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Journal articles 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

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.

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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

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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.

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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

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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.

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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

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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.

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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

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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.

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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

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6

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

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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.

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7

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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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.

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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

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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.

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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

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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.

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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

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11

Dickinson, Peter. "Ernst Krenek At 87." Tempo, no. 161-162 (September 1987): 11–12. http://dx.doi.org/10.1017/s0040298200023305.

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Ernst Krenek is the subject of the first chapter of John Rockwell's stimulating survey All American Music, but this is no compliment to the composer. He is described as ‘one of the last of a line of European immigrants who enriched our music but also suppressed the nascent evolution of a truly American culture’. This seems rough justice from a country which has been nurtured on generations of imported cultures, fed into a developing and eventually unique main stream, but one can see Rockwell's point about the enormous prestige of serialism. Forty years after his emigration, it is possible to w

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12

Баранова-Монигетти, Т. Б. "Igor Stravinsky: In Memoriam." Музыкальная академия, no. 3(783) (September 29, 2023): 6–77. http://dx.doi.org/10.34690/322.

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Статья задумана как продолжение опубликованной в декабрьском номере «Музыкальной академии» за 2022 год работы Т. Барановой-Монигетти, посвященной оммажам Стравинского. На этот раз в центре внимания находится другой вид «музыки на случай» ― мемориальные опусы Стравинского, а также сочинения других композиторов, посвященные его памяти. В статье последовательно рассмотрены все мемориальные опусы Стравинского ― их исторические архетипы, жанровые идиомы, семантически значимые приемы, типовые интонации, драматургические, структурные и тембровые решения. В процессе работы привлекались архивные источн

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13

Steinhauer, Iakovos. "Corporeality and dance in the music of Igor Stravinsky." Muzikologija, no. 34 (2023): 85–93. http://dx.doi.org/10.2298/muz2334085s.

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The high rank of Igor Stravinsky?s works (especially for ballet) prompts a discussion about the meaning of corporeality and dance in his output, a meaning that goes beyond Stravinsky?s historically-documented interest in ballet music. Thus, the encounter with Diaghilev and Nijinsky could be justified as immanently emanating from his own musical aesthetics and poetics. If dance seems for the composer to form an additional, immanent level of the music, the question of the aesthetic sense of reference to the body in Stravinsky?s music remains unan?swered. By attaining a ?mediated immediacy? (Helm

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14

박지영. "Serialism Reception in Ruth Crawford Seeger’s Serial Works." journal of Ewha Music Research Institute 19, no. 2 (2015): 63–92. http://dx.doi.org/10.17254/jemri.2015.19.2.003.

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15

Lupu, Olguța. "Hide-and-Seek Between the Serial and the Modal in Anatol Vieru’s Concerti." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (2023): 55–67. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.04.

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"After first employing the 12-tone serialism, Anatol Vieru turned to folklore for inspiration and then wrote works based on artificial modes. I was interested in the possible correlations between these periods of his oeuvre. More precisely, I wished to analyze Vieru’s concerti as to their use of 12-tone structures and the relations they establish with non-serial configurations. I noticed that, even if he uses the chromatic total and respects the rules of serialism only in a first stage, Vieru very much kept in contact with it, albeit by converting it from a point of departure to a destination,

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16

Vișenescu, Oana Iuliana. "14. The Violin in L’histoire Du Soldat – A Metaphor of the Soul." Review of Artistic Education 21, no. 1 (2021): 113–21. http://dx.doi.org/10.2478/rae-2021-0014.

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Abstract From 1909, Stravinsky manifested a keen interest in composing theatre music, as proves the many and various dedicated scores. Almost all of his large works, from the ballet The Firebird (1909-10) to the one-act opera buffa Mavra (1921-22), are written for the stage. Stravinsky thus worked most of the time with scenic presentations, with questions on movement, dance, gestures or scenic tableaus. He develops a particular theatrical instinct: his works have a good scenic orientation, and the correlation with modernism and the new currents in theatre aesthetics is more than obvious. Criti

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17

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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18

Opaley, Elena N. "“CATHOLIC ARCH” IN THE SPIRITUAL WORKS OF STRAVINSKY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 33 (March 2019): 151–59. http://dx.doi.org/10.17223/22220836/33/13.

