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21	Zwischen "musique pure" und religiösem Bekenntnis : Igor Stravinskijs Ästhetik von 1920 bis 1939 / Henseler, Ute. January 2007 (has links) Zugl.: Berlin, Techn. Universiẗat, Diss.
22	Ostinato in selected works of Stravinsky Alwin, Anne Elizabeth, January 1971 (has links) Thesis (M.M.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references. Stravinsky, Igor, Ground bass.
23	Observations and trends found in Stravinsky's use of the clarinet during the years 1914-1919 Laubenthal, Jennifer Joy, January 2009 (has links) Thesis (D.M.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 362-364). Stravinsky, Igor, Clarinet.
24	The clarinet in selected works of Béla Bartók and Igor Stravinsky Prime, Dennis Gordon. January 1984 (has links) Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 197-199). Bartók, Béla, Stravinsky, Igor,
25	Cadenza und Concerto : Studien zu Igor Strawinskijs Instrumentalismus um 1920 / Schröder, Gesine. January 1996 (has links) Diss.--Berlin--Hochschule der Künste, 1990. / Bibliogr. p. 214-221. Stravinsky, Igor, Concertos
26	Stravinsky and the ballet Fikry, Mona January 1962 (has links) Thesis (M.A.)--Boston University Ballet Stravinsky, Igor
27	Toward a Theory of Formal Function in Stravinsky’s Neoclassical Keyboard Works Mueller, Peter M., Mueller, Peter M. January 2018 (has links) 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 has been applied to works by other composers. Next, since Caplin relies heavily on cadential harmonic progressions of the common-practice period, I propose alternative parameters to define relative conclusions in music, such as motive, rhythm, and counterpoint. Armed with these new cadential constructs, called endings, I identify constituent Caplinian functions (presentations, antecedents, continuations, etc.) which can then be used to construct theme-types, which in turn function as constituent types for larger forms. I also categorize several loosening agents that Stravinsky uses to deviate from normal, balanced theme-types. The final chapter summarizes the research, applies the theory to other works by Stravinsky and other composers, and proposes topics for future analysis. analysis formal function Stravinsky
28	In the Fingertips: A Discussion of Stravinsky's Violin Writing in His Ballet Transcriptions for Violin and Piano Tu, Kuan-Chang 30 October 2012 (has links) No description available. Music Stravinsky violin transcription
29	Imitation of an innovator : a comparative analysis of Agon by Igor Stravinsky and Dance movements for brass quintet by David Snow / Castro, Edward A. January 2007 (has links) Thesis (D. Mus. Arts)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 86-88).
30	La référence à Bach dans les oeuvres néo-classiques de Stravinsky : sa fonction dans le renouvellement stylistique du compositeur / Cantoni, Angelo. January 1994 (has links) Thèse pour le doctorat--Musicologie--Tours, 1994. / 2 tomes en 1 vol. Bibliogr. p. 379-388.

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