Roman Ruditsa
Roman Ruditsa is a Russian composer, music theorist, inventor, pianist, harpsichordist, and music critic. Born in Tyumen in 1972, he began studying composition and counterpoint with M. A. Bask. In 1990, he graduated from the Special Music School at the Ural Conservatory named after M. P. Mussorgsky.
Ruditsa graduated from the St. Petersburg Conservatory named after N. A. Rimsky-Korsakov in 1995, studying composition with S. M. Slonimsky, piano and harpsichord with E. A. Seredinskaya, and music theory with E. A. Ruchyevskaya. From 1995 to 1997, he completed postgraduate training in Slonimsky’s composition class. He is a member of the Union of Composers of Russia and has written works on musical analysis and theoretical problems in harmony and counterpoint.
Ruditsa has composed cantatas, orchestral works, and chamber music. His works include the symphony Flowers of the Geospheres (1995), the ballet Heracles and Echo (1997), the cantata The Last Judgment (2001), the double concerto Farewell to Antonio Vivaldi (2005), and the cantata Bacchic Song (2005). His music has been performed at venues in St. Petersburg including the Philharmonic halls, the Hermitage Theatre, the Russian Museum, and the Conservatory. As a pianist and harpsichordist, his repertoire includes works by Chambonnières, d’Anglebert, César Franck, Franz Liszt, Mikhail Glinka, and Viennese classical composers; he has also performed in Moscow, Veliky Novgorod, and Pskov.
From 1998 to 2014, Ruditsa worked with publications in St. Petersburg and Moscow as a music critic, essayist, reviewer of musicological publications, and audio expert. In 2014, he and Andrey Bayadzhan launched D Notation, a project to develop digital music notation and expand music literacy education, based on a musical keyboard they jointly invented. The invention was patented, and D Notation won the Higher School of Economics’ Innovation in Education Competition in 2017. In 2018, Ruditsa wrote the Football Anthem of St. Petersburg.
Ruditsa founded and chairs the scientific committee of the Worldwide Music Conference (WWMC) and is editor-in-chief of its research collection, published by Springer. The conference is based on his concept, “The Scientific World Studies Music”; its first meeting took place online in April 2021.