Relevant bibliographies by topics / Serialism in the works of I. Stravinsky

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Serialism in the works of I. Stravinsky'

Author: Grafiati
Published: 5 June 2025
Last updated: 2 August 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Serialism in the works of I. Stravinsky.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Serialism in the works of I. Stravinsky"

1

Rogers, Lynne. "A Serial Passage of Diatonic Ancestry in Stravinsky's The Flood." Journal of the Royal Musical Association 129, no. 2 (2004): 220–39. http://dx.doi.org/10.1093/jrma/129.2.220.

Full text
Abstract:
When Stravinsky composed The Flood in 1961–2, he was already an experienced practitioner of serialism. It is undeniably noteworthy, then, that compositional documents for the work include two diatonic sketches, presumably the earliest versions of a passage from the Prelude. Later serial versions of the passage, which differ significantly from the diatonic sketches, nonetheless retain numerous important features introduced at that initial stage. The existence of the diatonic sketches suggests that even late in his career, Stravinsky harboured diatonic and tonal impulses. Taking into account the
APA, Harvard, Vancouver, ISO, and other styles
2

Sprout, Leslie A. "The 1945 Stravinsky Debates: Nigg, Messiaen, and the Early Cold War in France." Journal of Musicology 26, no. 1 (2009): 85–131. http://dx.doi.org/10.1525/jm.2009.26.1.85.

Full text
Abstract:
Abstract In spring 1945, a small group of students, among them Serge Nigg and Pierre Boulez, protested during the first performances in liberated Paris of the neoclassical works Stravinsky had composed in America. Whereas Boulez's biographers have interpreted the student protests as a sign of Renéé Leibowitz's successful promotion of serialism in France, scholars of the Cold War have seen the 1945 concerts as a precursor to Stravinsky's participation in the 1952 L'ŒŒuvre du XXe sièècle, a festival in Paris indirectly funded by the CIA. These interpretations subsume the immediate postwar period
APA, Harvard, Vancouver, ISO, and other styles
3

Venn, Edward. "BBC Proms 2013: David Matthews and Thomas Adès." Tempo 68, no. 267 (2014): 59–61. http://dx.doi.org/10.1017/s004029821300137x.

Full text
Abstract:
Robin Holloway's brief illustrative list of composers who populate the ‘continuing or reconstructed mainstream’ begins in Britain, with ‘Tippett and Britten, hence Maw and both Matthewses’ and ends with the broader international sweep of ‘Takemitsu, Knussen and Lieberson (stemming equally from serialism à la Berg and à la late Stravinsky); hence Lindberg, Benjamin, Turnage, Anderson, Adès and all’. Whilst these groupings, which position David Matthews and Thomas Adès towards opposing ends of the continuum, might be inadvertent, the premieres of their latest works, given over consecutive (and s
APA, Harvard, Vancouver, ISO, and other styles
4

McGartland, Aidan. "Stylistic and Technical Juxtaposition in Igor Stravinsky’s The Owl and the Pussycat." Context, no. 50 (March 7, 2025): 37. https://doi.org/10.46580/cx27430.

Full text
Abstract:
Igor Stravinsky’s last completed work is his art song setting of The Owl and The Pussycat, completed in 1966 at the age of 84. Stravinsky and his wife Vera (the dedicatee) had a strong emotional attachment to the work, as this poem was among the first words of English that Vera learnt whilst fleeing war-torn Europe to settle in sunny California. The work has a whimsical and child-like veneer, aptly reflecting Edward Lear’s nonsense poem. Despite its outward appearance, this short song juxtaposes stylistic allusions and compositional techniques from across Stravinsky’s musical career. In this a
APA, Harvard, Vancouver, ISO, and other styles
5

Tatarnikova, Anzhelika. "The Role of the Glorifying Semantics in the Figurative-semantic and Intonational Concept of "The Flood" by I. Stravinsky." Bulletin of KNUKiM. Series in Arts, no. 41 (December 30, 2019): 134–41. https://doi.org/10.31866/2410-1176.41.2019.188669.

Full text
Abstract:
The relevance of the article is determined by the key role of the creative figure of I. Stravinsky in the cultural life of the 20th century and the demand for his heritage in contemporary performing practice. The composer not only opened new horizons in musical art but also generalised such important quality of the era’s cultural paradigm as style diversity. The author’s works, especially those of the late period, and their spiritual component still require fundamental research  in modern art history. The purpose of the article is to identify the intonational and semantic spec
APA, Harvard, Vancouver, ISO, and other styles
6

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

Full text
Abstract:
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).
APA, Harvard, Vancouver, ISO, and other styles
7

Flamm, Christoph. "Expressiveness in Stravinsky’s late works." Muzikologija, no. 34 (2023): 59–68. http://dx.doi.org/10.2298/muz2334059f.

