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Recent and long-standing debates about the role of octatonicism in works by Stravinsky and other late-chromatic and early-modernist composers have taken place with little mention of how octatonicsim is viewed in Russia—the country of Stravinsky’s birth and formative years as a composer. In this article, the author seeks to put music that is often considered octatonic in North America into a Russian framework. He does this by examining the work of three Russian music theorists: Boleslav Yavorsky, Sergei Protopopov, and Yuri Kholopov. The author seeks not to invalidate American views on octatonicism but, rather, to enrich the current discussion with Russian perspectives.
Philip Ewell (Sat,) studied this question.