to music. Recognizing music to be a powerful weapon in the ideological struggle, this ambiguous doctrine called formusic with a "socialist" content, expressed in a musical language that ordinary people could understand. The formula effectivelybanned the modernistic directions characteristic of contemporary Western music and fostered conservative and readilyaccessible styles. Shostakovich, one of the first generation of Soviet composers, had achieved early success with his FirstSymphony (1925) and subsequent works and was able to reestablish himself spectacularly with his Fifth Symphony (1937).Mildly dissonant counterpoint, march rhythms, and sensitive orchestration became the hallmarks not only of Shostakovich'sstyle but of that of many other Soviet composers as well. Composers who reached artistic maturity during the 1930s and '40sincluded Aram KHATCHATURIAN, Dmitri KABALEVSKY, Yuri Shaporin (1887-1966), and Vissarion Shebalin(1902-63).Laurel E. FayBibliography: 1.Abraham, Gerald, Essays on Russian and East European Music (1985); 2.Asafiev, Boris, Russian Music from the Beginning of the 19th Century (1953); 3.Schwarz, Boris, Music and Musical Life in Soviet Russia, 1917-81, enl. ed. (1983); 4.Seaman, Gerald, History of Russian Music, vol. 1 (1967); 5.Stasov, Vladimir, Selected Essays on Music, trans. by Florence Jonas (1968; repr. 1980). Musical samplesGlinka A Life for the Tsar. Aria of Ivan Susanin by Maxim Mikhailov Tchaikovsky Eugene Onegin: Gremin's Aria by Mark Reizen (1948) Lenski's Aria by Nikolay Gedda Rimsky-Korsakov Sadko: Song of the Viking Guest by Feodor Shaliapin (1927) Viking Song by Mark Reizen (1952) Song of the Indian Guest by Ivan Kozlovsky Song of the Venetian Gest by Pavel Lisitsian Dargomizhsky Mermaid. Miller's Aria by Maxim Mikhailov Musorgsky Khovanschina: Marfa's Song by Nadezhda Obukhova (1948) ...
