Selected Bibliography

The following list is drawn mainly from English-language publications, and additional references can be found in the Notes. Russian-language literature on the composers and the period treated in this book is limited and exists mainly in contemporary journals. The reader will find a useful list of Russian-language publications in Krebs (1970).

A valuable list, especially in the field of music periodicals, is Moldon’s Bibliography (1976). There are further references in Schwarz (1983), in the various volumes of the Russian research series published by UMI (McQuere [1983] and Joseph [1983]) and in appropriate articles in The New Grove.

The reader interested in Russian folk music will find extensive bibliographies in the volumes listed under “Folk Song Collections.” Collections of folk music and recordings are available from the library of the Society for Cultural Relations with the USSR, London.

Books and Articles

Abraham, Gerald. On Russian Music. London: William Reeves, 1939.

———. Eight Soviet Composers. London: Oxford University Press, 1943.

———. Rimsky-Korsakov. London: Duckworth, 1945.

———. Slavonic Music and Romantic Music. London: Faber, 1968.

———. Studies in Russian Music. London: William Reeves, 1969.

Aldwell, Edward, and Carl Sachter. Harmony and Voice Leading. New York: Harcourt Brace Jovanovich, 1979.

Antokoletz, Elliott. The Music of Bela Bartók. Berkeley and London: University of California Press, 1984.

Arias, Enrique Alberto. “Alexander Tcherepnin’s Thoughts on Music.” Perspectives of New Music 21 (1982-83):138-44.

Asafiev, Boris. Russian Music from the Beginning of the Nineteenth Century. Translated by A. J. Swan and J. W. Edwards. Ann Arbor: American Council of Learned Societies, 1953.

Ashley, P. D. “Prokofiev’s Piano Works: Line, Chord and Key.” Diss., University of Rochester, 1963.

Austin, William W. Music in the 20th Century. New York: Norton, 1966; London: Dent, 1967.

Baker, James M. The Music of Skriabin. New Haven and London: Yale University Press, 1986.

Bakst, James. A History of Russian-Soviet Music. New York: Dodd Mead, 1966.

Beach, David W. “Pitch Structure and the Analytic Process in Atonal Music: An Interpretation of the Theory of Sets.” Music Theory Spectrum 1 (1979):7-22.

———. Aspects of Schenkerian Theory. New Haven and London: Yale University Press, 1983.

Beaumont, Antony. Busoni the Composer. London: Faber, 1985; Bloomington: Indiana University Press, 1985.

Belayev, Viktor Mikhailovich. “Contemporary Russian Composers, Samuel Feinberg.” The Sackbut 5/11 (June 1925):326-29.

———. “Contemporary Russian Composers, Anatol Alexandrov.” The Sackbut 6/4 (November 1925):95-98.

———. Central Asian Music, Essays in the History of the Music of the Peoples of the U.S.S.R.. Edited by Mark Slobin, translated by Mark and Greta Slobin. Middletown, CT: Wesleyan University Press, 1975.

Bent, Ian, and William Drabkin. Analysis. London: Macmillan, 1987; New York: Norton, 1987.

Berger, Arthur. “Neoclassicism Reexamined.” Perspectives of New Music 9 (1971):79-86.

———. “Problems of Pitch Organization in Stravinsky.” In Perspectives on Schoenberg and Stravinsky. Edited by Benjamin Boretz and Edward T. Cone. New York: Norton, 1972.

Berry, Wallace. Structural Functions of Music. Englewood Cliffs: Prentice-Hall, 1976.

———. “Symmetrical Interval Sets and Derivative Pitch Materials in Bartók’s String Quartet No. 3.” Perspectives of New Music 16 (1979-80):287-381.

Boelza, Igor. Handbook of Soviet Composers. Edited by Alan Bush. London: Pilot Press, 1943.

Boucourechliev, Andre. Stravinsky. Translated by M. Cooper. London: Gollancz, 1987.

Boulanger, Nadia. Lectures on Modem Music. Houston: Rice Institute, 1926.

