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Corrections and Index 

Dmitri Smirnov
A Geometer of Sound Crystals:
A Book on Philipp Hershkowitz

(studia slavica musicologica, vol. 34)
ISBN 3-928864-99-8
Ernst-Kuhn-Verlag
 

see also: 
Introduction to Herschkowitz
Corrections and Index
Herschkowitz: On an invention of Johann Sebastian Bach (1967-70s)
Herschkowitz: Three-part Invention in F minor (1967)
to purchase the book click here and send a mail: Ernst-Kuhn-Verlag@t-online.de
Website:  http://www.vek.de


After receiving a copy of ‘Geometer of Sound Crystals’ I have noticed a multitude of errors within its pages.
Most of these are small and insignificant.
However, I have felt it necessary to rewrite the index as this will be of great use to the reader.
Other errors worth noting are listed below.
Guy Stockton
 

CORRECTIONS:

1. Instead of "=" signs have to be printed "Flat" signs on pages: 49, 99, 100, 123, 128 and 138

2. The large paragraph “As it is supposed to be….” on page 135 should be written as a footnote

3. Some paragraphs appear in italics for no apparent reason on pages: 7-8 and 11-13

4. On page 187, the letter is dated 6th April: this should be 8th April

INDEX:
(corrected)
Abaldueva-Herschkowitz, Leni (see: Herschkowitz, Elena)
abnormality: 167
accompaniment: 34, 83, 86,  96, 105n, 151, 201, 201n, 222, 226, 242
Achilles’ heel: 115
adagio: 45,46, 54, 103, 104n, 108, 137, 138n, 144
aesthetics: 34, 80,
Alikhanov, Tigran: 4n, 164n
Alikhanova, Evgenia: 4n, 164n
Almeida Festival: 185
Altenberg, Peter (Englander, Richard): 88, 208, 241
Amenda, Karl Ferdinand: 186-187, 186n
antecedent: (see: period)
anti-bars: 52
anti-half-cadence: 56
‘appassionateness’: 131
Apollinaire, Guillaume: 225, 226, 242
     Automne from Alcools: 225, 226, 242
    Apollo: 165
artificial dominants: 23-25, 51n, 56, 135, 166, 196, 200, 204, 206
Artyomov, Vyacheslav: 4n, 64n
Ashrafi, Mukhtar: 3, 109
atonality: 232
augmentation: 142
avant-garde: 8, 65n, 77, 79
Bach, Johann Sebastian: 4n, 7, 8, 10, 10n, 18, 42n, 65, 66, 68, 73, 107, 147, 147n, 158, 178, 229, 234, 236
     Well-Tempered Clavier: 42n, 68
     vol. I: 7th Prelude E-flat Major (BWV853-I): 68
     Inventions:
     9th 3-part Invention (Sinfonia) F Minor (BWV795): 4n, 7n, 10n,
Badamshina, Ghuzal: 243
ballet: 13, 85
Barbu, Ion: 5, 209, 241
    Grup (Group): 209, 241
    Lemn sfint (Holy Wood): 209, 241
    Margini de seara (On the Edge of Evening): 209, 241
Bartlett, Rosamund: 248
Bartók, Bela: 209
beauty: 5, 15, 34, 73, 85, 148, 189, 197, 230,235
Beethoven, Ludvig van: 1, 7-10, 12, 17, 18, 21, 22, 28, 29, 30n, 33, 34, 40, 41n, 42n, 42-45, 47, 48, 52, 56, 57, 58, 60, 65, 66, 68, 73, 75, 77, 84, 90, 91, 92, 95-97, 98n, 100n, 103, 104n, 107n, 107-109, 112, 112n, 116, 118, 120, 121n, 123n, 123-12126, 133, 135, 136, 138, 138n, 140-146, 158, 166, 168-170, 178, 186, 187, 186n, 190, 194, 196, 198, 199, 201, 204, 226, 229, 230, 231, 232, 234, 235, 237, 238
    Piano Concerti:
    1st Piano Concerto (Op.15-I): 108, 112
    4th Piano Concerto (Op.58-III): 115, 117
    Piano Quartets: 145
    Sonatas, Piano: 1, 8, 57, 59n, 140, 144, 168
    1-3 Sonatas (Op.2): 106, 140
    1st  Sonata (Op.2/1): I: 21, 34, 95-98, 98n-99n, 194-197; II: 45, 46 54, 97, 98-100, 100n-101n; III: 97, IV: 35, 97, 114, 115, 117