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19

Гуревич, В. А. "Tribute to Stravinsky." OPERA MUSICOLOGICA, no. 2022 (May 11, 2022): 160–64. http://dx.doi.org/10.26156/om.2022.14.2.007.

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Статья представляет собой рецензию на опубликованный в 2020 году Санкт-Петербургской консерваторией сборник статей В. В. Смирнова, посвященных жизни и творчеству И. Ф. Стравинского. Дается общая характеристика издания, подчеркивается обобщающий характер работ автора, анализирующего музыку Стравинского на протяжении более полувека, начиная с 60-х годов прошлого столетия. Двенадцать публикаций сборника тесно взаимосвязаны по содержанию, сочетая материалы исторического и теоретико-аналитического характера. Придерживаясь максимально объективной, взвешенной позиции по отношению к творчеству мастера

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20

Krivitskaya, E. D. "‘I Have Never Loved Anyone as Much as I Love You’Pyotr Souvtchinsky and Igor Stravinsky: Pages of Friendship." Art of Music, no. 1 (June 2024): 310–31. http://dx.doi.org/10.51678/2307-5015-2024-30-310-331.

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The article is a part of the forthcoming collaborative monograph The Space of Stravinsky, in which the events of the last ten years of Stravinsky’s life will be examined, including the details of his visit to the USSR in 1962. A number of documents from the ‘F. I. Stravinsky & Sons’ foundation will be published for the first time. The contents of the correspondence between Igor Fyodorovich Stravinsky and Pyotr Petrovich Souvtchinsky, published in 2024 in the collection I. F. Stravinsky. Correspondence with Russians. Vol. IV, are just starting to enter the scholarly turnover. The present ar

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Demchenko, Alexander I. "The Musical Legacy of Igor Stravinsky." ICONI, no. 2 (2019): 137–48. http://dx.doi.org/10.33779/2658-4824.2019.2.137-148.

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The lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a concise way the evolution of the music of the outstanding composer, the main stages of which correspond with the three sections of this text: “Igor Stravinsky of the Russian period,” “Igor Stravinsky’s Neoclassicism” and “The Late Works of Igor Stravinsky.” The exposition of the topics includes listening to a number of musical fragments meant to give a general perception of the range of the composer’s artistic endeavors. The publication is addressed to students of conservatories and artistic institutions of higher ed

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22

Asimov, Peter. "The Hidden Poetics of Messiaen’s “Serialism”." Journal of Musicology 42, no. 2 (2025): 115–52. https://doi.org/10.1525/jm.2025.42.2.115.

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Interpretation of Messiaen’s piano étude Mode de valeurs et d’intensités (1949) as an exercise in the application of serialism to parameters beyond pitch has enshrined the work as a milestone in modernist music historiography. This article brings to light another intellectual current that played at least as significant a role in his formal experimentation during this period, namely the scientific study of poetic rhythm. I begin by sketching how Messiaen’s pursuit of additive rhythmic techniques drew from linguist Antoine Meillet’s breakthroughs in the field of comparative metrics—specifically,

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23

Arefeva, A.Yu. "ANTHROPOLOGICAL PROJECT OF HUMAN INTEGRITY IN I. STRAVINSKY'S MUSICAL POETRY." Bulletin of Yaroslav Mudryi National Law University. Series: philosophy, philosophy of law, political science, sociology : The collection of scientific papers 54, no. 3 (2022): 68–79. https://doi.org/10.21564/2663-5704.54.265681.

