Modest Musorgsky is considered a composer of masterful vocal, symphonic, and piano works. His songs and song cycles distinguish themselves as evocative of the broad spectrum of Russian experience. However, Musorgsky's early songs have not received as much attention as his larger works, such as Boris Godunov or Pictures at an Exhibition. Musorgsky's early songs, from 1857-1867, show the composer's affinity for lyrical expression, be it brightly melodious, impassioned, or within a comical or satirical vein. He portrays Russian life through a mixture of different genres such as the Russian romance, the ballad, the operatic aria, and also vaudeville. This study focuses on Musorgsky's choice of texts, his penning of several of them, and the way he incorporates them within each song.

The study of terrorism has been both broad in scope and varied in approach. Little work has been done, however, on the territorial aspects of terrorist groups. Most terrorist groups are revolutionary to one degree or another, seeking the control of a piece of territory; but for the supportive population of a terrorist group, how important is the issue of territory? Are the intangible qualities of territory more salient to a given population than other factors? Are territorially based terrorist groups more durable than their ideologically or religiously motivated cohorts? This paper aims to propose the validity of the territorial argument for the study of political terrorism.