Abstract: and again, prominent Russian composers have expressed their distaste for dodecaphony. In opinion of Shostakovick, the dogma of dodecaphony kills composer's imagination and living soul of Kabalevsky says, Dodecaphony is an elaborate system of crutches for composer. Khachaturian sees danger when a young composer borrows schemes of serial Khrennikov refers to gimmicks. All this sounds ominous, as if there were an international conspiracy to contaminate purity of Russian music. The verbal invectives against dodecaphony are matched by total silence as far as music itself is concerned. For more than thirty years, Arnold Schoenberg's compositions have been excluded from Soviet repertoire, and post-Stalin Thaw did not bring any change in this respect. In Soviet writings on music, name of Schoenberg is barely mentioned. A five-volume set of a Soviet bibliography, Literature on Music, spanning years 1917 to 1959, contains more than 10,000 entries; yet name of Schoenberg appears only six times, of which three are merely in passing. This conspiracy of silence prevents a whole generation of Soviet musicians and listeners from knowing real issues as far as twelve-tone music is concerned.
Publication Year: 1965
Publication Date: 1965-01-01
Language: en
Type: article
Indexed In: ['crossref']
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Cited By Count: 3
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