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

Author: Grafiati

Published: 5 June 2025

Last updated: 16 July 2025

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1

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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2

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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3

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

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4

Miller, Jane. "Stravinsky." Antioch Review 45, no. 1 (1987): 47. http://dx.doi.org/10.2307/4611683.

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5

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

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6

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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7

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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8

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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9

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

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10

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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11

Campbell, Edward. "Stravinsky and the post-war generation in France: Aspects of influence." Muzikologija, no. 34 (2023): 69–83. http://dx.doi.org/10.2298/muz2334069c.

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This article explores aspects of Stravinsky?s influence on some key composers of the Francophone post-war avant-garde, namely Pierre Boulez, Jean Barraqu?, Hen?ri Pousseur and Michel Philippot. While Messiaen, Boulez and Barraqu? build on Stravinsky?s rhythmic innovations, Pousseur focuses on the sonic complexity of the Russian composer?s scores. Boulez and Philippot praise Stravinsky?s unique instrumental groupings and later Boulez finds in certain of Stravinsky?s scores a renewed source of musical form, as well as the structural coherence afforded by Stravinsky?s use of pitch polarity.

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12

Moody, Ivan. "Stravinsky and Maritain: Philosophies of work." Muzikologija, no. 34 (2023): 33–43. http://dx.doi.org/10.2298/muz2334033m.

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Igor Stravinsky?s philosophical and religious trajectory included transformative encounters with Catholic theologians and philosophers in the Paris of the 1920s and 1930s. The most important amongst these was Jacques Maritain, whose neoThomist philosophy applied to art was of significance to Stravinsky, and in particular through its application in the life and work of fellow Russian ?migr? composer Arthur Louri?. This article examines the relationship between Stravinsky and Maritain in terms of the larger philosophical and creative context of the period, also touching on the work of Louri? and

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13

Griffiths, Paul, and Jann Pasler. "Views of Stravinsky." Musical Times 128, no. 1731 (1987): 269. http://dx.doi.org/10.2307/965113.

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14

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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15

Gritten, Anthony, Stravinsky, Peter Hill, Joseph N. Straus, and Charles M. Joseph. "Caring for Stravinsky." Musical Times 143, no. 1879 (2002): 66. http://dx.doi.org/10.2307/1004605.

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16

CARR, MAUREEN A. ":The Stravinsky Legacy." Music Theory Spectrum 29, no. 1 (2007): 126–34. http://dx.doi.org/10.1525/mts.2007.29.1.126.

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17

Hinch, John. "Stravinsky in Africa." Muziki 1, no. 1 (2004): 71–86. http://dx.doi.org/10.1080/18125980408529733.

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18

Smyth, David H., and Jonathan Cross. "The Stravinsky Legacy." Journal of Music Theory 44, no. 1 (2000): 231. http://dx.doi.org/10.2307/3090674.

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19

van den Toorn, Pieter C. "Stravinsky Re-Barred." Music Analysis 7, no. 2 (1988): 165. http://dx.doi.org/10.2307/854055.

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20

Dorris, G. "Balanchine on Stravinsky." Opera Quarterly 22, no. 1 (2006): 136–38. http://dx.doi.org/10.1093/oq/kbi112.

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21

Roy, Christian. "Jaubert, Stravinsky, Honegger." Revue Possibles 42, no. 1 (2018): 26–39. http://dx.doi.org/10.62212/revuepossibles.v42i1.186.

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22

Tsetsos, Markos. "Ideology, humanness, and value. On Adorno’s Stravinsky." Muzikologija, no. 34 (2023): 95–107. http://dx.doi.org/10.2298/muz2334095t.

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Theodor W. Adorno?s critique of Igor Stravinsky has itself been repeatedly criticised. Following the same line, the present article takes as its point of departure the philosophical anthropology of Helmuth Plessner, which challenges the premises of Marxist anthropology, on which Adorno based his critique of Stravinsky. Far from regressing to the inhuman and primitive, Stravinsky?s music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition, thus becoming more ?human?, i.e. meaningful and expressive, than Adorno could have even conceived.

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23

Albright, Daniel. "Truth and Lies in the Stravinskyan Sense: Oedipus Rex." Modernist Cultures 3, no. 1 (2007): 26–32. http://dx.doi.org/10.3366/e2041102209000306.

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Daniel Albright argues that Stravinsky's opera “Oedipus Rex” is about the subjugation of Dionysus by Apollo. Stravinsky accomplishes this subjugation through a kind of thanatography that extends the logic of death to the opera's words, music and drama. Albright situates his analysis of “Oedipus Rex” against Adorno's disparaging comments about Stravinsky, finding within the logic of Adorno's critique that Stravinsky has given us the death-head of opera itself.

