Academic literature on the topic 'Petrushka (Stravinsky, Igor)'

碩士<br>東吳大學<br>音樂學系<br>97<br>Three Movements from” Petrushka” was adapted from Igor Stravinsky’s ballet Petrushka in 1921. The piece is renowned for its complex rhythmic style and harmonic style that includes the use of dissonance intervals, unusual rhythmic patterns, and polytonality. Igor Stravinsky’s background and stylistic periods are represented in Chapter One. Chapter Two is mainly about the background of ballet Petrushka and the analysis of piano solo version in terms of structure, theme and creativity. Chapter Three deals with the discussion of dynamics, timbre and gradation of solo piano performance through the Orchestration and instrumentation of orchestral version of ballet. The final chapter, the conclusion. Program: D. Scarlatti: Sonata in D minor K.9 & K.141 J. Haydn: Piano Sonata No.62 in E-flat major, Hob.XVI:52 S. Rachmaninoff: Piano Sonata No.2 Op.36 F. Chopin: Andante spianato & Grande Polonaise brillante, Op.22 I. Stravinsky: Three Movements from “Petrushka”

博士<br>輔仁大學<br>音樂學系<br>101<br>In 1921, Igor Fyodorovich Stravinsky’s piano work Three Movements from Petrushka, a transcription from the ballet Petrushka composed by himself, is one of the greatest virtuoso piano pieces in the twentieth century. Yet, a clear difference from the traditional ones lies in the variously rich sonorities which are from the orchestral version. Though Stravinsky emphasized this work was essentially a pianistic piece full of difficult piano techniques. The work completely reveals the thought of orchestral sound in musical texture and dimension. Furthermore, the application of musical elements and various sonorities in each movement is highly related to ballet drama. This dissertation first introduces Stravinsky’s biography and his compositional style, then provides more information of the ballet Petrushka, including its background, plots, and stage performance, as well as formal analyses of Three Movements from Petrushka with a comparison of the ballet scores and piano solo version. Moreover, the arguments on the influence of plots and formal concept are also discussed here as well. Finally, the author provides suggestions on the interpretation of Three Movements from Petrushka from the perspectives of drama, orchestral sound, and piano techniques. It is my hope that this study would help performers better controlling their techniques and deepening their interpretation on the work.

碩士<br>國立中山大學<br>音樂研究所<br>86<br>The origin of ballet can be attributed to the Masque in Italy and France during the period of Renaissance. It's not until the creation of opera-ballet that there is the performance style combining pure music and dancing. During the early days of ballet the music is composed of the artworks of different composers, the story of the drama often lost its integrity by overstating the performance of ballet techniques. It's until Delibes that the integrity of dancing, music and drama has been paid attention to. Meanwhile, under the influence of the concepts of Delibes, Tchaikovsky made further development of Delibes' ideas and built an excellent foundation for the ballet in Russia. Igor Stravinsky, influenced by the artworks of Tchaikovsky, gave a new life for ballet by adding new compositionaltechniques. The three masterpieces, L'oiseau de feu, Petrushka and Le sacredu printemps, composed during 1909 to 1931 built him a milestone in art history.These three works used the materials of new music of the 20th century andgave the new spirit of modern ballet from the classical ballet. Stravinsky is saidto be the originator of modern ballet and has an important position in histories ofmusic and ballet. Besides the music and ballet, another important part in ballet isthe drama. This thesis tries, by reviewing and analyzing the relevant information on literature, to make a study on the relationship between music and drama, and finds out the common points in the how the role of the music plays in elucidating the development of the story of drama. The thesis is divided into four chapters. Chapter one is the introduction, which describes the motivation, the method of approach and the scope of this research. Chapter two is a historical review of the combination of drama and music. A discussion is given from the chorus band in the play of ancient Greeceto the birth of opera at the end of 16th century. Chapter three is the analysis of the relationship between the drama and the music of three ballets: The L'oiseaude feu (The Firebird), Petrushka and Le sacre du printemps (The Rite of Spring).The historical background, the story outline, and the incorporation of music and play will be analyzed separately. Finally, from the discussion of chapters 2 and 3,we make a comparison of the three ballets and give a conclusion. After the analysis of the 3 ballets, The L'oiseau de feu (The firebird), Petrushka and Le sacre du printemps (The rite of spring), it is shown that Stravinsky is quite concerned about the elucidation of the story of drama. Byanticipating the creation of the play, Stravinsky complete controlled the climax ofdrama, not to mention using music to elucidate the story of the drama.