Full text
Abstract:
Igor Stravinsky?s late style is usually considered in terms of the works? structure. Following Joseph N. Straus, this article attempts to highlight expressive, semantic and self-referential dimensions in Stravinsky?s late compositions. These dimensions emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist; as such, they also challenge the composer?s own statements.
APA, Harvard, Vancouver, ISO, and other styles
8

Fartushka, O. "Semantic function of the choral counterpoint in Canticum sacrum by Igor Stravinsky." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 188–97. http://dx.doi.org/10.34064/khnum2-49.13.

Full text
Abstract:
Background. The substantiation of the logic of stylistic synthesis in the light of the choral component of the dramaturgy of this composition opens up the prospect of studying choral counterpoint of the twentieth century as universals and also helps to identify patterns of artistic thinking. Objectives. The article is devoted to the identification of semantic function of the choral counterpoint in the context of the overall dramaturgy in Canticum Sacrum ad honorem Sancti Marci Nominis by Stravinsky. Methods. The author used hermeneutic, structural-functional, semantic research methods. The per
APA, Harvard, Vancouver, ISO, and other styles
9

Fartushka, O. "Semantic function of the choral counterpoint in Canticum sacrum by Igor Stravinsky." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 188–97. http://dx.doi.org/10.34064/khnum1-49.13.

Full text
Abstract:
Background. The substantiation of the logic of stylistic synthesis in the light of the choral component of the dramaturgy of this composition opens up the prospect of studying choral counterpoint of the twentieth century as universals and also helps to identify patterns of artistic thinking. Objectives. The article is devoted to the identification of semantic function of the choral counterpoint in the context of the overall dramaturgy in Canticum Sacrum ad honorem Sancti Marci Nominis by Stravinsky. Methods. The author used hermeneutic, structural-functional, semantic research methods. The per
APA, Harvard, Vancouver, ISO, and other styles
10

Duan, Xiaotong. "The Diversity and Transformation of 20th Century Music." International Journal of Education and Humanities 15, no. 2 (2024): 321–23. http://dx.doi.org/10.54097/403jhf56.

Full text
Abstract:
The 20th century was a period marked by extraordinary diversity and transformation in music. From the rise of modernism to the emergence of electronic music, and from the flourishing of jazz to the impacts of globalization, this era witnessed profound changes in musical expression and practice. This article explores the key aspects of these changes and diversity, focusing on the influence of Classical and Romantic periods on 20th-century music, the innovative contributions of Igor Stravinsky, the core techniques of serialism, and the rise and development of jazz and electronic music. Additiona
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Serialism in the works of I. Stravinsky"

1

Katz, Robert Scott. "Perséphone and mythic elements in Stravinsky's theater works /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lee, SunHwa, and SunHwa Lee. "Aesthetics of Objectivism in Igor Stravinsky's Neoclassical Works." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12469.

Full text
Abstract:
This thesis examines Stravinsky’s aesthetics of objectivism, as described in his own book and displayed in three different genres from his neoclassical period: Symphonies of Wind Instruments (1920), Perséphone (1933), and Orpheus (1947). My research has significance, in that I combine aesthetics and musical analysis in examining Stravinsky’s objectivism. Drawing on Stravinsky’s book, Poetics of Music in the Form of Six Lessons, I define his objectivism as the structural organization of musical materials, the denial of expression of subjective emotion, the importance of the composer’s in
APA, Harvard, Vancouver, ISO, and other styles
3

Votta, Roberto. "Pluralidade e unidade: uma análise dos processos composicionais no Balé Agon, de Igor Stravinsky." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-095102/.

Full text
Abstract:
O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a parti
APA, Harvard, Vancouver, ISO, and other styles
4

Elder, Rusty Dale Budds Michael J. "The late choral works of Igor Stravinsky a reception history /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/5625.

Full text
Abstract:
The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on September 22, 2009). Thesis advisor: Dr. Michael Budds. Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
5

Mueller, Peter M., and Peter M. Mueller. "Toward a Theory of Formal Function in Stravinsky’s Neoclassical Keyboard Works." Diss., The University of Arizona, 2018. http://hdl.handle.net/10150/626657.

