milhaud
1427:Jolivet
1418:France
1412:Bergman
1294:(IMSLP)
1290:at the
1276:at the
1087:Sources
518:October
465:Revival
436:Zionism
384:October
338:Debussy
256:October
253:cantata
227:" and "
221:Prokoll
183:Kharkiv
140:cantata
108:Konotop
73:, five
1741:Portal
1543:Cowell
1538:Carter
1482:Bartók
1447:Varèse
1382:Webern
1372:Mahler
1367:Krenek
1352:Europe
1234:
1156:
746:(1921)
424:TsGALI
276:purges
145:after
85:, six
81:, two
77:, two
52:Moscow
40:Surazh
1619:Noise
1457:Reger
1422:Henry
1094:Tempo
810:Valse
804:Danse
691:Poème
496:Vocal
486:Stage
428:RGALI
403:Uzbek
285:Style
219:and "
201:As a
179:Elets
147:Byron
112:Kursk
1548:Ives
1402:Hába
1362:Berg
1232:ISBN
1154:ISBN
603:oboe
599:harp
597:for
239:", "
134:and
110:and
97:Life
36:O.S.
397:In
325:'s
209:'s
149:'s
1758::
870:^
601:,
305:,
301:,
297:,
193:.
181:,
173:,
169:,
153:.
93:.
46:,
42:,
1321:e
1314:t
1307:v
1238:.
1160:.
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