Bowers, Faubion. Broadway, U.S.S.R. Edinburgh and New York: Thomas Nelson, 1959.

———. Scriabin. Tokyo and Palo Alto: Kodansha International Ltd., 1969.

Braun, Joachin. Jews and Jewish Elements in Soviet Music. Tel Aviv: Israeli Music Publications, 1978.

Brown, Edward J. Proletarian Episode in Russian Literature. New York: Octagon, 1970.

Bruce, Archibald. “Some Thoughts on Early Webern.” Perspectives of New Music 10/2 (1972):159–63.

Burbank, Richard. 20th Century Music: A Chronology. London: Thames and Hudson, 1984.

Burkhart, Charles. “The Symmetrical Source of Webern’s Op. 5, No. 4.” In The Music Forum, vol. 5. New York and London: Columbia University Press, 1980.

Busoni, Ferruccio. Sketch of a New Aesthetic of Music. Translated by T. S. Baker. New York: Schirmer, 1911.

Byrnes, Robert F. Soviet-American Academic Exchanges: 1958-1975. Bloomington: Indiana University Press, 1976.

Calvocoressi, Michael D. A Survey of Russian Music. London: Penguin, 1944.

Camajani, Giovanni. “The Music of Lourié.” Ramparts, January 1965, pp.35-38.

Carpenter, C. “Thematic Development and Continuity in the Ten Piano Sonatas of Alexander Scriabin.” Diss., Kent State University, 1972.

Carpenter, Ellon. “The Theory of Music in Russia and the Soviet Union, ca. 1650-1988.” Diss., University of Pennsylvania. Dissertation Abstracts International, ref. DA 88 24722, vol. 49, A series, No. 9, p.2441, Mch. 1989.

Carr, Edward Hallet. The Soviet Impact on the Western World. New York: Macmillan, 1947.

Coker, Wilson. Music and Meaning: A Theoretical Introduction to Musical Aesthetics. New York: The Free Press, 1972.

Cone, Edward T. “Stravinsky: The Progress of a Method.” In Perspectives on Schoenberg and Stravinsky. Edited by Benjamin Boretz and Edward T. Cone. New York: W. W. Norton, 1972.

Cook, Nicholas. A Guide to Musical Analysis. London: Dent, 1987.

Cooper, Paul. Perspectives in Music Theory: An Historical-Analytical Approach. New York and London: Harper and Row, 1981.

Dahlhaus, Carl. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittall. Berkeley: University of California Press, 1980.

———. Arnold Schoenberg and the New Music. Translated by D. Puffert and A. Clayton. Cambridge and New York: Cambridge University Press, 1987.

Dale, W. H. “A Study of the Musicopsychological Dramas of Rebikov.” Diss., University of California, 1955.

Dallin, Leon. Techniques of 20th Century Harmony. Dubuque, Iowa: W. C. Brown, 1957.

Druskin, Mikhail. Igor Stravinsky. London: Cambridge University Press, 1983.

Dunsby, Jonathan, and Arnold Whittall. Music Analysis in Theory and Practice. London and Boston: Faber Music, 1988.

Ehrenburg, Ilya. People and Life, 1891-1921. Translated by A. Bostock and Y. Kapp. London: MacGibbon 8c Kee, 1961; New York: Knopf, 1962.

———. Memoirs: 1921-1941. Translated by T. Shebunina and Y. Kapp. London: MacGibbon 8c Kee, 1963; New York: World, 1964.

———. Memoirs: The War, 1941-1945. Translated by T. Shebunina and Y. Kapp. London: MacGibbon & Kee, 1964; New York: World, 1964.

———. Memoirs: Post-War Years, 1945-1954. Translated by T. Shebunina and Y. Kapp. London: MacGibbon 8c Kee, 1966; New York: World, 1967.

Epstein, David. Beyond Orpheus: Studies in Musical Structure. Cambridge, MA: MIT Press, 1979; London: Oxford University Press, 1987.

Evenson, David. “The Piano in the Compositions of Igor Stravinsky.” The Piano Quarterly 30 (1982):26–31.