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<em>Emphasis is placed on the urgency of the problem of human integrity as a cultural and historical fact of society and art, in particular music. The aim of the article is to define the phenomenon of differential ontology and anthropology as a musical gestalt in the context of I. Stravinsky's musical creativity and reflection. The research methodology is a systematic, comparative approach, transcendental, phenomenological, dialectical methods that implement the program of seeing the anthropological semiosphere of music as a cultural unity. The scientific novelty of the article is that the

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24

Carr, Maureen A. "The Musical Origins of Igor Stravinsky’s “Apollo”." Experiment 17, no. 1 (2011): 291–310. http://dx.doi.org/10.1163/221173011x611969.

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Abstract Insights into the musical origins of Stravinsky’s Apollo are discerned in part by applying he principles of versification to phrase structure throughout the work, but most especially in the music that accompanies the “birth of Apollo” and the “Pas de deux” as danced by Apollo and Terpsichore. In keeping with his understanding of classical ballet, Stravinsky endeavored to create a diatonic framework at the surface level. Nevertheless, vestiges of his Russian past are evident at deeper levels of his compositional process. It is as though Stravinsky was using the Greek masks of Greek ant

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25

Bailey, Kathryn. "Rhythm and Metre in Webern's Late Works." Journal of the Royal Musical Association 120, no. 2 (1995): 251–80. http://dx.doi.org/10.1093/jrma/120.2.251.

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It is almost self-evident that the relationship between rhythm and metre must vary from one composer to another. Generalization in such matters is difficult and probably ill-advised. But it seems clear that for German/Austrian composers in the first half of this century, who customarily used divisive rhythms set within traditional metres, the interdependence of rhythm and metre was not as critical as it was in the music of composers such as Stravinsky and Bartók, whose typically additive rhythms were notated in those metres – often asymmetrical or constantly changing – that most clearly expres

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SCHMELZ, PETER J. "Andrey Volkonsky and the Beginnings of Unofficial Music in the Soviet Union." Journal of the American Musicological Society 58, no. 1 (2005): 139–207. http://dx.doi.org/10.1525/jams.2005.58.1.139.

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Abstract This article examines the compositional history and early reception of Soviet composer Andrey Volkonsky's two earliest and most important serial compositions, Musica Stricta and Suite of Mirrors (Syuita zerkal). These two works spurred on the formation of an unofficial music culture in the Soviet Union during the Thaw of the late 1950s and 1960s. Volkonsky (b. 1933) was the first and initially the most visible of a group of young Soviets known by officialdom as the “young composers” (“molodïïye kompozitorïï”). These “young composers”—among them Sofia Gubaidulina, Alfred Schnittke, Arv

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Никифорова, Ю. В., and Т. Н. Левая. "Desyatnikov and Stravinsky: poetics of dialogue." АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, no. 1(72) (April 1, 2024): 44–48. http://dx.doi.org/10.26086/nk.2024.72.1.007.

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В статье рассматривается типологическая связь творческих методов Л. А. Десятникова и И. Ф. Стравинского. Анализируется понятие музыкального диалога, отражающее взаимодействие в их произведениях индивидуального и заимствованного. В музыке обоих композиторов диалог существует как игровое взаимодействие различных стилей. Отличительными чертами творчества Стравинского являются взаимодействие с музыкой прошлого и настоящего, обращение к иным стилям и эпохам, смешение разнообразных стилевых пластов и диалог с таковыми. На примере его творчества можно наблюдать различные стилевые и жанровые феномены,

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Thomas, Gavin, and Brodsky Quartet. "'Lament': Works by Stravinsky, Alvarez, David Matthews, Szymanski, Sculthorpe Etc." Musical Times 135, no. 1819 (1994): 572. http://dx.doi.org/10.2307/1003310.

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Slim, H. Colin. "Lessons with Stravinsky: The Notebook of Earnest Andersson (1878–1943)." Journal of the American Musicological Society 62, no. 2 (2009): 323–412. http://dx.doi.org/10.1525/jams.2009.62.2.323.

