Relevant bibliographies by topics / "The Flood" by I. Stravinsky

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

Academic literature on the topic '"The Flood" by I. Stravinsky'

Author: Grafiati
Published: 5 June 2025
Last updated: 16 July 2025

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Journal articles on the topic ""The Flood" by I. Stravinsky"

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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&rsquo;s cultural paradigm as style diversity. The author&rsquo;s works, especially those of the late period, and their spiritual component still require fundamental research&nbsp; in modern art history. The purpose of the article is to identify the intonational and semantic specificity of the implementation of the images of praise and glorification in the concept of &ldquo;The Flood&rdquo; by I. Stravinsky. The research methodology is based on the intonation concept of music through the perspective of stylistic, etymological analysis, as well as on interdisciplinary and historical and cultural approaches which make it possible to identify the spiritual, genre and intonational features of the glorifying semantics interpretation in the mentioned work of composer. The scientific novelty of the article. The spiritual and semantic, genre and intonational, dramatic role of the&nbsp;<em>Te Deum&nbsp;</em>and&nbsp;<em>Sanctus&nbsp;</em>poetics in the composition of the mysterious conception of &ldquo;The Flood&rdquo; by I. Stravinsky as a whole has been generalized for the first time. Conclusions. &ldquo;The Flood&rdquo; by I. Stravinsky created at the intersection of various genre traditions (opera, cantata, ballet) and united by typological attributes of the mystery-play (&ldquo;telemystery&rdquo;) symbolizes the composer&rsquo;s basic spiritual and style guidelines in the late period of his creative activity focused on biblical themes. The glorifying sections of &ldquo;The Flood&rdquo; by I. Stravinsky (Te Deum and Sanctus) represent, on the one hand, the genre and style search of the author who discovers the intonational and semantic possibilities of serial technique, which in the general concept of the work becomes a symbol of the &ldquo;Universal Order&rdquo;. On the other hand, they determine Stravinsky&rsquo;s spiritual and religious guidelines, showing his inclination for ecumenism in the spirit of the traditions of the &ldquo;Undivided Church&rdquo; and its Eastern Christian genesis.
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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 audible results of these impulses will contribute substantially to an understanding of his last works.
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Nesterova, Iulianiya Andreevna. "Eschatological plots in I. F. Stravinsky’s music (by the example of the cantata “The Flood”)." Manuscript 16, no. 4 (2023): 276–81. http://dx.doi.org/10.30853/mns20230055.

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The aim of the research is to identify the rhythmic and intonational complexes, musical-rhetorical formulas, characteristics of choral texture and timbral dramaturgy in I. F. Stravinsky’s cantata “The Flood” (1962) that the composer uses to convey the eschatological biblical narrative through music. The study systematically examines the structure and content of each of the seven parts of the cantata – “Prelude”, “Melodrama”, “The Building of the Ark” (choreography), “The Catalogue of the Animals”, “The Comedy”, “The Flood” (choreography), “The Covenant of the Rainbow”. Scientific novelty lies in uncovering the specific ways in which the eschatological plot is reflected in Stravinsky’s creative work, focusing on the cantata “The Flood”, which has not received sufficient attention in scholarly literature. The research reveals that such aspects as musical symbolism, orchestration and timbral dramaturgy, symbolism of numbers and extramusical symbolism allow the composer to embody the biblical symbolism associated with the eschatological narrative of the worldwide flood.
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Miller, Jane. "Stravinsky." Antioch Review 45, no. 1 (1987): 47. http://dx.doi.org/10.2307/4611683.

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Walsh, Stephen. "Stravinsky." Musical Times 130, no. 1755 (1989): 257. http://dx.doi.org/10.2307/966309.

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Northcott, Bayan, Pieter van den Toorn, and Stephen Walsh. "Stravinsky." Musical Times 130, no. 1752 (1989): 83. http://dx.doi.org/10.2307/966354.

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Julien, Jean-Rémy, Eric Walter White, and Jean-Remy Julien. "Stravinsky." Revue de musicologie 71, no. 1/2 (1985): 222. http://dx.doi.org/10.2307/928618.

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Walsh, Stephen, Ethan Haimo, and Paul Johnson. "Obscuring Stravinsky." Musical Times 128, no. 1738 (1987): 693. http://dx.doi.org/10.2307/964813.

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Walsh, Stephen. "Igor Stravinsky." Musical Times 133, no. 1787 (1992): 7. http://dx.doi.org/10.2307/966228.