    2nd Sonata (Op.2/2): 106; I: 198-200, 205; II: 30, 47, 49, 50, 106; III: 29, 30n; IV: 31, 48, 115, 116
    3rd Sonata (Op.2/3) I: 35, 37-38, 38n, 39n, 91, 200-202, 205; II: 103-104, 104n-105n; III: 103, 105; IV: 115, 116
    4th Sonata (Op.7): 144; I: 202-206; II: 35, 42-43, 48, 52; III: 35, 43; IV: 48-49
    5-10 Sonatas (Op.10):140
    5th Sonata (Op.10/1): 57; I: 35, 39, 57; II: 57; III: 57
    6th Sonata (Op.10/2) II: 41, 58; III: 35, 42, 42n, 91
    7th  Sonata (Op.10/3) II: 22, 45, 45n, 53, 54, 56, 91III: 54;  IV: 33, 43, 49, 54, 115, 116
    8th Sonata (Pathetique,Op.13): 144; III: 35, 40, 41n
    9th Sonata (Op.14/1) II: 58; III: 45
    10th Sonata (Op.14/2) II: 48, 54, 55n, 56, 57; III: 48, 113
    11th Sonata (Op.22) IV: 48, 49
    12th Sonata (Op.26): 142; I: 32, 48; II: 48; IV: 48
    13th Sonata (Op.27/1): 140; II: 91; IV: 53, 120
    14th Sonata (Moonlight, Op.27/2) 140; I: 107-108
    15th Sonata (Op.28) II: 48, 49
    16th Sonata (Op.31/1): 140; I: 48, 118, 119-120 II: 48; III: 48
    17th Sonata (Op.31/2): 140, 144; I: 139; II: 137-138, 138n
    18th Sonata (Op.31/3-II): 140; II: 113
    19th Sonata (Op.49/1): 140;, II: 51
    20th Sonata (Op.49/2): 140
    21st Sonata (Waldstein, Op.53): 91, 121n-122n, 126;  I: 118-119, 135-136; III: 118, 120, 136-137;
    23rd Sonata (Appassionata, Op.57): 146, 148, I: 127, 148; II: 48, 52, 127, 148; III: 123, 125-131, 148
    24th Sonata (Op.78) 126; II: 122
    26th Sonata (Op.81a, Les Adieux): 126, 143
    27th Sonata (Op.90): 120, 126
    28th Sonata (Op.101) 84, 91,  I: 68, 68n, 69
    Sonatas, Violin and Piano: 108
    9th Sonata (Kreutzer, Op.47): 69, 84, 245
    String Quartets: 187, 245
    1-6 (Op.18): 99,
    1st Quartet (Op.18/1): 186n
    2nd Quartet (Op.18/2) II: 108
    7-9 Quartets (Rasumovsky, Op.59): 133
    7th Quartet (Op.59/1) II: 108, 111, 112, 112n
    8th Quartet (Op.59/2) IV: 115, 117
    13th Quartet (Op.130):143; I: 143
    String Quartet in F Major (Hess 34): 242, 226
    String Quintets: 145
    Symphonies:  8, 108, 142, 170, 245
    1st Symphony (Op.21): 99, 108, 170
    2nd Symphony (Op.36): 108
    3rd Symphony (Op.55):170,  IV: 68, 84
    4th Symphony (Op.60): 170,
    5th Symphony (Op.67): 170, 190
    6th Symphony (Op.68): 142, 170; I: 142
    7th Symphony (Op.92): 170; I: 44; II: 91, 123-124; III: 166; IV: 108, 111, 112, 114, 115, 116, 117;
    8th Symphony (Op.93): 170
    9th Symphony: (Op.125): 108, 170, 190 II: 107, 170
    Trios: 108
    33 Variations on a Waltz by Diabelli (Op.119):145
    Wellington’s Victory (Op.91): 145,
Beethoven’s problems: 114, 116, 137, 141, 144, 202, 205
Belyi, Victor: 87
Berg, Alban: VII,  1n, 2, 4n, 6, 7, 11, 12, 15, 16, 18, 26, 74, 75, 79, 82,84,88, 90, 109, 111, 149, 152, 159, 160, 161, 207, 208, 235-237
    Altenberglieder (Op.4): 88-89, 89n, 208
    Lulu: 1n, 4n
    Wozzeck: 71, 235, 237
Berg Society: 1n, 6, 74
Berlioz, Hector: 12, 66, 190
bi-formality (see: double form)
bi-functionality (see: double functionality):
biology: 190
Bogatyryov, Konstantin: 218
Bolkonsky, Andrei: 110, 110n
Böll, Heinrich: 239n
Boulez, Pierre: 13, 80
Brahms, Johannes: 7, 11, 12, 19, 72, 74, 75, 91, 111, 123, 151
     3rd Symphony (Op.90) 123, 151