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In 1978, Robert Craft expressed the hope that some record might be found of the lessons that the virtually unknown American composer Earnest Andersson (1878–1943) took with Stravinsky in Hollywood during 1941–42. Also missing were scores of the symphony Andersson worked on with Stravinsky. These documents have now come to light. A private collection in Pennsylvania houses Andersson's Futurama symphony and the notebook he kept of his lessons, items heretofore unseen except by family members. These sources contribute to our understanding of Stravinsky in at least two unique ways. First, Andersso

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Savenko, Svetlana Savenko. "Stravinsky and Russian Music of the 20th Century." Musicological Annual 43, no. 2 (2007): 93–98. http://dx.doi.org/10.4312/mz.43.2.93-98.

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The discussion of this important question presupposes two different aspects: the first one is connected with the perception of Stravinsky’s music in his fatherland, the second with the influence of his music in the specific sense of the word. The most important stations of the perception of Stravinsky: 1. 1910–1920. Stravinsky’s works were regularly performed in Russia during this period. The reaction of the audience and the press was various and partly controversial. 2. End of the 30’s to the middle 1950’s. In this period Stravinsky’s music has almost disappeared from the USSR concert life. I

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Evans, Joan. "Stravinsky's Music in Hitler's Germany." Journal of the American Musicological Society 56, no. 3 (2003): 525–94. http://dx.doi.org/10.1525/jams.2003.56.3.525.

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Abstract This investigation of the reception in Nazi Germany of the work (and person) of Igor Stravinsky offers new insights into the issue of modern music in Hitler's Germany. As the most prominent modernist composer of the period, Stravinsky was the chief beneficiary of Germany's desire, after the xenophobic early Nazi years, to rejoin the European cultural community. Thanks to the determination of his supporters, and aided by the greater accessibility of his 1930s works, Stravinsky's music achieved a significant position in the musical life of the New Germany, which it maintained until the

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Whittall, Arnold. "ADÈS AT 50: PRECARIOUS POISE." Tempo 75, no. 298 (2021): 10–19. http://dx.doi.org/10.1017/s004029822100036x.

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AbstractA range of aesthetic and technical features is explored in two of Adès's large-scale works, the operas The Tempest and The Exterminating Angel, along with aspects of genre involving Stravinsky and Britten. Large-scale focus is offset by brief accounts of The Four Quarters and Dawn, considering their character in light of some recent initiatives in musicology.

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Taruskin, Richard. "Stravinsky, Ditta, and Bartók’s First Piano Concerto." Studia Musicologica 60, no. 1-4 (2020): 5–14. http://dx.doi.org/10.1556/6.2019.00001.

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In a memorable letter of 18 March 1926, brought to the attention of Anglophone scholars by David Schneider, Bartók’s second wife Ditta Pásztory described her reaction (obviously also reflecting that of her husband’s) to Stravinsky’s Piano Concerto just after listening to its Budapest premiere with the composer at the piano as being attracted to the machine music but missing in it what she called her “homeland.” In the present article I should like to show that the machine music described as intimidating is no more threatening than a sewing machine, because the inspiration for it was 192Os-styl

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Glivinsky, Valery V. "Introduction to New Book on Stravinsky." Contemporary Musicology 8, no. 2 (2024): 68–85. http://dx.doi.org/10.56620/2587-9731-2024-2-068-085.

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A new book is devoted to the work of Stravinsky follows and expands upon the tradition of Boris Asafyev’s 1929 monograph. The central analytical object of the new book is the sound fabric unfolding over time in the works of the Russian master. Content-related and semantic interpretations of this object are intended to expand upon, refine, and in some cases correct ideas about Stravinsky’s work that exist in the modern musical consciousness. The book relies on four methodological premises. The historiographical premise stems from an interpretation of Stravinsky’s artistic legacy as a musical un

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Baur, Steven. "Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908." Journal of the American Musicological Society 52, no. 3 (1999): 531–92. http://dx.doi.org/10.2307/831792.