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24

Braguinskaïa, Natalia. "« Les traditions et les préceptes de Petipa ne sont point oubliés… ». L’oeuvre de Marius Petipa dans la réception d’Igor Stravinsky." Slavica Occitania 43, no. 1 (2016): 313–25. https://doi.org/10.3406/slaoc.2016.1092.

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“The Traditions and Precepts of Petipa have not been forgotten.” The Work of Marius Petipa in the Reception of Igor Stravinsky How, we might wonder, did Igor Stravinsky assimilate the world of ballet, its traditions and interpretative methods ? This is a key question for any study of the music of a composer who produced some of the twentieth century’s major ballet scores. It is generally thought that it was Mikhail Fokine, choreographer of The Firebird and a pupil of Marius Petipa, who first introduced Stravinsky to the world of dance. This paper refocuses our attention on Petipa himself. Inde

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25

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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26

Knjazeva, Janna. "Jacques Samuel Handschin - Igor' Stravinskij." Die Musikforschung 52, no. 2 (2021): 207–11. http://dx.doi.org/10.52412/mf.1999.h2.888.

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Der bislang bekannte Briefwechsel zwischen Igor Stravinsky und Jacques Handschin besteht aus neun Briefen Handschins an Stravinsky aus den Jahren 1931-33. Ein weiterer Brief Stravinskys an Handschin vom Juli 1920 konnte nun entdeckt werden. Das Hauptthema dieses Briefes ist Stravinskys Mutter Anna: Stravinsky bittet Handschin, ihm zu helfen, Kontakt mit ihr aufzunehmen. Im Postskriptum schreibt der Komponist über seine Ablehnung von Orgel und Orgelmusik. Der Brief erlaubt es, den Prozess des künstlerischen Schaffens Stravinskys besser zu verstehen und wirft ein neues Licht auf die Kontakte Han

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27

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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28

Nunokawa, Yumiko. "M. K. Čiurlionis and St. Petersburg: New Facts Concerning His Painting Black Sun." Art History & Criticism 13, no. 1 (2017): 5–17. http://dx.doi.org/10.1515/mik-2017-0001.

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Summary It is a well-known fact among Lithuanian scholars of studies on Mikalojus Konstantinas Čiurlionis (1875–1911) that Igor Stravinsky (1882–1971) once owned Čiurlionis’ painting Black Sun (or Ballad). However, it is known only by a reproduction printed in a Russian art magazine Аполлон [Apollon]1, with a title Conte fantastique and Сказка [Fairy Tale] and Stravinsky was specified as an owner of the painting and other details have not been well-researched. Even though some researchers visited St. Petersburg to find the painting several years ago, yet no trace was ever found. In this articl

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29

Pasler, Jann, Robert Craft, Lucia Davidova, Igor Stravinsky, and Vera Stravinsky. "Stravinsky: Insights and Oversights." Musical Times 127, no. 1723 (1986): 557. http://dx.doi.org/10.2307/964388.

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30

Lavallard, Jean-Louis. "Stravinsky par lui-même." Raison présente N° 218, no. 2 (2021): 123–26. http://dx.doi.org/10.3917/rpre.218.0123.

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31

Walsh, Stephen. "First Rites for Stravinsky." Musical Times 130, no. 1759 (1989): 538. http://dx.doi.org/10.2307/1193520.

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32

Whittall, Arnold, and Paul Griffiths. "The Master Musicians: Stravinsky." Musical Times 134, no. 1801 (1993): 146. http://dx.doi.org/10.2307/1193864.

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33

van den Toorn, Pieter C. "Will Stravinsky Survive Postmodernism?" Music Theory Spectrum 22, no. 1 (2000): 104–21. http://dx.doi.org/10.2307/745855.

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34

Graeme, Roland. "Oedipus rex. Igor Stravinsky." Opera Quarterly 10, no. 4 (1994): 142–44. http://dx.doi.org/10.1093/oq/10.4.142.

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35

Buller, Jeffrey. "Oedipus rex. Igor Stravinsky." Opera Quarterly 11, no. 2 (1995): 204–7. http://dx.doi.org/10.1093/oq/11.2.204.

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36

Wierzbicki, James. "Oedipus Rex. Igor Stravinsky." Opera Quarterly 3, no. 1 (1985): 180. http://dx.doi.org/10.1093/oq/3.1.180.

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37

Rimer, Thomas. "Le Rossignol. Igor Stravinsky." Opera Quarterly 3, no. 4 (1985): 100–103. http://dx.doi.org/10.1093/oq/3.4.100.