Fischer, Louis: The Life of Lenin. New York: Harper 8c Row, 1964; London: Weidenfeld 8c Nicholson, 1965.

Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973.

———. The Harmonic Organization of “The Rite of Spring.” New Haven: Yale University Press, 1978.

———. “Foreground Rhythm in early 20th Century Music.” Music Analysis 2 (October 1983):239–61.

———, and Stephen Gilbert. Introduction to Schenkerian Analysis. New York and London: Norton, 1982.

Freeman, Joseph; Joshuah Kunitz; and Louis Lozowick. Voices of October: Art and Literature in Soviet Russia. New York: Vanguard, 1930.

Frisch, Walter. Brahms and the Principle of Developing Variation. Berkeley: University of California Press, 1984.

George, Graham. Tonality and Musical Structure. London: Faber, 1970.

Gillespie, John. Five Centuries of Keyboard Music. Belmont, CA: Wadsworth Publishing Co., 1965.

Gojowy, Detlef. Neue sowjetische Musik der 20er Jahre. Laaber: Laaber-Verlag, 1980.

———. “Half Time for Nikolai Roslavets (1881-1944), A Non-Love Story with a Post-Romantic Composer.” In Russian and Soviet Music: Essays for Boris Schwarz. Edited by Malcolm Hamrick Brown. Ann Arbor: UMI Research Press, 1984.

Gretchaninov, Alexander. My Life. Translated by N. Slonimsky. New York: Coleman-Ross, 1952.

Hahl-Koch, Jelena, ed. Arnold Schoenberg, Wassily Kandinsky: Letters, Pictures, Documents. Translated by J. C. Crawford. London: Faber, 1984.

Hanson, Howard. Harmonic Materials of Modem Music. New York: Appleton-Century Crofts, 1960.

Hartog, Howard, ed. European Music in the Twentieth Century. London: Pelican, 1965.

Hindemith, Paul. The Craft of Musical Composition. Translated by Arthur Mendel. New York: Schott Music, 1937.

Ho, Allan B., and Dmitry Feofanov, eds. Biographical Dictionary of Russian-Soviet Composers. New York and London: Greenwood Press, 1989.

Holloway, Robin. Debussy and Wagner. London: Eulenburg, 1979.

Hopkins, G. W. “Stravinsky’s Chords.” Tempo 76 (1966):6–12.

Horecky, Paul, ed. Basic Russian Publications: A Selected and Annotated Bibliography on Russia and the Soviet Union. Chicago and London: University of Chicago Press, 1962.

———. Russia and the Soviet Union: A Bibliographic Guide to Western-Language Publications. Chicago: University of Chicago Press, 1965.

Howat, Roy. Debussy in Proportion: a Musical Analysis. Cambridge: Cambridge University Press, 1983.

Ikonnikov, Alexei. Myaskovsky, His Life and Work. New York: Philosophical Library, 1946.

Jarman, Douglas. The Music of Alban Berg. London and Boston: Faber, 1979.

Jelagin, Juri. Taming of the Arts. Translated by N. Wreden. New York: Dutton, 1951.

Johnson, Paul. A History of the Modem World from 1917 to the 1980s. London: Weidenfeld and Nicolson, 1983.

Jonas, Oswald. Introduction to the Theory of Heinrich Schenker: The Nature of the Musical Work of Art. Translated and edited by J. Rothgeb. New York: Longman, 1982.

Joseph, Charles M. “Structural Coherence in Stravinsky’s Piano-Rag-Music.” Music Theory Spectrum 4 (1982):76-91.

———. Stravinsky and the Piano. Ann Arbor: UMI Research Press, 1983.

Karpovich, M., ed. Outlines of Russian Culture. Translated by V. Ughet and E. Davis. Philadelphia: University of Pennsylvania Press, 1942.

Kaufman, E. The Evolution of Form and Technique in the Late Works of Scriabin. New Haven: Yale University Press, 1972.

Kay, Norman. Shostakovich. London: Oxford University Press, 1971.

Khan-Magomedov, Selim. Pioneers of Soviet Architecture: The Search for New Solutions. Edited by Catherine Cook. London: Thames and Hudson, 1987.