     4th Symphony (Op.98): 75
Brezhnev, Leonid: 134
Brueghel, Peter: 184
     ‘The Battle of Pancake Week with Lent Day’ 184
Bunin, Revol: 169, 169n
Byalik, Mikhail: 4n
cadence (cadences): 22, 24, 24n, 30-32, 34-37, 40, 41, 41n, 43-45, 47-50, 52, 54-56, 98n, 99, 107, 117, 129, 138n, 166, 196, 197, 202, 204, 206, 213
    ‘anti half’: 56
     full: 31, 34-37, 41n, 45, 48-50, 52, 107, 138n, 206, 213
     half: 31, 37, 45, 48-50, 52, 54, 56, 98n, 138n, 213
     interrupted: 34, 43, 52
canon: 34, 95, 141, 174, 175, 175n
cantata: 5, 176, 176n, 177, 223
cantus firmus: 91
Celan, Paul: 5, 209, 217, 226, 241, 242
     Brandmal: 209, 226 241, 242
     Espenbaum: 209 241, 242
     Leuchten: 209 241, 242
     Schlaf und Speise: 209 241, 242
chance: 233, 235
Chopin, Fryderyk: 21, 65, 67, 118
Christie, Agatha: 124
chord: 232
classicism: 11, 21n
closing bars (theme, section): 41, 41n, 42n, 45, 54, 55, 57, 58, 99n, 112n, 120, 128-131, 137, 137n, 138, 138n, 139, 192, 202, 204
coda: 24n, 104n, 121, 124, 126, 127, 129, 131, 135, 187, 190, 191, 198
Columbus, Chrisropher: 11
Composers’ Union (Union of Composers): 1, 3-5, 27, 64, 65, 65n, 70, 86, 87, 87n, 109, 165, 166, 169, 209, 239
composition (composing):  2, 9, 22, 61, 66, 114, 193
compound theme: 198
connection of forms: 60, 190
consequent: (see: period)
conservatorie: 2, 4, 11, 15, 17, 21, 26, 62, 89, 109, 114, 159, 160, 164, 168, 176
‘cosmopolitains campaign’: 27, 109
Crumb, George: 80
crystal: 8, 15, 61, 68, 77, 102, 189
cycle: 8, 9, 12, 54, 57, 60, 106, 126, 127, 129, 140, 144, 170, 177, 186, 190, 191, 210, 214, 215, 217, 219, 223, 225
dance movement (form): 57, 59n, 191
Dashkevich, Vladimir: 4n
Davydova, Lydia: 210
Denisov, Edison: 4n, 64n, 80, 86, 110, 157, 164, 210
developing: 91
development: 38, 38n, 40, 41n 44, 91, 103, 116, 190, 191, 198-199
development section: 90, 112, 116, 117, 130, 131, 135, 136, 140, 141, 148, 166, 179, 187, 190, 191, 192, 198, 214, 215, 217
deviation: 21, 21n
device (‘priyom’): 59
Diabelli, Antonio: 145
diminution: 142
dispersion: 34, 96, 213
dissolving: 98
Dmitriev, Georgy: 114
     From the Story of the Temporal Years: 114
dodecaphony (see: twelve-tone technique)
Don Quixote: 230
doomsday: 151
double exposition: 112
double form (double formality, bi-formality): 84, 124, 144
double functionality (bi-functionality): 91, 124, 144, 204
double saturation: 131
doubled (or duplicated) realisation: 38, 200
Drew, David: 207, 247
Drumeva, Cypriana: 4n
Druskin, Mikhail: 4n, 147, 147n
Duffek, Hans Ulrich: VIII, 113, 207
duration (length) : 23, 30n, 31, 39, 61n, 96, 198, 201n, 213, 231
Dürer, Albrecht: 159
dwelling on the dominant: 46, 50, 54, 55, 58, 130, 131, 139, 179, 199, 201, 206
element of free fantasy: 98, 100, 120, 205
Eliasberg, Karl: 151, 151n
emigration: 63, 86, 110, 133n, 137, 161, 167n, 168, 171n
Englander, Richard (see Altenberg, Peter)
exposition: 5, 24n, 59, 68, 112, 112n, 117, 127, 129, 130, 135, 137n, 141, 145, 146, 148, 166, 192, 197, 206, 217
expressionism: 159
expressive: 67, 68, 70, 89
extention: 33, 34, 43, 47, 49, 51, 56, 58, 200
extra bar: 99n,
‘fake modulation’: 197
farce: 115
fata-morgana; 131
Fay, Laurel: 158
‘fest’ and ‘locker’ (see: fixed and floating)
film music: 13, 64, 83
Firsova, Alissa: 174, 182