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38

Toorn, Pieter C. van den. ": Will Stravinsky Survive Postmodernism? ." Music Theory Spectrum 22, no. 1 (2000): 104–21. http://dx.doi.org/10.1525/mts.2000.22.1.02a00050.

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39

Braus, Ira. "The Stravinsky Legacy (review)." Notes 57, no. 1 (2000): 93–95. http://dx.doi.org/10.1353/not.2000.0011.

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40

Chaves, Celso Loureiro. "Stravinsky Inside Out (review)." Notes 59, no. 2 (2002): 340–42. http://dx.doi.org/10.1353/not.2002.0160.

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41

Deliège, Célestin, Michaël Lamb, Celestin Deliege, and Michael Lamb. "Stravinsky: Ideology ↔ Language." Perspectives of New Music 26, no. 1 (1988): 82. http://dx.doi.org/10.2307/833317.

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42

Blitzstein, Marc. "The Phenomenon of Stravinsky." Musical Quarterly 75, no. 4 (1991): 51–69. http://dx.doi.org/10.1093/mq/75.4.51.

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43

Crichton, P. "Stravinsky, Hogarth and Bedlam." Psychiatric Bulletin 19, no. 8 (1995): 496–98. http://dx.doi.org/10.1192/pb.19.8.496.

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“Hogarth's Rakes's Progress paintings, which I saw in 1947 on a chance visit to the Chicago Art Institute, immediately suggested a series of operatic scenes to me.” (Stravinsky & Craft, 1960). By 1947 Stravinsky's career, which had started so brilliantly and stormily with the revolutionary Rite of Spring, was almost totally becalmed. Since emigrating from Paris to California in 1940, he had written a couple of untempestuous orchestral pieces, Circus Polka, “composed for a young elephant”, and little else. He was depressed by the lack of originality of his work and was eager to write an ope

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44

Philpot, Michael. "Stravinsky, Hogarth and Bedlam." Psychiatric Bulletin 20, no. 3 (1996): 182–83. http://dx.doi.org/10.1192/pb.20.3.182-a.

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45

Dorris, George. "Stravinsky and Mr. B." Dance Chronicle 26, no. 3 (2003): 357–63. http://dx.doi.org/10.1081/dnc-120025272.

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46

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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47

Akamine, Paulo. "Adornment listening to Stravinsky." Rapsódia, no. 3 (December 18, 2006): 39–54. http://dx.doi.org/10.11606/issn.2447-9772.i3p39-54.

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A literatura secundária sobre os escritos de Adorno sobre Stravinski costuma considerar somente a Filosofia da Nova Música, embora o autor tenha escrito vários textos ao longo de mais de quarenta anos e em diferentes contextos de crítica e intervenção na praxis musical. Assim, o presente projeto de pesquisa considera o contexto da polêmica em torno da alternativa entre Stravinski e Schönberg em que aparecem as primeiras resenhas, que no entanto já contêm a crítica de Adorno ao caráter autoritário do neoclassicismo, desenvolvida no livro de 1949. No ensaio de 1960 se detecta uma mudança de ênfa

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48

Arefievа, Yelizaveta. "Stravinsky's Compositio as a Synthetic Reality of the World Vision." Bulletin of KNUKiM. Series in Arts, no. 40 (June 5, 2019): 87–93. https://doi.org/10.31866/2410-1176.40.2019.172682.

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Inside radicalism and dramatism of composition as a space of cultural construction, leans toward primary choreic syncretic affects, and Stravinsky associated it with the space of European and Atlantic culture and found a universal form of dialogue between various styles, genres and eras. There were dialogues where the composer found his other alter ego. Thus, the multidimensionality arises in the reflexive gist of musical idea. Therefore, “Dialogues” by I. Stravinsky remains relevant as a universal form of dialogue of the musical space. The purpose of the article is to determine th

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49

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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50

SHADRINA, ANNA. "STRAVINSKY'S MUSIC IN SOVIET ART CRITICISM OF 1960-70S." Культурный код, no. 2021-2 (2021): 7–15. http://dx.doi.org/10.36945/2658-3852-2021-2-7-15.

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The article represents a comparative analysis based on the assessment of the personality and music of I. F. Stravinsky in the context of changes in the cultural policy of the post-war period and the «thaw» period. The dynamics of views on the work of I. F. Stravinsky under the influence of the political situation and changes in aesthetic views are presented. The key event was the visit of the composer to the USSR in 1962, which facilitated development of a positive image of I. F Stravinsky in the press and musicological literature. The thick description developed by С. Geertz has been used as

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