Kielian-Gilbert, Marianne. “Relationships of Symmetrical Pitch-Class Sets and Stravinsky’s Metaphor of Polarity.” Perspectives of New Music 21 (1982-83):209-40.

Kolneder, Walter. Anton Webern, an Introduction to His Works. London: Faber, 1968.

Krebs, Stanley D. Soviet Composers and the Development of Soviet Music. London: Allen & Unwin, 1970; New York: Norton, 1970.

Kupferberg, Herbert. The Raised Curtain. Report of the Twentieth-Century Fund Task Force on Soviet-American Scholarly and Cultural Exchanges. New York: The Twentieth-Century Fund, 1977.

Lang, Paul Henry, ed. Stravinsky: A New Appraisal of His Work. New York: W. W. Norton, 1963.

LaRue, Jan. Guidelines for Style Analysis. New York: W. W. Norton, 1970.

Lehrdahl, Fred, and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge, MA: MIT Press, 1983.

Lenin, Vladimir. New Economic Policy. New York, 1937.

———. On Culture and Art. Moscow: Izogiz, 1938.

Leonard, Richard A. A History of Russian Music. New York: MacMillan, 1957; reprint, New York: Funk & Wagnalls, 1968.

Lewis, Christopher. “Tonal Forms in Atonal Music: Berg’s Op. 5/3.” Music Theory Spectrum 3 (1981):84–97.

Lourié, Arthur. “La Sonate pour Piano de Strawinski.” La Revue Musicale 10 (1925):100-104.

———. “Neogothic and Neoclassic.” Modem Music 5/3 (1928):3-8.

———. “An Enquiry into Melody.” Modem Music 7/1 (1930):3–11.

———. Sergei Koussevitsky and His Epoch. Translated by S. W. Pring. New York: Knopf, 1931.

———. “The Russian School.” The Musical Quarterly 18 (1932):519-22.

———. “The Crisis of Form.” Music and Letters 14/2 (April 1933).

MacDonald, Hugh. Skryabin. London and New York: Oxford University Press, 1978.

MacDonald, Malcolm. Dmitri Shostakovich—A Complete Catalogue. London: Boosey & Hawkes, 1977.

McFarlane, J., and M. Bradbury. Modernism 1890-1930. Harmondsworth: Penguin, 1976.

McQuere, Gordon D., ed. Russian Theoretical Thought in Music. Ann Arbor: UMI Re search Press, 1983.

Mandelbaum, Mayer Joel. “Multiple Division of the Octave and the Tonal Resources of 19-Tone Temperament.” Diss., Indiana University, 1961.

Mandelstam, Nadezhda. Hope Abandoned. London: Penguin, 1975.

Marquis, G. Welton. Twentieth Century Music Idioms. Englewood Cliffs: Prentice-Hall, 1964.

Martens, F. H. Leo Ornstein: The Man, His Ideas, His Work. New York: Amo Press, 1975.

Mellers, Wilfred. “Stravinsky’s Oedipus as 20th-Century Hero.” In Stravinsky: A New Appraisal of His Work. Edited by Paul Henry Lang. New York: W. W. Norton, 1963.

Messiaen, Olivier. The Technique of My Musical Language. Paris and London: Leduc, 1956.

Miliukov, Paul. “Architecture, Painting and Music.” In Outlines of Russian Culture. Edited by Michael Karpovich, translated by V. Ughet and E. Davis. Philadelphia: University of Pennsylvania Press, 1943.

Miller, Horace Alden. New Harmonic Devices. New York: Oliver Ditson Company, 1930.

Mitchell, Donald. The Language of Modem Music. London: Faber, 1963.

Moeves, Robert. “Mannerism and Stylistic Consistency in Stravinsky.” Perspectives of New Music 9 (1971):97-101.

Moisenko, Rena. Realist Music: Twenty-five Soviet Composers. London: Meridian, 1949.

———. Supplement to Realist Music. Slough: Kenion Press, 1950.

