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

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

Author: Grafiati

Published: 5 June 2025

Last updated: 16 July 2025

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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.

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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.

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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

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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/.

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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

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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.

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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.

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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.

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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

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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.

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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

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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.

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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.

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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.

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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

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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.

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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

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11

McKay, Nicholas. "A semiotic evaluation of musical meaning in the works of Igor Stravinsky : decoding syntax with markedness and prototypicality theory." Thesis, University of Sussex, 1998. http://sro.sussex.ac.uk/23947/.

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12

Sanders, Raphael P. "Louis Cahuzac's Clarinet Music: an Examination of Selected Works, with Three Recitals and a Solo Performance of Selected Works by Debussy, Reinecke, Bloch, Stravinsky, Mozart and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278517/.

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Louis Cahuzac was one of the most sought-after clarinetists in the first half of the twentieth century. He was also highly respected as a conductor, as a teacher, and as a composer of music for the clarinet. The selections performed and discussed in the lecture depict Cahuzac's use of simple compositional forms and procedures which blend the expressive capability of the clarinet with its technical potential.

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13

Tábora, Deras Manuel Emilio. "The viola works of Peter Racine Fricker, with emphasis on his Three movements for viola solo, op. 25 plus an overview of his Concerto for viola op. 18, and Fantasy for viola and piano, op. 44." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1921.

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British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never b

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14

Vickery, Lindsay Ross. "Exploring new and emerging models for nonlinear performative works." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/63499/1/Lindsay_Vickery_Thesis.pdf.

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This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century. Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear str

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15

George, Matthew. "An examination of performance aspects of two major works for percussion ensemble: Toccata by Carlos Chávez and Cantata para América mágica by Alberto Ginastera, a lecture recital, together with four recitals of selected works of I. Stravinsky, R. Vaughan Williams, W.A. Mozart, V. Persichetti, and P. Hindemith." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332759/.

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This study addresses the ways and means a conductor may approach two major twentieth century works written specifically for percussion ensemble. Performance techniques and decisions on aesthetics made by the conductor in dealing with such items as timbre, balance, pitch levels, and pitch relationships are also considered.

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16

Hofer, Calvin D. "Performance Issues Related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas, A Lecture Recital, Together with Three Recitals of Selected Works of Kennan, Stravinsky, Haydn, Hummel, Neruda, Stevens and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc5845/.

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Performance issues related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas. Chapters one and two provide a brief biography of each composer. Chapter three is an examination of their musical style and the influence that indigenous Indian music, popular music and nationalism had on their styles. Chapter four provides an investigation of Soli by Carlos Chávez, a chamber piece written for oboe, B-flat clarinet, bassoon and B-flat trumpet. Chapter five offers an examination of Two Little Serious Pieces by Silvestre Revueltas, a wind quintet for piccolo, oboe, C trumpet

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17

Hansen, Robert H. (Robert Howard). "The Songs of Lennox Berkeley: A Lecture Recital, Together with Three Recitals of Selected Works of F.P. Schubert, G. Fauré, C. Debussy, F. Poulenc, M. Ravel, H. Wolf, J.S. Bach, G.F. Handel, I. Stravinsky, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332223/.

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The English art song in the 20th-century presents a performance challenge unique in the solo song repertoire. Unlike the corresponding bodies of German Lied and French mélodie, which proceeded from a well-ingrained national tradition of music and poetry, the English art song had no such background. The many British composers who have contributed to the song literature of this century reflect varied backgrounds and influences. Lennox Berkeley combined his English heritage with the French background of his mother's family, largely self-taught musical skills and an innate sensitivity to poetry to

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18

Mailman, Matthew. "An Interpretive Approach to Two Wind Partitas of Franz Vincent Krommer: Partita in F, Op. 57 (1808) and Partita in E-flat, Op. 79 (1810), A Lecture Recital : Together with Three Recitals of Selected Works of Stravinsky, Hanson, Martin Mailman, Holst and Walton." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277888/.

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An interpretive approach to performing two works by Franz Krommer for wind ensemble. Including a short history of Harmoniemusik, with origins, development, and chronology of the instruments and repertoire, the roles of "better-known" composers of Harmoniemusik, and its importance in both general music history and history of the wind band. An account of known biographical detail concerning Franz Krommer, his life, his musical involvement and career in Europe, and his place in music history. An overview of his compositions for wind groups other than the Harmoniemusik, including his symphonic mus

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19

Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.

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The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by consi

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20

Sivy, Robert. "An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky." 2011. http://trace.tennessee.edu/utk_gradthes/1025.

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Igor Stravinsky's precompositional process was so methodical that his move to serialism is no surprise. After becoming acquainted with the music of Schoenberg and Webern, Stravinsky was moved to experiment with serial techniques. He rejected many of the conventional approaches developed by the serial architects, only to adopt the technique at its basic form—the use of a series of pitches—and cultivate it into his own compositional style. Stravinsky continued to refine his style throughout his serial period (1951–1966) as each composition grew increasingly more serial than the last. For each wo

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21

Keyser, Amy Von Glahn Denise Stravinsky Igor Stravinsky Igor Stravinsky Igor. "A question of religion Igor Stravinsky's early sacred works /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08282003-161809/.

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Thesis (M.M.)--Florida State University, 2003.<br>Advisor: Denise Von Glahn, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-18-03). Document formatted into pages; contains 63 pages. Includes biographical sketch. Includes bibliographical references.

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