Firsova, Elena: VIII, 4n, 62, 64n, 67, 72, 75, 78, 80, 81, 85, 88, 89, 91, 92, 96, 98, 101, 110, 111, 115, 132, 145, 150, 153-155, 161, 163, 165, 169, 171, 172, 178, 180, 181, 182, 185, 187
      1st Chamber Concerto (Op.19): 91
      2nd  Chamber Concerto (Op.26): 91
      Petrarch’s Sonnets (Op.17): 72, 72n, 91
Firsov, Philip: 161, 162, 164n, 169
Fishman, Natan: 4n
fixed and floating (‘fest’ and ‘locker’): 9, 10, 11, 18, 18n, 28, 46, 47, 51, 56, 57, 58, 60, 90, 90n, 97, 104, 106, 107, 112n, 116, 118, 119, 121n, 124, 129, 139, 140, 144, 193, 194, 196, 200
floating (see: fixed and floating)
Fokin, Mikhail: 83, 83n
folk themes: 107
form: 7, 9-12, 18, 20, 20n, 21, 21n, 22n, 26, 29, 35-37, 42, 44, 44n, 45, 45n, 46n, 48, 50, 53, 54, 56, 57, 58, 60, 61, 61n, 66, 67, 73, 79, 83, 84, 91, 100, 104n, 105n, 118-120, 123n, 136, 136n, 137n, 138n, 143, 190-192, 215, 217, 231, 232, 234, 237, 238
formal structure: 84
Frank, Cesar: 12, 59, 190
Frankovsky and Fiodorov: 92n
Frankshtein, Boris: 4n, 64
Freud, Sigmund: 134
fugato: 124
Garcia Lorca, Frederico: 5, 64, 218, 220, 225, 226, 242
     Arbol de canción: 220, 225, 226, 242
Geleskul, A.: 218
genius: 13, 14, 41n, 59, 76, 78n, 79, 97, 137, 139, 142, 182, 231
geology: 204
geometry: 9, 43, 77, 79, 189
Glinka, Mikhail: 107
Goethe, Johann Wolfgang: 101n
     Faust: 101n
Gofman, Leonid: 4n, 64, 67, 154, 172, 179, 187
     Violin Concerto: 172
Goldstein, Mikhail: 167, 167n, 168
Golubev, Igor: 114, 115
     Durer-Concerto: 114
Gorky, Maxim (Peshkov Alexei): 133, 133n
Great Masters: 1, 7-12, 14, 15, 17-19, 19n, 21, 26, 31, 48, 62, 66, 73, 75, 77, 79, 90, 95, 111, 115, 117, 158, 217, 230, 239
Greissle, Felix Anton: 160n
Gubaidulina, Sofia  4n, 62, 64n, 80, 157
GULAG: 134, 134n
Gutman, Natalia  4n
Haba, Alois: 237
Hait, Ilia: 109
halftones: 237
Handel, George Frideric (Händel, Georg Friederich): 107, 236
harmony: 2, 3, 17, 19, 21, 40, 41, 46, 51, 52, 60, 61, 79, 125, 127, 128, 130, 159, 192, 195, 204, 232, 234
Haydn, Franz Jozeph: 7, 11, 18, 90, 98
Heine, Heinrich: 208, 241
     Wie des Mondes Abbild Zittert: 208, 241
Herschkowitz, Elena or Lena (Abaldueva-Herschkowitz, Leni): 1, 6-9, 63, 78, 80, 8, 102, 106, 132, 149-151, 153, 163, 168, 173, 174, 178-180, 182, 187, 207, 221
Herschkowitz, Philipp:
     Arr. Beethoven String Quartet: 226,  242
     Brandmal: 209, 226, 241
     Capriccio: 207, 209, 241
     Drei Gesänge (3 Songs): 226, 242
     Fugue, 2, 208, 241
     Madrigals: 225, 242
     Pieces for piano: 5, 209, 217, 218, 241
     Pieces for cello and piano: 5, 209-218, 241
     A Small Chamber Suite: 5, 218, 226, 242
     Song cycles: 5, 209, 210, 217, 241, 242
     Spring Flowers: 209, 241
     Tulips: 208, 241
     Waltz, 207, 241
     ‘Wie des Mondes Abbild zittert’: 208, 241
‘Herschkowitz’s Law’: 103, 137
Hesse, Hermann: 147
Hippocrates: 78n
Hitchkock, Alfred: 124
Hitler, Adolf : 3, 165
Homophony: 97, 145, 234
House of Composers’ Creation: 63, 65n, 73n, 109
Hrabovsky (Grabovsky), Leonid: 4n
ideas about music: 72, 181, 182
idea in music (see: musical idea)
immortality: 230
infinite: 148, 162, 181, 202
initial chord: 175
innovation: 8, 77
inspiration: 76n 81
interconnection: 96
interrelation: 61n, 66, 68, 79, 237
intervals: 23n, 210, 211, 219, 221
introduction: 104n, 107, 121n, 123, 127, 137, 143, 198, 219, 221, 223
