Table of Contents

Table of Contents

Contributors

Introduction

Part I: Tonality

Chapter 1

Tonal Pairing in Two of Rachmaninoff’s Songs

Ellen Bakulina

Chapter 2

Abundant Novelty of Antitonic Harmony in the Music of Nikolai Myaskovsky

Scott Murphy

Chapter 3

House of Mirrors: Distorted Proportions in Prokofiev’s Piano Concerto No. 1

Rebecca Perry

Chapter 4

A Curiosity in the Early String Quartets of Shostakovich, and Its Precedents in Previous Works

Patrick McCreless

Chapter 5

Navigating Post-Soviet Armenia: On Decoloniality in Tigran Mansurian’s Requiem

Knar Abrahamyan

Part II: Modernism

Chapter 6

Fifths’ Paths through Nikolai Roslavets’s Three Poems of Zinaida Gippius

Inessa Bazayev

Chapter 7

Alexander Mosolov’s Piano Sonata No. 1 and Its Synthetic Modernism

Daniil Zavlunov

Chapter 8

The Rebirth of Melody in Lourié’s Post-Neoclassical Concerto da camera

Klára Móricz

Chapter 9

The Features of Alexander Tcherepnin’s Nine-Step Scale and Its Use in the First Movement of His First Symphony

Joshua Bedford

Chapter 10

Timbre and Vibration in Galina Ustvolskaya’s Composition No. 1, "Dona nobis pacem"

Maria Cizmic

Part III: Serialism

Chapter 11

Edison Denisov and Multiple-Row Serialism

Zachary Cairns

Chapter 12

Historical and Stylistic Reconciliation in Sofia Gubaidulina’s Reflections on the Theme BACH

Joseph Straus

Chapter 13

Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto

Christopher Segall

Index

About the Author

Inessa Bazayev is Paula G. Manship Associate Professor of Music Theory and Theory Area Coordinator at Louisiana State University.

Christopher Segall is Associate Professor of Music Theory at the College-Conservatory of Music, University of Cincinnati.