Moldon, Daniel. Bibliography of Russian Composers. London: White Lion, 1976.

Montagu-Nathan, M. Contemporary Russian Composers. New York: Greenwood Press, 1917; reprint, 1970.

Morgan, Robert P. “Dissonant Prolongations, Perfect 5ths and Major 3rds in Stravinsky’s Piano Concerto.” In Theory Only 4 (April 1978):3-7.

Musgrave, Michael. “Thoughts on the Teaching of Analysis.” Music Analysis 2/3 (1983).

Nabokov, Nicolas, and Anna Kallin, eds. 20th Century Composers. Vols. 1-5. London: Weidenfeld and Nicolson, 1970.

Narmour, Eugene. Beyond Schenkerism. Chicago: University of Chicago Press, 1977.

Nestyev, Israel. Sergei Prokofiev, His Musical Life. Translated by Rose Prokofieva. New York: Knopf, 1946.

———. Prokofiev. Translated by Florence Jonas. London: Oxford University Press, 1960.

Nichols, Roger. Debussy. London: Oxford University Press, 1972.

———. Messiaen. London: Oxford University Press, 1975.

Noble, Jeremy. “Debussy and Stravinsky.” The Musical Times 108 (1967):22–25.

Norris, Christopher, ed. Shostakovich: The Man and His Music. London: Lawrence and Wishart, 1982; New York: Marion Boyars, 1982.

O’Grady, Terence J. “A Conversation with Leo Omstein.” Perspectives of New Music 23 (Fall/Winter 1984):126-33.

Olkhovsky, Andrei. Music under the Soviets: The Agony of an Art. New York: Praeger, 1955; London: Routledge, 1955.

Olleson, Edward, ed. Modem Musical Scholarship. Stocksfield: Oriel, 1980.

Orban, Marcel. “Nicolas Obouhow.” La Revue Musicale 16 (1935):100.

Palmer, Christopher. Impressionism in Music. London: Hutchinson, 1973.

Payne, Anthony. Schoenberg. London and New York: Oxford University Press, 1968.

Perle, George. Serial Composition and Atonality. 5th rev. ed. Berkeley: University of California Press, 1981.

Perlis, Vivian: “The Futurist Music of Leo Omstein.” Paper presented at the American Musicological Society, Chicago, November 1973; published in Notes 31 (1974-75).

Persichetti, Vincent. Twentieth Century Harmony. London: Faber, 1962.

Prokofiev, Sergey. Autobiography, Articles, Reminiscences. Translated by R. Prokofieva. London: Central Books, 1960.

———. Prokofiev by Prokofiev: A Composer’s Memoir. Edited by David H. Appel, translated by Guy Daniels. New York: Doubleday, 1979.

Rabinovich, David. Dmitri Shostakovich, Composer. Translated by George Hanna. London: Lawrence & Wishart, 1960.

Rajna, Thomas. “Stravinsky’s Piano Works.” Composer 19 (1968):5-9.

Rauch, Georg von. A History of Soviet Russia. Translated by P. and A. Jacobsohn. London: Pall Mall Press, 1967; New York: Praeger, 1967.

Reti, Rudolph. Tonality, Atonality, Pantonality. London: Barrie and Rockliff, 1958.

———. The Thematic Process in Music. New York: Macmillan, 1962.

Ridenour, Robert C. Nationalism, Modernism, and Personal Rivalry in Nineteenth-Century Russian Music. Ann Arbor: UMI Research Press, 1981.

Rimsky-Korsakov, Nikolay Andreyevich. My Musical Life. Translated by Judah A. Joffe. New York: Knopf, 1942.

Robinson, Harlow. Sergei Prokofiev. London: Hale, 1987.

Rosen, Charles. Sonata Forms. New York and London: Norton, 1980.

Rudnitsky, Konstantin. Russian and Soviet Theatre: Tradition and the Avant-Garde. Translated by Roxane Permar, edited by Lesley Milne. London: Thames and Hudson, 1988.

Sabaneyev, Leonid. Modem Russian Composers. Translated by J. A. Joffe. New York: International, 1927; London: Martin Lawrence, 1927; reprint, New York: Da Capo, 1975.