introductory bars: 123, 130, 138n, 145, 203
intuition: 79, 80
inversion: 83n, 128, 129, 139, 202, 204, 213, 219
Ioseliani, Otar: 114, 114n
Isakadze, Liana: 4n, 226
Ivashkin, Alexander: 4n, 171, 171n,
Järvi, Neeme: 137, 137n
Kagan, Oleg: 4n
Karajan, Herbert von: 151
Karetnikov, Nikolai: 4n
Kennedy, Michael: 36
KGB: 134n
Khlebarov, Ivan: 4n
Kholopov, Yuri: VIII, 4n, 6n, 15, 16, 23, 60, 66, 161, 209, 210
Khrennikov, Tikhon: 5, 64, 64n 65, 70, 70n, 165, 166, 169n
     Hussars’ Ballade: 70, 70n
‘Khrennikov’s Seven’: 64n
‘Khrushchev Thaw’: 207
Kinski, Georg: 144, 144n
kitsch-composers: 236
Klemm, E.: 247
Knaifel, Alexander: 64n
Köchel, Jurgen: 113
Kokoshka, Oscar: 159
Krellmann, Hanspeter: 82n, 238n
Kubelik, Raphael: 106
Kuhn, Ernst: 248
large rondo (see: rondo)
length (see: duration)
Leonardo da Vinci: 155, 239, 239n
Leonov, Alexei: 232, 232n
Leonskaia, Liza: 4n
Liebermann,  Anatole: 63, 165
Liebermann, Nina: 165
Ligeti, György: 80
light music: 72, 75, 77, 236
Linder, Klaus: 247
liquidation: 34, 40, 119, 197, 213,
literature: 92, 157-158
Litinsky,  Henrikh: 169, 169n
Liszt, Franz: 190
Lokshin, Alexander: 4n, 72, 72n, 73
Lorca (See: Garcia Lorca)
Lubimov, Alexei: 4n
Lubimov, Nikolai: 92, 92n
Luther, Martin: 159
Lutoslawski, Witold: 80
lyrical form: 191, 192
macro cycle (see: super-sycle)
‘macro-exposition’: 112n
Mahler, Alma: 150
Mahler, Anna (Justine): 150
Mahler, Gustav: 1, 7, 8, 11, 18, 26, 66, 73, 84, 106, 110, 111, 145, 145n, 146, 150, 173, 174, 175, 181, 182, 190, 218, 233, 236
      Das Lied von der Erde: 111
      Songs: 249
      Symphonies: 146, 245
     1st Syphmpony: 145, 173, 174, 175, 181, 182 I: 145, 145n 173, III: 174, 175, 181
      2nd Symphony: 146
      3rd Symphony: 146
      4th Symphony, III: 106, IV: 106
      5th Symphony, IV: 110
Mandelstam, Osip: 72, 72n
Marcel (a character from Proust’s novel): 147
Marx, Josef  2 , 26, 159
mathematics: 36, 141, 230
Mazel, Lev: 36
McBurney, Gerard: VIII, 157, 167, 226
melodious form: 191
melody: 17, 49, 51, 232
Mendelssohn (Mendelsohn-Bartoldy), Felix: 12, 21, 77, 79
Mephistopheles: 101n
Messiaen, Olivier: 80
Meyerovich, Mikhail: 4n, 114
     Serenade: 114
‘micro-exposition’: 112n
minuet: 30n, 44, 54, 57, 142, 191, 192, 214
mirage: 131
modernism: 77, 79
modification: 30n, 37, 38, 40, 41n, 42n, 54, 57, 112n, 125, 213, 219
modulation: 21, 21n, 31, 39n, 45, 48, 50, 51n, 56, 83, 83n, 90, 91, 100, 108, 108n, 116, 119, 120, 121n, 139, 191, 193-197, 199-202, 205, 216
Monighetti, Ivan: 4n
Morehead, Philip D.: 36
motive: 23, 32, 35, 37-40, 43, 44, 50-52, 56-58, 95, 96, 98, 103, 105, 106, 128-131, 138, 139, 143, 193-195, 197, 198, 213, 216
Mozart, Wolfgang Amadeus: 7, 8, 10, 16, 18, 27-29, 57, 65, 66, 73, 75, 91, 113, 124, 133, 140, 141, 143, 152, 236, 237
    Fantasy C minor (K.475): 113
    Sonatas, Piano: 124, 243
    Sonata C Major (K.279): II: 143
    Sonata E-flat Major (K.282): 141
    Sonata A Major (K.331) I: 29, 143
    Sonata C Major (K.545) I: 27
    Sonata D Major (K.576): 124, I: 140, II: 140
Mozart’s problems:  10, 91, 141
Mravinsky, Evgeny: 137n, 168
Muravlev, Alexei: 4n, 16
Murzin, Yevgeny: 19
musical idea: 18, 23, 39, 79, 112n, 120, 141, 146, 218
musical problem: 10
musical theory: 3, 80
