Zaderatsky, V. Polyphony in the Instrumental Works of D. Shostakovich (Polifoniya v instrumentalnykh proizvedeniyakh Shostakovicha). 1969. In Russian.

Задерацкий, В.В. Полифония в инструментальных произведениях Д. Шостаковича.
Москва : Издательство "Музыка", 1969. 272 страницы, с нотными иллюстрациями.
Твердый издательский переплет (тканевый, с наклеенной чёрной этикеткой и золотым тиснением на передней крышке). 21 см. Тираж 3 000 экземпляров.
Автор посвящает книгу своему научному руководителю В.В. Протопопову.
На нескольких страницах - оттиски декоративного штемпельного экслибриса частного владельца.
Переплет хороший, с небольшим износом. Блок крепкий, текст полный.
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Zaderatsky, Vsevolod V. Polyphony in the Instrumental Works of D. Shostakovich.
Moscow: "Muzyka" Publishing House, 1969. 272 pp., with musical notation illustrations.
Publisher's cloth hardcover, black gilt-lettered label on the front board. 21 cm. Print run of 3,000 copies.
Dedicated by the author to his academic advisor, V.V. Protopopov.
Several pages bear a private owner's decorative stamped ex-libris.
Binding good with light wear. Text block firm, text complete.

Vsevolod Vsevolodovich Zaderatsky (b. 1935), later a professor at the Moscow Conservatory and a leading figure of Russian musicology, wrote "Polyphony in the Instrumental Works of D. Shostakovich" as his kandidat dissertation, completed in 1968 under the supervision of Vladimir Vasilyevich Protopopov, the foremost Soviet authority on musical form and polyphonic analysis; this 1969 monograph, published the year after the defense and carrying Zaderatsky's dedication to Protopopov, was his first major book. Working through Shostakovich's symphonies, chamber works, and above all the Twenty-Four Preludes and Fugues, Op. 87 - Shostakovich's own response to the Bach tercentenary and to Tatiana Nikolayeva's celebrated performance at the 1950 Leipzig Bach competition - Zaderatsky demonstrates how contrapuntal and imitative technique functions not merely as texture but as an active agent of thematic development, symphonic form, and dramatic structure within Shostakovich's essentially homophonic-symphonic idiom. The book's two parts move from a theoretical account of polyphony's role in Shostakovich's symphonic thinking to a detailed technical analysis of each prelude and fugue of Op. 87, examining thematic and tonal transformation, fugal structure, and the dramaturgical relationship between prelude and fugue within each pair. Zaderatsky went on to a distinguished career culminating in a doctoral dissertation on the polyphonic thinking of Stravinsky and the standard two-volume Russian textbook "Musical Form," but this early study of Shostakovich remains a foundational text in the analytical literature on the composer and on twentieth-century polyphony, still cited by scholars of Shostakovich's instrumental music and Soviet contrapuntal technique.