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Van Den Toorn, Pieter C., and Demitri Tymoczko. "Stravinsky and the Octatonic: The Sounds of Stravinsky." Music Theory Spectrum 25, no. 1 (2003): 167–202. http://dx.doi.org/10.1525/mts.2003.25.1.167.

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Dissertations / Theses on the topic ""The Flood" by I. Stravinsky"

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McKay, Janis LaFaye. "L'Histoire du soldat and Les noces : a historical, theoretical, and theatrical comparison study of two chamber music compositions by Igor Stravinsky." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261065737.

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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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Couturiaux, Clay. "The Nightingale's Flight from Opera to Symphonic Poem: A Comparative Study of The Nightingale and The Song of the Nightingale by Igor Stravinsky." Thesis, view full-text document, 2000. http://www.library.unt.edu/theses/open/20003/Couturiaux%5Fclay/index.htm.

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Vazzoler, Luciano Ferrara [UNESP]. "Stravinsky neoclássico: uma análise dos procedimentos composicionais." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/93747.

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Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2008Bitstream added on 2014-06-13T20:55:17Z : No. of bitstreams: 1 vazzoler_lf_me_ia.pdf: 661466 bytes, checksum: e1ad82c415da1b637531008c17b8ae99 (MD5)<br>Nesta pequisa estuda-se a fase neoclássica do compositor Igor Stravinsky, identificando procedimentos composicionais específicos presentes em tal fase do compositor russo. Tais procedimentos estão estreitamente conectados com modelos referenciais da música da tradição tonal e apontam para interessante e pertinente diálogo entre contextos musicais bastante contrastantes. O objetivo desta dissertação, a partir da constatação de possíveis relações entre a fase neoclássica e a fase russa de Stravinsky, é discutir e analisar os procedimentos técnicos composicionais presentes na música da fase neoclássica. Para identificar tais procedimentos serão analisadas duas peças neoclássicas de Stravinsky: a Sonata para piano (1924) e o Capriccio para piano e Orquestra (1929).<br>This research is a study of Stravinsky´s neoclassical period in order to identify specific compositional procedures. These procedures are closely connected with models of tonal reference and point to an interesting dialogue through contrasting musicals contexts. The objective of this dissertation is to investigate possible relationships between the neoclassical and the russian period of Stravinsky's music, discussing mainly the technical procedures found in the neoclassical phase. To identify these procedures it will be analyzed two pieces of Stravinsky: Sonata for piano (1924) and Capriccio for piano and Orchestra (1929).
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Vazzoler, Luciano Ferrara. "Stravinsky neoclássico : uma análise dos procedimentos composicionais /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/93747.

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Orientador: Florivaldo Menezes Filho<br>Banca: Eduardo Seincman<br>Banca: Marcos Pupo Nogueira<br>Resumo: Nesta pequisa estuda-se a fase neoclássica do compositor Igor Stravinsky, identificando procedimentos composicionais específicos presentes em tal fase do compositor russo. Tais procedimentos estão estreitamente conectados com modelos referenciais da música da tradição tonal e apontam para interessante e pertinente diálogo entre contextos musicais bastante contrastantes. O objetivo desta dissertação, a partir da constatação de possíveis relações entre a fase neoclássica e a fase russa de Stravinsky, é discutir e analisar os procedimentos técnicos composicionais presentes na música da fase neoclássica. Para identificar tais procedimentos serão analisadas duas peças neoclássicas de Stravinsky: a Sonata para piano (1924) e o Capriccio para piano e Orquestra (1929).<br>Abstract: This research is a study of Stravinsky's neoclassical period in order to identify specific compositional procedures. These procedures are closely connected with models of tonal reference and point to an interesting dialogue through contrasting musicals contexts. The objective of this dissertation is to investigate possible relationships between the neoclassical and the russian period of Stravinsky's music, discussing mainly the technical procedures found in the neoclassical phase. To identify these procedures it will be analyzed two pieces of Stravinsky: Sonata for piano (1924) and Capriccio for piano and Orchestra (1929).<br>Mestre
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Court, Jean-Michel. "L'orchestration dans les oeuvres symphoniques de stravinsky." Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10020.