musicologists: 4n, 77, 85, 90, 109, 143, 158, 189
Muzfond: 1, 3, 6, 27, 109, 151, 249
nature: 230
Nazi: 3, 82
Neefe, Christian Gottlib: 42n
New Viennese School (Second Viennese School): 3, 5, 12
non-Euclidean: 13
octaves: 49, 51, 58, 59, 141
opera: 71, 133, 139, 146, 180, 180n, 235, 235n
operetta: 118
orchestration: 88, 143
organism: 190
Ostrovsky, Arkady: 152, 152n
OVIR: 6, 6n, 165, 166, 178
Ovsyaniko-Kulikovsky, Nikolay: 168, 168n
     21st Symphony: 168
painting: 2, 77, 148, 150, 158, 159, 171
Paliashvili, Zachary: 133, 133n
     Daisi: 133
Panova, Vera: 69, 69n
pantonality: 233
passacaglia: 123, 125, 126, 128-131, 148, 222, 223
pedal point (see also: dwelling on the dominant):  46
Pekarsky, Mark: 4n
performance: 5, 66, 71, 106, 111, 151, 164, 168, 176, 218, 226, 227
period: 29, 32-37, 41n, 43-45, 45n, 47, 49, 51-54, 55n, 56, 58, 59, 83n, 99, 103, 105, 105n, 116, 119, 120, 121n, 138n, 139, 142, 144, 148, 175, 191, 196, 197-199, 213
     antecedent: 30-32, 35, 37, 44, 45, 47, 49-55, 55n, 56, 57, 83n, 100, 103, 105, 107, 116, 117, 119, 120, 121n, 138n, 142, 144, 145, 175, 197, 198, 200, 213
     consequent: 30, 30n, 31-35, 37, 41n, 43-45, 47-52, 54, 55, 55n, 57, 58, 83n, 100, 103, 105, 105n, 106-108, 116, 117, 119, 121n, 122n, 138n, 139, 142, 144, 145, 175, 196-198, 200, 213, 214
Petrarch (Petrarca), Francesco: 72, 72n, 91
phrase (fraza): 34
Philip I, the Fair: 163, 163n
Philip II of Macedon: 163, 163n
Philip II of Spain: 163, 163n
Philip IV, the Handsome: 163, 163n
Phoebus: 165
pitch (-es): 23, 30n, 37, 52, 96, 210, 219, 231
plastic: 232
Plautus: 231, 231n
     Asinari: 231
Pollini, Mautrizio: 164
polyphony: 34, 42, 42n, 97, 145, 174, 233, 234, 246
principal theme: 9-11, 21, 24n, 27-29, 34, 35, 37, 39n, 41, 41n, 44, 45n, 47n, 48, 49, 57, 59, 68, 68n, 83nm 90, 91, 95, 97, 98, 98n, 99n, 100, 103, 104, 104n, 105n, 106, 111, 112, 112n, 116, 117, 119, 120, 121n, 122n ,123-131, 135, 138, 138n, 139-142, 144, 146, 166, 174, 175, 190-194, 194n, 196-204, 206, 215-217
programmatic music (work): 143
Prokofiev, Sergei: 8, 11, 66, 83, 209
Prometheus: 234
Proust, Marcel: 92, 92n, 101, 102, 147, 152n, 157, 158, 155n, 218, 232 244
    A la  recherché du temps perdu: 92, 92n, 101, 147, 155n
    La Prisonniére: 92, 92n, 147
    Sodome et Gomorrhe: 92n
Pushkin, Alexander: 176n, 177
quartertones: 237
‘radioactive’: 96, 230
Rasumovsky, Andrei: 112n, 133
recapitulation: 56, 58, 104, 105n, 108, 121n, 122, 122n, 124, 127, 131, 135, 138n, 139-141, 144, 166, 179, 187, 192, 197, 200, 202, 206, 214, 217
recitative: 139
reduction: 34, 39, 41, 43, 49-52, 55, 58, 96, 98, 119, 139, 203, 204
refusants (‘otkazniks’): 71
re-modulation: 191
repetition of the principal theme (see: transition)
retrograde form: 223
retrograde inversion: 129, 219
Riemann, Hugo: 146, 146n
Rilke, Rainer Maria: 5, 64, 69, 70, 70n, 218, 223, 225, 226, 242
     Alchemist: 225, 226, 242
     Dame vor dem Spiegel: 223, 225, 226, 242
     Der Neuen Gedichte Anderer Teil: 223, 226
Romanticism  11, 21n
rondo (large rondo): 21n, 22n, 33, 40, 41n, 42, 104n, 105n, 122n, 123n, 136n, 137n, 138n
rondo-sonata: 136n, 137n, 217
row (series): 83n, 84, 150, 210-213, 219-223, 233
Ryabushinsky, S.: 133, 133n
Sakva, Konstantin: 109
Sancho Panza: 230
Satz (see: sentence)
Scherchen, Hermann: 2, 247, 249
