Relevant bibliographies by topics / Oedipus Rex, Igor Stravinsky

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  2. Dissertations / Theses
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Academic literature on the topic 'Oedipus Rex, Igor Stravinsky'

Author: Grafiati
Published: 24 April 2022
Last updated: 30 July 2025

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Journal articles on the topic "Oedipus Rex, Igor Stravinsky"

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Graeme, Roland. "Oedipus rex. Igor Stravinsky." Opera Quarterly 10, no. 4 (1994): 142–44. http://dx.doi.org/10.1093/oq/10.4.142.

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Buller, Jeffrey. "Oedipus rex. Igor Stravinsky." Opera Quarterly 11, no. 2 (1995): 204–7. http://dx.doi.org/10.1093/oq/11.2.204.

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Wierzbicki, James. "Oedipus Rex. Igor Stravinsky." Opera Quarterly 3, no. 1 (1985): 180. http://dx.doi.org/10.1093/oq/3.1.180.

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Savenko, Svetlana. "Boris Asafiev as a Stravinsky scholar." Muzikologija, no. 31 (2021): 37–47. http://dx.doi.org/10.2298/muz2131037s.

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Boris Asafiev, pen name Igor Glebov, was a Russian musicologist, composer, music critic, pedagogue, public figure, publicist; author of works devoted to the music of Igor Stravinsky. The article examines A Book about Stravinsky (1929), one of the earliest monographs on the composer in any language and the first one in Russian. It is characterized as an outstanding musicological study of Stravinsky?s works that had appeared by that time, that is, from the early period to the works completed in 1927 (Oedipus rex, Apollon musag?te and The Fairy?s Kiss).
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Светлана Ильинична, Савенко,. "Igor Stravinsky's Oeuvre in Boris Asafiev's Studies." Музыкальная академия, no. 4(780) (December 26, 2022): 116–33. http://dx.doi.org/10.34690/274.

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Статья посвящена исследованиям музыки И. Ф. Стравинского, принадлежащим одному из крупнейших отечественных музыковедов — академику Б. В. Асафьеву (псевдоним Игорь Глебов). Асафьев начал писать о Стравинском в середине 1910-х годов, результатом этой работы стала «Книга о Стравинском» (1929) — одна из первых монографий о композиторе. В статье она охарактеризована как выдающееся музыковедческое исследование творчества Стравинского, начиная от раннего периода вплоть до созданных в конце 1920-х годов сочинений («Царь Эдип», «Аполлон Мусагет», «Поцелуй феи»). Асафьев изучил русский генезис музыки Ст
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Albright, Daniel. "Truth and Lies in the Stravinskyan Sense: Oedipus Rex." Modernist Cultures 3, no. 1 (2007): 26–32. http://dx.doi.org/10.3366/e2041102209000306.

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Daniel Albright argues that Stravinsky's opera “Oedipus Rex” is about the subjugation of Dionysus by Apollo. Stravinsky accomplishes this subjugation through a kind of thanatography that extends the logic of death to the opera's words, music and drama. Albright situates his analysis of “Oedipus Rex” against Adorno's disparaging comments about Stravinsky, finding within the logic of Adorno's critique that Stravinsky has given us the death-head of opera itself.
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Carter, Chandler. "The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text." Journal of the American Musicological Society 63, no. 3 (2010): 553–640. http://dx.doi.org/10.1525/jams.2010.63.3.553.

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Abstract Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first e
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Skwara, Ewa. "Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original (SPhP XI, 1996)." Symbolae Philologorum Posnaniensium Graecae et Latinae 27, no. 3 (2017): 7. http://dx.doi.org/10.14746/sppgl.2017.xxvii.3.1.

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Uyttersprot, Katrien. "Igor Stravinsky's Oedipus Rex: De verzoening tussen moderniteit en classicisme tijdens het interbellum; twee Russische aspecten van Oedipus Rex." Tetradio 12, no. 1 (2003). http://dx.doi.org/10.21825/tetradio.91748.