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L'etude des oeuvres symphoniques de stravinsky permet d'etablir certains liens de filiation avec rimsky-korsakov. La comparaison, par le biais du traite d'orchestration de rimsky-korsakov, des techniques d'instrumentation des deux compositeurs en fait apparaitre les points communs et les divergences. Dans la premiere partie, on aborde les rapports de la melodie, de l'harmonie, du rythme et de l'architecture formelle avec l'orchestration. Dans la seconde, ce sont les particularites du style orchestral de stravinsky qui sont etudiees, a travers l'analyse des combinaisons instrumentales. Si le compositeur respecte la plupart des conventions de l'orchestration romantique, il parvient, par une poetique originale du timbre, a s'ecarter subtilement du modele que lui a legue son maitre. Les dispositions spatiales specifiques, les artifices d'ecriture, le contrepoint instrumental, les decalages entre la logique du discours musical et celle de l'instrumentation brouillent la perception des timbres et concourent a l'elaboration de sonorites caracteristiques de l'esthetique stravinskienne. L'ecriture instrumentale se definit chez stravinsky comme une adaptation des canons de l'orchestration tels qu'ils sont definis par rimsky-korsakov; mais stravinsky detourne l'objet musical, le deforme, en modifie les contours : le jeu avec le modele est une etape signifiante du processus de composition.
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Mathias, Rhiannon. "Taking liberties : Schoenberg, Gershwin, Stravinsky and modern culture." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325202.

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Davies, Benjamin John. "Debussy and Stravinsky : friendship and interaction, 1910-1918." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/219100.

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Castro, Edward A. "Imitation of an innovator : a comparative analysis of Agon by Igor Stravinsky and Dance movements for brass quintet by David Snow /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11326.

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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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Books on the topic ""The Flood" by I. Stravinsky"

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Paul, Griffiths. Stravinsky. J.M.Dent & Sons, 1992.

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Paul, Griffiths. Stravinsky. Schirmer Books, 1993.

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Marnat, Marcel. Stravinsky. Seuil, 1995.

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Paul, Griffiths. Stravinsky. Schirmer, 1993.

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Vlad, Roman. Stravinsky. 3rd ed. Oxford University Press, 1985.

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ill, Popov Nicolai, ed. Stravinsky. Creative Education, 1993.

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Vernon, Roland. Introducing Stravinsky. Chelsea House Publishers, 2001.

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Vernon, Roland. Introducing Stravinsky. Chelsea House Publishers, 2001.

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Goubault, Christian. Igor Stravinsky. Libr. H. Champion, 1991.

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Stravinsky, Marie. Abécédaire Stravinsky. Éditions La Baconnière, 2018.

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Book chapters on the topic ""The Flood" by I. Stravinsky"

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White, Eric Walter. "Stravinsky." In European Music in the Twentieth Century. Routledge, 2025. https://doi.org/10.4324/9781003645474-3.

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Wilson, John. "Igor Stravinsky." In The Faith of an Artist. Routledge, 2022. http://dx.doi.org/10.4324/9781003291282-13.

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Joseph, Charles M. "Television, The Flood, and Beyond." In Stravinsky and Balanchine. Yale University Press, 2002. http://dx.doi.org/10.12987/yale/9780300087123.003.0012.

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"12. Television, The Flood, and Beyond." In Stravinsky and Balanchine. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300129342-014.

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Joseph, Charles M. "Television and The Flood: Anatomy of an “Inglorious Flop”." In Stravinsky Inside Out. Yale University Press, 2001. http://dx.doi.org/10.12987/yale/9780300075373.003.0005.

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"CHAPTER 5. Television and The Flood: Anatomy of an “Inglorious Flop”." In Stravinsky Inside Out. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300129366-008.

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Cook, Nicholas. "Stravinsky conducts Stravinsky." In The Cambridge Companion to Stravinsky. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol9780521663304.010.

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"Stravinsky." In Musicology and Performance. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300146394-019.

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Steinberg, Michael. "Stravinsky." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0040.

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Abstract Stravinsky began the Capriccio in December 1928, completing the three movements on 26 October, 13 September, and 9 November 1929 respectively. The first performance, for which the composer was at the piano and Ernest Ansermet conducted the Paris Symphony Orchestra, was given at the Salle Pleyel, Paris, on 6 December 1929. In 1949 Stravinsky revised the work to correct some misprints and omissions in the 1929 score. The Burleske was originally composed in 1885, but only attained its final form in 1890. Eugen d ‘Albert, to whom Strauss later dedicated the work, was the soloist at the first performance, which the composer conducted and which took place at Eisenach on 21 June 1890 at a convention of the General German Music Association. Strauss conducted the premiere of Death and Transfiguration at the same concert.
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Taruskin, Richard. "Diaghilev without Stravinsky? Stravinsky without Diaghilev?" In Russian Music at Home and Abroad. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520288089.003.0016.