scherzo: 29, 41, 57, 58, 91, 105, 107, 108, 111, 112, 112n, 113, 166, 191, 214
Schiele, Egon: 159
Schnittke, Alfred: 4n, 70, 74, 80, 133, 225
      Three Madrigals: 225
Schoenberg (Schönberg), Arnold: 1, 2, 3, 4n, 5, 7-9, 11, 12, 17, 18, 18n, 21, 21n, 23n, 27, 34n, 37, 45n, 62, 66-68, 73, 74, 77, 79, 82-84, 86, 88n, 88-90, 102, 107, 108, 124, 141, 149, 158, 159, 160, 163, 163n, 164, 177, 178, 232-234, 236
     Begleitungsmusic zu einer Lichtspielszene (Accompaniment to a Film Scene, Op.34): 86
     Fundamentals of musical composition: 18n, 21n, 23n, 45n, 62
     Harmonielehre: 108
    Piano Suite (Op.25): 83, 84, 89, 149
    Three Pieces (Op.11): 164
    Verklärte Nacht (Transfigured Night, Op.4): 86, 87
    Violin Concerto (Op.36): 68, 74, 83, 83n, 84, 86
Schoenberg, Gertrud: 160, 160n
Scholes, Percy A.: 36
Schubert, Franz: 11, 19n, 104n, 107
Schumann, Robert: 12, 65, 67, 77, 79, 84, 107
     ‘Carnival’: 67
Scriabin, Alexander: 19
second principal theme (in double exposition): 112
Second Viennese School (See: New Viennese School)
self-mobilisation: 177
‘self-service’: 100
sentence (der Satz): 34, 34n, 35-38, 39n, 40, 41n, 42, 42n, 44, 45, 45n, 49, 51, 52, 54, 56, 58, 59, 95, 99n, 103, 140, 148, 191, 194, 197-200, 203, 213, 215
sequence: 46, 49, 83n, 130, 216
series (see: row)
Shakespeare, William: 76
Shekhtel, Franz: 133n
Shoot, Vladislav: 4n, 63n
Shostakovich, Dmitri: 13, 83
     Film music: 83
     Symphonies: 83
Shchedrin, Rodion: 157, 161
Sikorski, Hans: VIII, 4n, 113, 207
Silvestrov, Valentin: 4n, 66, 85
slow movement: 22, 42, 50, 54, 56-58, 59n, 91, 123, 181, 214
small rondo: 22n, 45n, 104n, 105n, 108, 124, 138n, 191, 192
small ternary form: 44n
Smetana, Bedrich: 133
Smirnov, Dmitri:
     The Night Rhymes (Op.39): 176n
     Pastorale (Op.15): 134
     2nd String Quartet: (Op.42): 164, 164n
     Symphony No.1 ‘The Seasons’ (Op.30): 65n, 72
     Tiriel (Op.41): 180
Smirnov, Vladimir: 16
Snetkova, Irina: 143
socialist realism: 4, 62
sonata cycle: 61n, 190-191, 214, 217
sonata form: 44, 54, 68, 68n, 84, 91, 103, 105, 105n, 117, 126, 136, 136n, 137n, 140, 142, 146, 166, 192-194, 214, 215, 217
sonata-rondo: 136n
sound: 8, 13, 19, 20n, 20, 23, 24n, 61n, 77, 90, 114, 115, 148, 231, 232, 239
sound mimicry: 115
space: 21n, 77, 148, 194, 203, 230, 232, 232n
Stalin, Josif: 3
standing on the dominant (see: dwelling on the dominant)
Stein, Ervin: 235
Stephan, Rudolf: 83
Stockhausen, Karlheinz: 13
Stockton, Guy: VIII
Strauss, Richard: 236
Stravinsky, Igor: 13, 73, 83
 Ballets: 13, 83
stretto: 130
‘strong’ bar: 40, 96
style (writing): 234
subdominant minor region: 24, 25, 25n
subordinate theme: 10, 21, 21n, 22, 24n, 27, 28, 45n, 54, 56, 57, 60, 68, 83n, 90, 91, 95, 98, 98n, 99n, 100, 100n, 103, 104, 104n, 105n, 106, 111, 112, 112n, 116, 118-121, 121n, 124, 128, 129, 131, 135-137, 137n, 138n, 139-141, 144, 146, 166, 174, 190-194, 199, 199n, 200-202, 204-206, 214-217
super-cycle (macro cycle): 105n, 107n, 144, 170
Suslin, Victor: 4n, 15, 64, 64n, 66, 152, 187
symmetry: 31, 141, 197, 210, 211, 219, 221
symphony: 8, 12, 13, 44, 57, 65n, 68, 72, 75, 77, 83, 84, 85, 85n, 87, 91, 98, 106, 107, 108, 110-112, 114-117, 123, 142, 145, 145n, 146, 151, 166, 168, 170, 173, 174, 182, 190, 219, 245