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The octatonic scale has provided composers an important alternative to common diatonic practice since the middle of the nineteenth century. Scholars have traced a direct line of transmission with respect to octatonic writing passing from Liszt, through Rimsky-Korsakov, to Stravinsky. But octatonicism also figures prominently in the music of Maurice Ravel, and several works from the first fifteen years of his career implicate Ravel directly in the octatonic legacy, simultaneously bearing the influence of nineteenth-century chromatic harmony as practiced by Liszt and Rimsky-Korsakov and anticipa

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Albright, Daniel, Richard Taruskin, and Stravinsky. "Stravinsky and the Russian Traditions: A Biography of the Works through Mavra." Russian Review 56, no. 3 (1997): 460. http://dx.doi.org/10.2307/131763.

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Rogers, Lynne, and Richard Taruskin. "Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra." Notes 54, no. 2 (1997): 438. http://dx.doi.org/10.2307/899519.

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Jordan, Stephanie, and Richard Taruskin. "Stravinsky and the Russian Traditions: A Biography of the Works through Mavra." Dance Research: The Journal of the Society for Dance Research 17, no. 1 (1999): 101. http://dx.doi.org/10.2307/1290880.

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Dahl, Per. "Sign and Expression in Performing Stravinsky's Neoclassical Works." PlaySpace 3, no. 1 (2024): 6–15. https://doi.org/10.31265/ps.734.

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The signs and expressions on the sheet music are the pivotal point of communication between the composer’s idea of the musical work and the musician’s interpretation. Performing Stravinsky’s neoclassical works is challenging because he gives guidance through various media and on several intellectual levels through his books, scores, and recordings. In a multi-layered communication model, the differences and discrepancies between his writings, the vocabulary of articulation in his published scores, and his interpretations of his music on recordings will be analysed. In performing his neoclassic

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McBurney, Gerard. "The Music of Roman Ledenev." Tempo, no. 177 (June 1991): 24–31. http://dx.doi.org/10.1017/s004029820001353x.

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Gradually the picture of Russian music in our century begins to fill out. The modernists of 70 or 80 years ago like Mossolov and Roslavets are beginning to make the nervous transition from text-book to performance. The constant revaluation of Shostakovich and Stravinsky makes for a couple of flourishing industries. And some living composers like Schnittke and Gubaidulina have produced works which seem almost to have been accepted as part of the repertoire

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Simonović, Marija. "Fire As A First Cause Of Phenomenon In Gaston Bachelard's The Psychoanalysis Of Fire And Igor Stravinsky's The Rite Of Spring." Kwartalnik Młodych Muzykologów UJ, no. 50 (3) (June 2022): 43–63. http://dx.doi.org/10.4467/23537094kmmuj.21.006.16100.

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In this paper, the ballet of Igor Stravinsky The Rite of Spring is interpreted from the perspective of Gaston Bachelard’s philosophical thought. Bachelard’s systematic psychoanalysis of literary images in The Psychoanalysis of Fire is applied to the interpretation of musical images in The Rite of Spring. Bearing in mind that rhythm is a key characteristic of Stravinsky’s composition, the paper analyses the immediate correspondences between Stravinsky’s and Bachelard’s perception and interpretation of rhythm in the works under consideration.

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Demchenko, Alexander I. "Post Scriptum. A Few More Composers’ Names." ICONI, no. 3 (2021): 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.

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In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Pe

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EMMERY, LAURA. "Elliott Carter's and Luigi Nono's Analyses of Schoenberg'sVariations for Orchestra, Op. 31: Divergent Approaches to Serialism." Twentieth-Century Music 16, no. 2 (2019): 191–229. http://dx.doi.org/10.1017/s1478572219000033.

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AbstractDespite Nono's and Carter's opposing views, divergent compositional aesthetic, and applicability of twelve-tone music, the two composers shared their admiration for the works of the Second Viennese School. In this article, I examine Carter's 1957 and Nono's 1956 analyses of Schoenberg's pivotal twelve-tone work:Variations for Orchestra, Op. 31 (1926–28). The study offers a rare opportunity to look at the same piece analysed by two composers with unique points of view. Completed only a year apart, the analyses illuminate aspects of Schoenberg's work that each composer found most compell

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Агаронян, К. Р. "The Sacrifice of Isaac in the Music of Britten and Stravinsky: Hidden Rivalry and Creative Polemics." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 148–77. http://dx.doi.org/10.26176/mosconsv.2017.31.4.06.