Salisbury, Harrison, ed. The Soviet Union: The First Fifty Years. New York: Harcourt Brace, 1967.

Salzer, Felix. Structural Hearing. New York: Dover Publications, 1952.

Saminsky, Lazare. Music of Our Day. New York: Thomas Crowell, 1932.

———. “New Tonal Horizons.” Modem Music 10 (January 1932):56-57.

Samson, Jim. Music in Transition. London: Dent, 1977.

———. The Music of Szymanowski. London: Kahn and Averill, 1980.

Schoenberg, Arnold. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein. London: Faber, 1975.

Schwarz, Boris. “Stravinsky in Soviet Russian Criticism.” In Stravinsky: A New Appraisal of His Work. Edited by Paul Henry Lang. New York: W. W. Norton, 1963.

———. “Arnold Schoenberg in Soviet Russia.” Perspectives of New Music 4 (Fall/Winter 1965):86-94.

———. Music and Musical Life in Soviet Russia, 1917-1981. Bloomington: Indiana University Press, 1983.

Seaman, Gerald R. History of Russian Music. Oxford: Blackwell, 1967.

Shead, Richard. Music in the 20s. London: Duckworth, 1976.

Sherlaw-Johnson, Robert. Messiaen. London: Dent, 1975.

Shostakovich, Dmitri. Testimony: The Memoirs of Dmitri Shostakovich. Edited by Solomon Volkov, translated by Antonina W. Bouis. New York: Harper 8c Row, 1979.

Simmons, Ernest, ed. Continuity and Change in Russian and Soviet Thought. Cambridge: Harvard University Press, 1955.

Slonimsky, Nicolas. “Development of Soviet Music.” Research Bulletin on the Soviet Union 2/4 (30 April 1937). Published by American Russian Institute for Cultural Relations with the Soviet Union.

———. Music since 1900. New York: Scribner, 1971.

———. Perfect Pitch. Oxford and New York: Oxford University Press, 1988.

Smith, Moses. Koussevitzky. New York: Allen, Towne & Heath, 1947.

Sollertinsky, Dmitri and Ludmilla. Pages from the Life of Dmitri Shostakovich. Translated by Graham Hobbs and Charles Midgley. New York: Harcourt Brace Jovanovich, 1980.

Spector, Ivar. An Introduction to Russian History and Culture. New York: Van Norstrand, 1954.

Spiess, Claudio. “Editions of Stravinsky’s Music.” In Perspectives on Schoenberg and Stravinsky, edited by Benjamin Boretz and Edward T. Cone. New York: W. W. Norton, 1972.

Straus, Joseph. “Stravinsky’s Tonal Axis.” The Journal of Music Theory 26 (1982):261-90.

Stravinsky, Igor. Poetics of Music. Translated by A. Knodel and I. Dahl. London: Hinrichsen, 1960.

———, and Robert Craft. Dialogues and a Diary. London: Faber, 1968.

Stravinsky, Soulima. Stravinsky: The Short Piano Pieces. New York: Boosey & Hawkes, 1977.

Struve, Gleb. Soviet Russian Literature, 1917-1950. Norman: University of Oklahoma Press, 1951.

———. Russian Literature under Lenin and Stalin. Norman: University of Oklahoma Press, 1971.

Suchoff, Benjamin. Guide to Bartók’s Mikrokosmos. London: Boosey & Hawkes, 1971.

Taruskin, Richard. “Russian Folk Melodies in The Rite of Spring.” Journal of the American Musicological Society 33 (1980):501-43.

Tomasic, Dinko. The Impact of Russian Culture on Soviet Communism. Glencoe, IL: Free Press, 1953.

Travis, Roy. “Tonal Coherence in the First Movement of Bartók’s Fourth String Quartet.” In The Music Forum, vol. 2. New York: Columbia University Press, 1970.

Treadgold, Donald. Twentieth Century Russia. Chicago: Rand McNally, 1959.

Trotsky, Leon. Literature and Revolution. Ann Arbor: University of Michigan Press, 1960.