Full text
Abstract:
Form in Stravinsky’s music continues to be a topic of great interest and varied approaches, including blocks, stratification, juxtaposition, and displacement. This document provides another approach based heavily on the models proposed by William E. Caplin in his Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven. The study focuses on three piano works from Stravinsky’s early Neoclassical period. The document begins with a review of how other analysts have approached form in Stravinsky’s music, followed by on overview of how Caplin’s theory h
APA, Harvard, Vancouver, ISO, and other styles
6

Hausfeld, Gretchen Gayle. "The treatment of the bassoon in three chamber works of Igor Stravinsky." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186265.

Full text
Abstract:
This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demon
APA, Harvard, Vancouver, ISO, and other styles
7

Tucker, Susannah. "Stravinsky and his sketches : the composing of Agon and other serial works of the 1950s." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335906.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Steadman, Amanda. "Images of Japonisme the portrayal of Japan in select musical works /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1249250727.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Copping, Roxanne Celine. "Composers and the Ballets Russes : convention, innovation, and evolution as seen through the lesser-known works." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/composers-and-the-ballets-russes--convention-innovation-and-evolution-as-seen-through-the-lesserknown-works(1357e7f5-17c5-4d98-a32a-13f4ba8bfda1).html.

Full text
Abstract:
The primary focus of this thesis is a selection of lesser-known Ballets Russes works, which, despite being largely neglected in academic studies, constitute important chapters in the history of the company. The bright light of publicity that shone on Stravinsky - in particular on Le Sacre du Printemps - has cast shadows over other Ballets Russes works, creating an over-simplified historical perspective. This is not to deny that Le Sacre was a watershed moment for the company, and in seeking to enrich our understanding of its place within broader musical trends, the thesis is divided into three
APA, Harvard, Vancouver, ISO, and other styles
10

Harrison, Kathleen Elizabeth. "THE TREATMENT OF THE TRUMPET IN SELECTED JAZZ-INFLUENCED CLASSICAL CHAMBER WORKS OF THE TWENTIETH CENTURY." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/493.

Full text
Abstract:
The trumpet has always maintained a central role in the jazz genre. However, throughout the history of chamber music the trumpet was overlooked until the mid-twentieth century when brass chamber music and mixed chamber ensembles rose to popularity. An infiltration of the popular American style, jazz, into classical chamber music changed composers' treatment of the trumpet. This thesis focuses on the role and treatment of the trumpet in selected jazz-influenced classical chamber works in order to highlight that the trumpet's prominence in jazz helped to establish its place in twentieth-century
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Serialism in the works of I. Stravinsky"

1

Strawinsky, Théodore. Stravinsky: A family chronicle, 1906-1940. Schirmer, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Milein, Cosman, and Anderson, Martin (Martin J.), eds. Stravinsky the music-maker: Writings, prints and drawings. Toccata Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Taruskin, Richard. Stravinsky and the Russian traditions: A biography of the works through Mavra. Oxford University Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

MORDKOVITCH, Lydia. Russian music for violin and piano: Works by Glazunov, Prokofiev, Rachmaninov, Stravinsky and Tschaikovsky. Chandos, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Charles, Dowd, and Cirone Anthony J, eds. Percussion master class on works by Carter, Milhaud, and Stravinsky: A complete performance analysis of celebrated works by master teachers and performers. Meredith Music, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Andrew, Wachtel, ed. Petrushka: Sources and contexts. Northwestern University Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Carr, Maureen A. Multiple masks: Neoclassicism in Stravinsky's works on Greek subjects. University of Nebraska Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Neidhöfer, Christoph. An approach to interrelating counterpoint and serialism in the music of Igor Stravinsky, focusing on the principal diatonic works of his transitional period. 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

White, Eric Walter. Stravinsky: The Composer and His Works, Second edition. 2nd ed. University of California Press, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Modes of Communication in Stravinsky�s Works. Taylor & Francis Group, 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Serialism in the works of I. Stravinsky"

1

Chelouche, Noga Rachel. "13. Futuring Classical Music through Contemporary Visual Art." In Classical Music Futures. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.13.

Full text
Abstract:
This chapter focuses on the alternative performance of classical compositions created in the works of the renowned contemporary artist Anri Sala (b. 1974). A visual artist, Sala uses music as a central element in his films, installations, and performances. He manipulates the music according to different artistic ideas, thus creating unconventional performances. Through his works, Sala enables different perspectives and new contexts which lead classical music through unpredictable paths. The chapter focuses on three seminal works created by Sala in the last decade: The Present Moment (2014), Th
APA, Harvard, Vancouver, ISO, and other styles
2

Shreffler, Anne C. "Introduction: Webern and Lyric Expression." In Webern and the Lyric Impulse. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780198162247.003.0001.