talent: 2, 12, 13, 65n, 66, 72, 73, 75, 76n, 76-78, 78n, 79, 114, 177, 181, 208, 208n, 231, 237
Tanzer, Francisco: 225
Tarakanov, Mikhail: 4n
Tarnopolsky, Vladimir: 143
Tchaikovsky, Peter: 8, 11, 32, 34, 63n, 66
    April (The Snowdrop) from The Seasons: 32, 33
Termen, Lev: 19
text in music: 117
theatre: 114
thematic (element, region, sphere, etc.): 23, 61n, 96, 99n, 103, 121n, 128, 129
thematic unity: 128
theme and (with) variations: 32, 54, 57, 124, 126, 128, 129
three-part song: 35, 44, 46n, 47n, 51, 52-54, 55n, 56, 56n, 57, 58, 83n, 105n, 108, 116, 117, 120, 122n, 124, 125, 136, 140, 190-192, 213
time in music: 13, 36, 77, 92, 115, 127, 189, 230, 232
Tishchenko, Boris: 4n
Tolstoy, Alexei: 133
Tolstoy, Lev: 69, 69n, 70, 70n, 110n
     On Art: 69, 69n
     The Kreutzer Sonata 69, 69n
     War and Peace: 69, 69n, 110n
tonality: 4n, 9, 12, 19, 21n, 24, 24n, 68, 90, 116, 120, 233
tonal music: 217
tradition: 8, 9, 11, 66, 73, 76n, 77, 137n, 209, 234
transition: 10, 28, 39n, 45n, 57, 68, 83n, 97, 99n, 103, 105n, 112n, 116, 119, 120, 121n, 122n, 128, 130, 138n, 139, 140, 192, 193, 194, 194n, 195n, 199, 199n, 200, 201, 202, 204-206
transposition: 135, 140, 144, 202
trick (priyom): 59
trio: 58, 59, 108,116, 117, 142, 166, 191, 192, 214
Tsenova, Valeria: 247
twelve-tone technique (dodecaphony): 2, 4n, 10n, 19n, 23, 64n, 207, 210, 217, 233
two-part song: 52, 53, 120, 125
Underground Division: VII, 4
unfixed (see: fixed and floating)
Union of Composers (see Composer’s Union)
Universal Edition: 2, 149
Universe: 148
vagrant chords: 25, 25n
Vainberg, Moisei: 109
Valentina: 155
Valéry,  Paul: 152n, 157
variation: 99n, 123, 129-131, 135, 213
variations (see: theme and variations)
Vekshtein, Semyon: 4n, 61, 62, 86
Venteuil (a character from Proust’s novel):147
Venus: 231
Veprik, Alexander: 109
Vermeer, Jan: 185, 185n
     View of Delft, 185
Virsaladze, Eliso: 4n, 65
Volkonsky, Andrei: 4n, 65, 65n, 110
Voskhod 2: 232n
Voustin, Alexander (Vustin, Sasha): 4n, 63n, 67, 86, 114, 115, 118, 134, 143,146, 148, 179
     Memoria II: 134
Wagner, Richard: 7, 8, 11, 12, 19, 21n, 65, 66, 77, 146, 147, 151, 152, 178, 237
     Götterdämmerung: 146
     Die Meistersinger von Nürnberg: 151
     Tristan ind Isolda: 146
     Die Walküre: 146
Walter, Bruno:111
Weber, Carl Maria von: 235n
     Der Freischütz: 235, 235n
‘weak’ bar: 96, 98
Webern, Anton von: VII, 2, 2n, 3n, 4, 7, 8, 9, 11, 12, 15, 16, 18, 26, 27, 28, 30n, 34, 37, 44, 45n, 46, 47, 56, 56n, 65, 66, 73, 75, 77, 79, 82, 82n, 83-87, 88n, 89, 90, 95n, 96, 98, 111, 132, 144-146, 151, 157-161, 164, 175, 193n, 208, 208n, 219, 230n, 235-238, 239n
     Das Augenlicht (Op.26): 16, 18, 84
     Cantata No.1 (Op.29): 219
     Chamber Concerto (Op.24): 219
     Symphony (Op.21): 52-54, 219
     String Quartet: 159
     Works without op. no. 145
Webern, Christina: 87
writing (style): 234
written repetition: 53, 137n
Zenk, Ludwig: 87, 87n, 159
‘zero canon’: 141
‘zero sequence’: 46, 49
Zinger, Grigori: 4n, 124
Zukkerman, Victor: 36

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see also:
Introduction to Herschkowitz
Corrections and Index
Herschkowitz: On an invention of Johann Sebastian Bach (1967-70s)
Herschkowitz: Three-part Invention in F minor (1967)

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