Mosolov's earliest music implies that Mosolov was influenced by German romanticism, but this influence waned as he began studying under Myaskovsky and Glière. In an early piece, "Four Songs," Op. 1, Mosolov explored the use of ostinato.
Widespread use of ostinato became the defining signature of Mosolov's music: Iron Foundry is built of many ostinati working in tandem to create the sound of a factory, it is used in the Second and Fifth Piano Sonatas, etc.
Dissonance "in the extreme" and chromaticism are also Mosolov's signatures, though he stops short of the structured twelve-tone technique of Schoenberg. Instead of tone rows, Mosolov uses thickly-clustered, heavily chromatic chords to make his point. Folk music also saw use by Mosolov. As the first composer of a symphonic suite on a Turkmen folk song, Mosolov adopted the use of folk music before it was mandated under Socialist realism. His Second Piano Sonata incorporated Kyrgyz melodies, and his "Three Children's Scenes" utilized a city street song. However, instead of carefully setting the music for orchestra, Mosolov handled the music "like thematic grist for his compositional mill." This use of folk tunes continued after his Stalinist "rehabilitation." However, Mosolov's early works were marked by dense textures and polytonality that was lost after his expulsion and persecution.
YouTube>Fyrexia Channel>Mosolov Deux Nocturnes>
YouTube>OneQuietLife Channel> Mosolov: Machine Music "Zavod">