Full text
Abstract:
Abstract The music of Anton Webern (1883–1945) has been justly celebrated for its sparseness, severity, and control. Indeed because of these qualities Webern’s rarefied vision has never gained the place in the repertory or the popular consciousness accorded to Berg, Stravinsky, or even Schoenberg, and it is safe to suppose now that it never will. Though voices have been raised now and then in favour of a more humanist Webern–Theodor Wiesengrund Adorno and Luigi Rognoni were among the first to oppose the ‘Darmstadt project’ – his association with a cerebral, detached aesthetic remains strangely
APA, Harvard, Vancouver, ISO, and other styles
3

Francis, Kimberly A. "Mediating Serialism." In Teaching Stravinsky. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199373697.003.0010.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Siwe, Thomas. "Serialism." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0006.

Full text
Abstract:
In the 1950s and 1960s, many composers, influenced by Arnold Schoenberg and Anton Webern, embraced serial compositional techniques. Tonal music became atonal and composers, such as Pierre Boulez from France and the German composer, Karlheinz Stockhausen, championed this new compositional approach. This chapter defines serialism and how composers applied it to works for percussion instruments. Music examples include Stockhausen’s solo work, Zyklus, with its totally original notational system, and a setting of an E. E. Cummings poem, Circles, by the Italian composer Luciano Berio. American compo
APA, Harvard, Vancouver, ISO, and other styles
5

WUORINEN, CHARLES, and JEFFREY KRESKY. "On the Significance of Stravinsky’s Last Works." In Confronting Stravinsky. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8500971.21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wuorinen, Charles, and Jeffrey Kresky. "15. On the Significance of Stravinsky's Last Works." In Confronting Stravinsky. University of California Press, 1986. http://dx.doi.org/10.1525/9780520332461-017.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Massey, Drew. "The Twelve Tones." In Thomas Adès in Five Essays. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199374960.003.0003.

Full text
Abstract:
Serialism retains its cachet as one of the most severe, learned styles to have been developed in the last one hundred years. Adès seldom uses serialism on its own, but rather in concert with other compositional techniques. For example, he opens The Four Quarters (2010) with a striking juxtaposition of serialism and isorhythm. In a somewhat different vein, Adès relies on what he calls a “magnetic” approach to serialism in Polaris (2010), which artfully masks intricate row relations behind a gradually additive structure. Taken as a whole, Adès’s serial works demonstrate his comfort with not only
APA, Harvard, Vancouver, ISO, and other styles
8

"A Note on Transliteration and Titles of Works." In Stravinsky and His World. Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400848546-002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Whittall, Arnold. "The Spread Of Serialism." In Musical Composition in the Twentieth Century. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166849.003.0011.

Full text
Abstract:
Abstract As ‘the Second Viennese School’, Schoenberg, Berg, and Webern are conventionally accorded collective credit for the establishment of the twelve-note technique as an important factor in twentieth-century music, and the story of composition since 1950 is largely one of reactions to that factor—positive, negative, equivocal. Whereas Webern, and Schoenberg in some of his late works, indicated the basis for a fuller exploration of the conjunction between strict serial technique and atonal expressionism, Schoenberg’s earlier serial pieces, and all those by Berg, opened up the very different
APA, Harvard, Vancouver, ISO, and other styles
10

Priest, Deborah. "Various piano works." In Louis Laloy (1874-1944) on Debussy, Ravel and Stravinsky. Routledge, 2019. http://dx.doi.org/10.4324/9780429435409-28.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Serialism in the works of I. Stravinsky"

1

Savchenko, H. S. "ORCHESTRAL WRITING OF I. STRAVINSKY IN EARLY WORKS." In VII International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Premier Publishing s.r.o., 2021. http://dx.doi.org/10.29013/vii-symposium-pp-7-3-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Marshman, Anne. "A Philosophy of the Performer's Voice and Its Performance in Works by Mozart and Stravinsky." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Marinković, Miloš. "Dragutin Gostuški’s Ballet Rummy: From the Award of the Croatian National Theatre to the Premiere at the Music Biennale Zagreb." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.211m.

Full text
Abstract:
One of the most significant works in the opus of Dragutin Gostuški as a composer is Rummy – A Fantastic Ballet Scene (1955). The ballet’s plot is based on the universal theme of the relationship between a woman and a man, and the music, although of neo-Romantic provenance, reveals some of the composer’s modernistic compositional techniques. After winning an award in a competition announced for new drama, opera, and ballet works on the occasion of the centenary of the Croatian National Theatre (1961), this ballet premiered two years later at the Music Biennale Zagreb (MBZ), an international fes
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Serialism in the works of I. Stravinsky' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography