Thesis (D.M.A.)--University of North Texas, 2000. / Includes bibliographical references (p. 89-90).

Thesis (D.M.A.)--University of North Texas, 2000. / Includes bibliographical references (p. 89-90).

Thesis (M.A.)--University of Rochester, 1983. / Typescript (Photocopy). Includes bibliographical references (leaves 115-116). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/2085

Thesis (M.A.)--Ohio State University, 1981. / Includes bibliographical references (leaf 118). Available online via OhioLINK's ETD Center.

Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 94-96). Available also in a digital version from Dissertation Abstracts.

Thesis (D.M.A.)--University of Texas at Austin, 2000. / "Publisher's no.: UMI 9983120." Vita. Includes bibliographical references (leaves 94-96). Available also in a digital version from Dissertation Abstracts.

Thesis (D.M.A.)--Ohio State University, 1993. / Includes bibliographical references (leaves 86 -87). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 193-206). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--Eastman School of Music of the University of Rochester, 1971. / Vita. Typescript. Includes bibliographical references (v. , leaves 248-268).

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 invention, and the concept of limitation. Stravinsky’s objectivism appears in various ways in the different genres. The instrumental piece Symphonies of Wind Instruments presents the lack of linear continuity and development. The melodrama Perséphone represents his objectivism through his rearrangement of French text, and the ballet Orpheus shows his restrained expression in reduced orchestration, quiet dynamics, and cool tone colors.