Ulam, Adam B. The Bolsheviks. New York: Macmillan, 1965. Reprinted as Lenin and the Bolsheviks. London: Secker & Warburg, 1966.

Van den Toorn, Pieter C. The Music of Igor Stravinsky. New Haven: Yale University Press, 1983.

Vinton, John, ed. Dictionary of Twentieth-Century Music. London: Thames and Hudson, 1974.

Vishnegradsky, Ivan. Manuel d’harmonie à quarts de ton. Paris, 1933.

———. “L’Enigme de la musique moderne.” Revue d’esthetique 2 (1949):67, 181.

———. “Problèmes d’ultrachromatisme.” Polyphonie 9-10 (1954):129.

Vodarsky-Shiraeff, Alexandra, ed. Russian Composers and Musicians: A Biographical Dictionary. New York: H. W. Wilson, 1940.

Von Rauch, Georg. A History of Soviet Russia. Translated by Peter and Annette Jacobsohn. New York: Frederick Praeger, 1957.

Wellesz, Egon. Arnold Schoenberg. Westport, CT: Greenwood Press, 1970.

Wells, H. G. Russia in the Shadows. London: Hodder and Stoughton, 1920.

Werth, Alexander. Musical Uproar in Moscow. London: Turnstile, 1949.

White, Eric Walter. Stravinsky: The Composer and His Works. Berkeley: University of California Press, 1979.

Whittall, Arnold. “Tonality and the Whole-tone Scale in the Music of Debussy.” The Music Review 36 (November 1975):261 —71.

———. Music Since the First World War. London: Dent, 1977.

Yasser, Joseph. A Theory of Evolving Tonality. London: Oxford University Press, 1932.

———. “Gretchaninov’s Heterodox Compositions.” The Musical Quarterly 28 (July 1942):309-17.

Yates, Peter: Twentieth Century Music. London: Allen and Unwin, London, 1968.

Yeston, Maury, ed. Readings in Schenker Analysis. New Haven: Yale University Press, 1977.

Zavalishin, Vyacheslav. Early Soviet Writers. New York: Praeger, 1958.

Zenkovsky, Vasilii. A History of Russian Philosophy. Translated by George L. Kline. New York: Columbia University Press, 1953.

Zetkin, Klara. Reminiscences of Lenin. London, 1929.

Zur, Menachem. “Tonal Ambiguities as a Constructive Force in the Language of Stravinsky.” The Musical Quarterly 68 (1982):516-26.

Folk Song Collections

Gippius, E., and Z. Eval’d. Pesni Pinezliya (Songs of the Pinega River area). Moscow, 1937.

Kolpakova, N. P.; F. V. Sokolov; and B. M. Dobrovolskiy. Pechora Region Songs. Moscow and Leningrad, 1963.

Kotikova, N. Narodniye pesen Pskov Oblast (Folk songs of the Pskov Oblast). Moscow, 1966.

Lebedinskiy, L. N. Bashkir Folk Songs and Melodies. Moscow, 1965.

Liadov, A. Pesni Russkovo Naroda. Moscow, 1959.

Listopadov, A. Pesni Donskikh Kasakov (Songs of the Don Cossacks). 4 vols. Moscow, 1949-54.

Pavlova, G. Pesni Smolenskoy oblasti. Moscow, 1969.

Pushkina, S., and V. Grigorenko. Priokskiye Narodniye Pesni. Moscow, 1970.

Sokolov, A. Sto russkikh narodnikh pesen (100 Russian Folk Songs). Leningrad, 1970.

Zakharov, V. 25 Russian Folk Songs. Moscow, 1938.

———. Khor imeni pyatnitskovo: sto russkikh narodnikh pesen. Moscow, 1958.

Zemtsovky, I. Musical Culture of the Autonomous Republics Included in the RSFSR. Muzgiz, 1957.

———. Toropetskiye pesni: pesni rodini-M. Musorgskovo. Leningrad, 1967.

———. Uglichskiye narodniye pesni. Leningrad, 1974.