various publications, supplemented by a visit to the Recording Archive in the Folklore Section of the Institute of Russian Literature (also called Pushkin House) in Leningrad in 1960, and interviews and correspondence with Soviet and Polish musicologists and anthropologists. Research in traditional music must have been given a very low priority indeed by Soviet planners after World War II. This can be inferred by complaints about the situation in the early 1950s. Lev Kulakovskii wrote in Sovetskaia muzka, henceforth designated as SM (1951, No. 10:43-48) of the general lack of activity in the field, called for better methods of collecting, newer recording equipment, need for study of contemporary folk songs, and for publication of older archival collections, some never even transcribed from their recordings. Elsewhere (Kul'tura i zhizn', 1950, 21 March) he had noted the varied organizations occupied with the subject, conservatories, the Soviet Academy's Institute of Ethnography, the mass organization called House of Folk Creation with branches far and wide, and pointed out that each of these was going its own way, so that the Union of Soviet Composers saw a need to enter the field also. I mention Kulakovskii, as an active field collector and author of solid works, descriptive and theoretical, on Russian folk music. However, Sergei Aksiuk seems to have played a vital role in the new activation administratively, as a high official of the Union of Soviet Composers. In 1950 (SM, No. 11) he issued a policy article on how to collect and publish Soviet folksongs (i.e., contemporary songs, composed since the Revolution). By 1953 (SM 1953, No. 2) a stronger policy article appeared over his signature entitled Stop ignoring folk creation!, in which he outlined goals for several organizations, including the Union of Soviet Composers and the State Music Publishing House. Also in 1953 a brochure was published by Nina Bachinskaia of instructions to the collector of folk songs (Pamiatka sobiratelia narodnykh pesen). All sorts of wheels were beginning to move. In Leningrad in 1954 the staff of the Recording Archive, where the famous Evgeniia Lineva's cylinders and many other recordings are housed, was restored and given permanent status, and broader work in field expeditions became possible for the Folklore Section of which it is a part (50 let Pushkinskogo Doma, Moscow-Leningrad, 1956, p. 145). Kulakovskii was still critical in 1955, however, when he spoke at a meeting of folklorists in Kiev of the backward state of Russian folk music studies, the paucity of publications, the lack of organized methods of study, and the need for a center for such studies. He referred to the activities of the Musicological Section of the Union of Soviet Composers in the folk music field, but pointed out that folk music did not have first priority even there.