Conservatory). Roslavets was accused of being a "counter-revolutionary" and "bourgeois" artist, "alien to the proletariat", as well as "formalist", a "class enemy" and in the late 1920s and early 1930s, a "Trotskyist", "saboteur"; etc. Political persecutions In 1928 Roslavets' cantata October was played in the concert in Moscow celebrating the 10th anniversary of the Revolution. In 1930 Roslavets was accused of being a "protector" of the Association of the Moscow Authors which according to the group "Proletarian Musician" was promoting "light music" and "spreading of the counter-revolutionary literature". The "Roslavets case" was led by Viktor Bely, Alexandr Davidenko, V. Klemens, Yuri Keldysh, Semion Korev, Zara Levina, Georgi Polyanovsky, Alexey Sergeev and Boris Shekhter. It resulted in a professional prohibition of employment. In 1930 Roslavets was banned from obtaining a position as a political editor for two years. In order to save his life, Roslavets had to publicly repent for his former "political mistakes". During 1932–33 he worked at the Musical Theater in Tashkent, now the capital of Uzbekistan. In 1933 the composer returned to Moscow, where he earned a meager living by teaching and taking occasional jobs. A victim of the political purges, Roslavets could get no official position for the remainder of his life. Roslavets was not admitted to the Composers' Union, instead he became a member of the Musical Fund. Punitive measures against him had been planned in 1938, and the former "proletarian musicians" had already spread disinformation about him; however Roslavets suffered a severe stroke in 1939 and was a disabled until his death following a second stroke in 1944. His last publication, a song, appeared in 1942. He is buried in Vagan'kov cemetery in Moscow and the authorities have now granted permission to mark his grave. Style While still a student, Roslavets had been engaged in vigorous artistic debates provoked by Russian Futurism, and was close to artists such as Kasimir Malevich, Aristarkh Lentulov, Vasily Kamensky, David Burlyuk and others. Deeply influenced by the later works of Alexander Scriabin and his mystic chord, Roslavets' quest for a personal language began not later than in 1907; it led to his propounding a "new system of sound organisation" based on "synthetic chords" that contain both the horizontal and vertical sound-material for a work (a concept close to that of Schoenberg's twelve-tone serialism). Following an article of Vyacheslav Karatygin, published in February 1915, Roslavets was sometimes referred to as