JAVS Spring 2026

30 Consider the inaccurate information in the composer’s page on the popular Russian sheet music database Tarakanov.net, for instance. https://notes.tarakanov.net/ katalog/kompozitori/v_-stepanova/

“Tvorcheskoye i Pedagogicheskoye Naslediye K.G. Mostrasa [K.G. Mostras’ Artistic and Pedagogical Heritage]” in Vestnik Chuvashskogo universiteta [Journal of the Chuvashian University], 4 (2007): 318-23. 44 Sukhanova, 321-22. 45 Two important essays to consider: Diana I, Seitz, “The System of Effective Violin Practice According to Konstantin Mostras” (DMA diss., University of Oklahoma, 2008); and Tat;yana Sukhanova, “Tvorcheskoye i Pedagogicheskoye Naslediye K.G. Mostrasa [K.G. Mostras’ Artistic and Pedagogical Heritage]” in Vestnik Chuvashskogo universiteta [Journal of the Chuvashian University], 4 (2007): 318 23. 46 Sukhanova, 321-22. 47 In this context it is also important to mention that Tsintsadze was a member of the Communist Party. Nana Sharikadze et al. “Throwing off the Russian Lenses from Soviet Music: The Colonization and Decolonization of Georgian and Ukrainian Music,” in Journal of the American Musicological Society 77 (2024): 403. 48 Consider Pollak diss., 21, for a definition of originality in context of the Soviet viola literature research. In the case of Khorumi, the dedication to violist M. Boguslavsky suggests that the piece was initially composed for the viola.

31 Rupp. 32 Rupp. 33 BBE

34 A basic search of Popatenko’s name (in Russian) in YouTube would return a large number of results, many of which are school performances from recent years of her choral works. For a discussion on Russian pedagogical governmental guidelines see Pollak diss., 60-61. 35 Popatenko’s undoubtedly Ukrainian last name often makes people believe that she is from Ukraine, but no supportive information was found on that mater, nor there is a current Ukrainian interest to explore her legacy and question her cultural appropriation. 36 On Glière see: Galina Grigor'yeva, “Glier, Reyngol'd Moritsevich” in Grove Music Online. Oxford University Press. https://doi.org/10.1093/ gmo/9781561592630.article.11278. 37 Unfortunately, there were no recollections found in Soviet memoirs and books on Glière about Popatenko’s time in his studio. 38 Janice Ross, “Outcast as Patriot: Leonid Yakobson’s Spartacus and the Bolshoi’s 1962 American Tour,” (Publication of materials of an international symposium Dancing the Cold War, 16-18 February 2017, Harriman Institute, Columbia University, New York City), 39. This article, as well as the entire issue are recommended reading on the Soviet ballet and its perception in the West. 39 BBE 40 Consider Yevgeny Dyo’s dissertation on Yuniy Skripach, the standardized series of method books for the violin, initiated by A. Yampolsky, that emphasized friendliness and high accessibility for young students. Yevgeny Dyo, [The Young Violinist]: Russian/Soviet Violin Method” (DMA essay, Temple University, 2018). 41 Consider Popatenko’s soundtrack for the 1950 cartoon Chudo-mel’nitsa (The Wonder Windmill), which turns the loudly embedded anti-capitalist Stalinist messages into a kids-friendly, pleasurable musical experience. 42 See bibliography for primary sources. 43 Two important essays to consider: Diana I, Seitz, “The System of Effective Violin Practice According

49 Sharikadze et al., 397-406. 50 Sharikadze et al., 397-406. 51 Rupp.

52 Pollak diss., 158-66. 53 Pollak diss., 158-66. 54 Pollak diss., 156-57. 55 Pollak diss., 156-57. 56 Pollak diss., 156-57.

Bibliography Mostras, Konstantin. Lullaby for Viola and Piano, in “Works by Soviet Composers for viola and piano.” Moscow: Soviet Composer, 1977. Popatenko, Tamara. Happy Walk for Viola and Piano , in “Works by Soviet Composers for viola and piano.” Moscow: Soviet Composer, 1980. Popatenko, Tamara. Meditation in Memory of Glière for Viola and Piano , in “Works by Soviet Composers for viola and piano.” Moscow: Soviet Composer, 1980.

to Konstantin Mostras” (DMA diss., University of Oklahoma, 2008); and Tat;yana Sukhanova,

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Journal of the American Viola Society / Vol. 42, No. 1, Spring 2026