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This article elaborates on two key themes of Igor Stravinsky’s opera-oratorium Oedipus Rex (1927). First, the author discusses the general revival of “the classics” during the interbellum, focusing on the multiple adaptations of the Oedipus myth. She thus also assesses whether the “nouveau classicisme” of Stravinsky and Jean Cocteau, the librettist of the piece, fits within modernism or is, on the contratry, rather a firm denial of it (the perception of “tradition” and “myth” are crucial in this perspective). Secondly, the author demonstrates that Stravinsky’s native Russia continued to exert
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Dissertations / Theses on the topic "Oedipus Rex, Igor Stravinsky"

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Henseler, Ute. "Zwischen "musique pure" und religiösem Bekenntnis : Igor Stravinskijs Ästhetik von 1920 bis 1939 /." Hofheim am Taunus : Wolke, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016150963&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Samalens, Gomes Véronique. "Oedipus-Rex : une version mythique." Paris 4, 1987. http://www.theses.fr/1987PA040157.

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Cette étude se propose de dégager la nature mythique de la musique, ceci à travers l'exemple précis d'une œuvre, Oedipus-Rex de Stravinsky. En nous inspirant du modèle formel de l'œuvre pour construire notre travail et en nous aidant du mythe d'Œdipe pour réfléchir au procès de la connaissance, nous avons entrepris une enquête sémantique subjective qui procède à trois niveaux : un niveau analytique qui envisage l'opéra-oratorio à partir d'une vision contradictoire, celle du rite et celle du drame; un niveau exégétique qui intègre l'œuvre dans une double lecture, celle du compositeur et celle d
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Durham, Hannah Lee. "Abstraction, abstracted : continuation of Russian neonationalist ideals In Stravinsky's Oedipus Rex." 2012. http://hdl.handle.net/2152/19993.

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Igor Stravinsky’s 1927 opera-oratorio Oedipus Rex (with libretto by Jean Cocteau) contains quintessential Neoclassical qualities: it is a reduced, mechanical, and austere version of the Sophocles play, using older operatic devices within static harmonic momentum and ambiguous functionality. A closer look into the conception and intrinsic fabric of the work, however, betrays certain ideological bonds with the Russian neonationalist movement of the late 19th century. This movement had its origins in the visual arts but soon its principles carried over to music. The neonationalists valued the
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Books on the topic "Oedipus Rex, Igor Stravinsky"

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Walsh, Stephen. Stravinsky, Oedipus rex. Cambridge University Press, 1993.

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Stravinsky, Igor. BBC Third Programme presents Oedipus Rex: An opera-oratorio after Sophocles ; text by Jean Cocteau, translated into latin by J. Daniélou ...; the BBC Men's Chorus ..., the BBC Symphony Orchestra ..., conductor, Igor Stravinsky ... Brotish Broadcasting Corporation, 2000.

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Walsh, Stephen. Stravinsky: Oedipus Rex. Cambridge University Press, 2011.

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Walsh, Stephen. Stravinsky: Oedipus Rex. Cambridge University Press, 2009.

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Stravinsky, Igor. Stravinsky - Oedipus Rex and Symphony of Psalms: The Masterworks Library (Boosey & Hawkes Masterworks Library). Boosey and Hawkes, 1999.

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Book chapters on the topic "Oedipus Rex, Igor Stravinsky"

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Horlacher, Gretchen. "The Futility of Exhortation: Pleading in Stravinsky’s Oedipus Rex and Orpheus." In Stravinsky and His World. Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400848546-007.

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Taruskin, Richard. "Stravinsky Lite (Even “The Rite”)." In Text and Act. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195094374.003.0021.

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Abstract The first volume in Robert Craft’s planned Musicmasters recording of the complete Stravinsky (01612 67078; two CDs) includes an early warhorse, The Rite of Spring, and Stravinsky’s last major composition, Requiem Canticles, in which Mr. Craft competes against his own prior recording, executed in Stravinsky’s presence. There are three major Neoclassical scores, Oedipus Rex, the Symphony of Psalms, and the Symphony in Three Movements, and three lagniappes, Fanfare for a New Theater for two trumpets, a Fanfare for Three Trumpets originally intended as the opening of Agon, and the Pas de
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"Preface." In Stravinsky: Oedipus Rex. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511620065.001.

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"The exile finds a new home." In Stravinsky: Oedipus Rex. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511620065.002.

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"Of masks, masses and magic." In Stravinsky: Oedipus Rex. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511620065.003.

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"In which the music unfolds." In Stravinsky: Oedipus Rex. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511620065.004.

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"How it all came to be known." In Stravinsky: Oedipus Rex. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511620065.005.

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"Notes." In Stravinsky: Oedipus Rex. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511620065.009.

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"Select bibliography." In Stravinsky: Oedipus Rex. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511620065.010.

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