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В статье рассматриваются два произведения композиторов XX века на сюжет о жертвоприношении Исаака: кантикль II Бенджамина Бриттена и священная баллада Игоря Стравинского. Анализ интерпретации духовного сюжета, крайне важного для всех монотеистических религий, и системы музыкальных средств, использованных каждым из композиторов, позволяет говорить о полярности эстетических и этических установок Бриттена и Стравинского. Можно предположить, что музыкальный язык Бриттена не представлял для Стравинского большого интереса и был оставлен им без внимания, — зато гуманистический пафос английского музык

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Татьяна Борисовна, Баранова-Монигетти,. "Hommage to Igor Stravinsky (for His 140 Birthday)." Музыкальная академия, no. 4(780) (December 26, 2022): 80–115. http://dx.doi.org/10.34690/273.

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Статья посвящена особой форме «музыки на случай» — кратким музыкальным приветствиям, которыми Стравинский обменивался с коллегами-композиторами, которые дарил своим друзьям и близким. Среди адресатов музыкальных подарков Стравинского мы встретим Пикассо, Мийо, Риети, Буланже, Сувчинского, а среди авторов оммажей, посвященных Игорю Фёдоровичу, — Хиндемита, Кшенека, Мессиана, Булеза. Задачей автора статьи было максимально полно охватить и систематизировать материал, который до сих пор специально не рассматривался ни русскими, ни зарубежными исследователями. В статье представлены результаты изуче

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Reinhard, Johnny. "A Microtonal Analysis of Igor Stravinsky’s Concept of Pitch and Its Resulting Scale." IKONI / ICONI, no. 1 (2022): 39–58. http://dx.doi.org/10.33779/2658-4824.2022.1.039-058.

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Igor Stravinsky towers as the most prominent composer of the 20th century. When asked on a television broadcast what the Maestro believed to be the next direction in music, Stravinsky claimed that it would be microtonality. The author of the article, who is a prominent specialist in microtonality, proposes a microtonal interpretation in performances of Stravinsky’s musical compositions. He substantiates the validity of such an approach from Stravinsky’s particular spelling of certain chromatic intervals in his musical works, which clearly infer certain intervals from the overtone series, as we

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Demchenko, Aleksandr Ivanovich. "The Russian musical art of the early 20th century: Dissonances." Manuscript 17, no. 2 (2024): 49–57. http://dx.doi.org/10.30853/mns20240008.

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Over an extended period spanning more than four decades (from the late 1880s to the early 1930s), a transition from the Classical era to Modern took place. This essay examines distinct shifts in the interaction between classical and modern styles within the specific historical contexts of the late classical era (as the culmination of the classical evolution) and the early modern era (as the emergence of Modern), focusing on a range of 1910s musical works: Alexander Taneyev’s Piano Quintet, the ballets “The Firebird” and “Petrushka” by Igor Stravinsky, Nikolai Myaskovsky’s Symphony No. 5, and S

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Falaleeva, E. I. "Genre of Musical Offering or Homage in Multilingual Works of Igor Stravinsky: Research Experience." Университетский научный журнал, no. 54 (2020): 11–19. http://dx.doi.org/10.25807/pbh.22225064.2020.54.11.19.

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Whittall, Arnold. "Stravinsky and the Russian Traditions: A Biography of the Works Through "Mavra" . Richard Taruskin ." Journal of the American Musicological Society 50, no. 2-3 (1997): 519–29. http://dx.doi.org/10.1525/jams.1997.50.2-3.03a00140.

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Fink, Robert. "Review Essay: Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra." Modernism/modernity 4, no. 3 (1997): 147–54. http://dx.doi.org/10.1353/mod.1997.0053.

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