For this brief consideration of the present state of Baltic musicology, I have chosen to focus upon two problems, both equally loaded and, in fact, interrelated. The first: How has Baltic musicology reflected upon the history of the dramatic events of the twentieth century, namely, World War II and the ensuing occupations? And secondly: Has Baltic musicology found ways and means of disclosing the semantics of the music created in these critical periods of the two great catastrophes, the fascist and communist dictatorships?