tellectual life, used a mildly modernist work by a party-member composer as the pretext for a frontal attack on such alleged Western influences on Soviet music as formalism, atonalism, dissonance, and similar antipopular trends. In reality, however, the resolution was directed primarily against the Western concept of music as an art independent of politics, one of the absolute forms of expression of the human spirit-a concept which had struck deep roots in prerevolutionary Russia and which has exerted a powerful influence on several leading Soviet composers. The resolution called on Soviet com-
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