Abstract As Ukraine continues to gain visibility as an independent state and culture, reconstructing the engagement of its modernist composers with ideas of atonality and dodecaphony permits a space for the country’s unique contributions in the history of Western art music. This article seeks to do two things. First, it presents the varied approaches to harmonic organization adopted by three composers based in three different cities across Ukraine in the 1920s. What is revealed are similar techniques used by all three, which represent a cohesive response to movements of modernism within the borders of the contemporary nation-state. Second, it explores why this narrative has remained unknown and examines the shortcomings of imperial narratives in historically liminal spaces such as Ukraine.
Leah Batstone (Thu,) studied this question.
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