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Conference papers on the topic ""The Flood" by I. Stravinsky"

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Chen, Kaiqiang, Xue Lu, Taowei Sheng, et al. "AI-Powered Flood Mapathon." In IGARSS 2024 - 2024 IEEE International Geoscience and Remote Sensing Symposium. IEEE, 2024. http://dx.doi.org/10.1109/igarss53475.2024.10641743.

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Hoan Nguyen, Cong, Dinh Manh Ho, Thi Bich Hang Le, and Khanh-Duy Nguyen. "UIT- VisDrone- Flood: A Synthesized Aerial Vehicle Detection Dataset Under Flood Conditions." In 2024 13th International Conference on Control, Automation and Information Sciences (ICCAIS). IEEE, 2024. https://doi.org/10.1109/iccais63750.2024.10814214.

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E, Manoranjitham, Kavin V, Prasand S, Praveen Kumar B, and Saravanan R. "Advanced Flood Management and Rescue Strategies to Securing Lives from Flood Risks." In 2025 International Conference on Intelligent Computing and Control Systems (ICICCS). IEEE, 2025. https://doi.org/10.1109/iciccs65191.2025.10984742.

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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.

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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.

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Belibou, Alexandra. "DIFFERENTIAL TYPOLOGIES OF IGOR STRAVINSKY AND ARNOLD SCHOENBERG, REVEALED BY THE MUSIC ON PSALM TEXTS." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s16.037.

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Aitkulov, Almas, Eric Dao, and Kishore K. Mohanty. "ASP Flood After a Polymer Flood vs. ASP Flood After a Water Flood." In SPE Improved Oil Recovery Conference. Society of Petroleum Engineers, 2018. http://dx.doi.org/10.2118/190271-ms.

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Lin, Li, Liping Di, Eugene Genong Yu, et al. "Extract flood duration from Dartmouth Flood Observatory flood product." In 2017 6th International Conference on Agro-Geoinformatics. IEEE, 2017. http://dx.doi.org/10.1109/agro-geoinformatics.2017.8047064.

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Alves, David, Pedro Bizarro, and Paulo Marques. "Flood." In the Fourth ACM International Conference. ACM Press, 2010. http://dx.doi.org/10.1145/1827418.1827445.

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Choi, C., J. Ahn, and J. Yi. "Flood mitigation analysis for abnormal flood." In FRIAR 2010. WIT Press, 2010. http://dx.doi.org/10.2495/friar100101.

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Reports on the topic ""The Flood" by I. Stravinsky"

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Amornsiripanitch, Natee, Siddhartha Biswas, John Orellana-Li, and David Zink. Flood Underinsurance. Federal Reserve Bank of Philadelphia, 2024. https://doi.org/10.21799/frbp.wp.2024.23.

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Wehner, M., and T. Maqsood. Dungog Flood, 20-21 April, 2015 : Post-flood Damage Survey. Geoscience Australia, 2015. http://dx.doi.org/10.11636/record.2015.021.

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FRENCH AND ASSOCIATES LTD PARK FOREST IL. Local Flood Proofing Programs. Defense Technical Information Center, 2005. http://dx.doi.org/10.21236/ada635792.

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Sharp, Jeremey A., Steve H. Scott, Mark R. Jourdan, and Gaurav Savant. Camp Marmal Flood Study. Defense Technical Information Center, 2012. http://dx.doi.org/10.21236/ada558517.

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Ma, Zhegang, Sai Zhang, Chad Pope, and Curtis Smith. Flood Barrier Testing Strategies. Office of Scientific and Technical Information (OSTI), 2022. http://dx.doi.org/10.2172/1847910.

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Hooker, Reece. Special Report: Flood ready. Monash University, 2022. http://dx.doi.org/10.54377/25fd-9310.

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Bowers, C., Y. Lee, A. Sharma, and R. White. IS-IS Flood Reflection. Edited by T. Przygienda. RFC Editor, 2023. http://dx.doi.org/10.17487/rfc9377.

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HYDROLOGIC ENGINEERING CENTER DAVIS CA. Flood Plain Management Services Program General Guidelines for Comprehensive Flood Warning/Preparedness Studies. Defense Technical Information Center, 1988. http://dx.doi.org/10.21236/ada203776.

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Kane, D. L., and J. R. Janowicz. Flood frequency estimation for Alaska. Alaska Division of Geological & Geophysical Surveys, 1988. http://dx.doi.org/10.14509/2465.

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Rao, A. Flood Frequency Relationships for Indiana. Purdue University, 2006. http://dx.doi.org/10.5703/1288284313398.

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