Igor Stravinsky’s 1927 opera-oratorio Oedipus Rex (with libretto by Jean Cocteau) contains quintessential Neoclassical qualities: it is a reduced, mechanical, and austere version of the Sophocles play, using older operatic devices within static harmonic momentum and ambiguous functionality. A closer look into the conception and intrinsic fabric of the work, however, betrays certain ideological bonds with the Russian neonationalist movement of the late 19th century. This movement had its origins in the visual arts but soon its principles carried over to music. The neonationalists valued the intrinsic properties of the folk subject (ornamentation in art, geometrical aspects of line, folk song) rather than the folk subject itself. In other words, the abstraction of the folk subject’s innate qualities, rather than mere quotation, served as the means to a wholly modern artwork. Neonationalist ideals would serve as the catalyst for Stravinsky’s modernist revolt in Le Sacre du Printemps (as explored by Richard Taruskin.) Although the movement itself is distanced from Stravinsky’s Neoclassical period and Oedipus Rex, its ideals can be traced from Le Sacre to Oedipus and beyond. In addition, the social and cultural milieu of Jean Cocteau in interwar France serves to position this work as distinctly modernist mainly through its abbreviation of the original source. In this study, I will explore the perpetuation of these ideals in Oedipus through its musical language and abstraction from sources to place it as an entirely new musical concept. / text

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Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 56-57).

Thesis (M.M.)--Florida State University, 2003. / Advisor: Denise Von Glahn, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-18-03). Document formatted into pages; contains 63 pages. Includes biographical sketch. Includes bibliographical references.

Diss.--Tours, 1994. / Bibliogr. p. 349-355.

An analysis of the transformation from Stravinsky's opera The Nightingale to The Song of the Nightingale, a symphonic poem by the same composer. The text includes a brief history of Stravinsky's life and the genesis of The Nightingale and The Song of the Nightingale. The bulk of the dissertation discusses actual changes employed by Stravinsky (with score examples). Patterns of modifications are identified and discussed as they relate to the composer's change of attitude in orchestration. The analysis focuses on overall patterns of alteration imposed by Stravinsky and their perceived effectiveness achieving a symphonic aural outcome.

Master of Music / Department of Music / Craig A. Weston / Igor Stravinsky used a compositional technique that researchers have termed cut-and-paste. During the compositional process, Stravinsky would write notes on carbon paper, then cut the lower parts out to paste them into other sheets of paper with music on them. This paper examines a few key ways this fits into the compositional process for Symphonies of Wind Instruments (1920, rev. 1947). In an original work, Whither No One Knows (a chamber work for flute, clarinet, marimba, piano, violin, viola, and cello) several similar cut-and-paste compositional processes were used. These include melodic cut-and-paste, ostinato creation, layering, rhythmic diminution, and extension. These techniques are illustrated and examined. The full score of Whither No One Knows (2009) is included.

by Lai Boon Tsing Joseph. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 212-214) and discography (leave 215). / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The Development of I. Stravinsky's Word- setting Philosophy --- p.8 / Chapter Chapter 3 --- The Word-setting of Threni: id est Lamentationes Jeremiae Prophetae (1957/58) --- p.29 / Chapter Chapter 4 --- "The Word-setting of A Sermon, a Narrative and a Prayer (1960/1)" --- p.70 / Chapter Chapter 5 --- The Word-setting of Abraham and Isaac (1962/3) --- p.102 / Chapter Chapter 6 --- Comparison of the Word-setting of the Three Selected Passages --- p.137 / Chapter Chapter 7 --- Conclusion --- p.156 / Appendices --- p.162 / Bibliography --- p.212 / Discography --- p.215 / List of Appendices / Appendix I THRENI: The metric placement of the normally-stressed syllables --- p.162 / Appendix II THRENI: The metric placement of the normally-unstressed syllables --- p.168 / Appendix IIIA THRENI: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.175 / Appendix IIIB THRENI: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.178 / "Appendix IV THRENI: The treatment of the ultimate syllable of a phrase, clause or sentence" --- p.180 / "Appendix V A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Table of monosyllabic sung- words showing their stressed or non- stressed identity" --- p.182 / "Appendix VI A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-stressed syllables" --- p.185 / "Appendix VII A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-unstressed syllables" --- p.187 / "Appendix VIIIA A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.189 / "Appendix VIIIB A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.190 / "Appendix IX A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of all syllables stressed by all means" --- p.191 / Appendix X ABRAHAM AND ISAAC :The metric placement of the normally-stressed syllables --- p.195 / Appendix XI ABRAHAM AND ISAAC: The metric placement of the normally-unstressed syllables --- p.199 / Appendix XIIA ABRAHAM AND ISAAC : Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.204 / Appendix XIIB ABRAHAM AND ISAAC: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.206 / "Appendix XIIIA A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The distribution of normally-stressed monosyllabic words" --- p.208 / "Appendix XIIIB A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of normally-unstressed monosyllabic words" --- p.210

The purpose of this study is in one part to observe the evolution of the wind octet genre and another to research the evolution of the bassoon's role in this ensemble. Specifically the essential role of the two bassoons are revealed by showing that they are the only pair of instruments that remain intact in the wind octet ensemble from the time of Mozart to the time of Stravinsky. Because of this, they provide the wind octet it's characteristic sound. To illustrate these points, two significant wind octets were examined in detail: The Serenade in Eb, K. 375 (1782) by Mozart and the Octet for Winds (1923/revised 1952) by Stravinsky. Despite the long time span between these two works, and the obvious changes in instrumentation, the Octet for Winds by Stravinsky could be called an evolved version of the earlier traditional wind octet. The research within illustrates how the writing for the bassoons changed and stayed the same as related to range, articulation, technical demands, interaction and blending, idiomatic features and role between the years of 1782 and 1923. Other octets that fall between these dates were examined to demonstrate this evolution. Also, in order to have a better understanding of the Serenade by Mozart and Octet for winds by Stravinsky, their symphonic works were analyzed to determine how each composer wrote for the bassoon in other genres and this is compared to the use of the bassoon in their octets.

This study uses analysis, comparison, analogy, and inductive reasoning, to defend the thesis that a theological interpretation of the musical imagination can be arrived at through a correlation of myth and musical form. The first part of the study develops the approach to musical symbolism called presentational idealism, from Plato and Aristotle, through Kant, to Susanne Langer. This approach is then developed alongside evidence from various sources for a relationship between myth and music, to reach the conclusion that a mythical analysis of music is productive and practical. / The second part of the study uses selected compositions of Stravinsky to illustrate the application of mythical analysis. By analyzing formal aspects of Stravinsky's music in terms of their mythic, ritual, and archetypal symbols, a theological quest is perceived in his work, which is dominated by three interrelated symbols: death, rebirth, and eternal life. These three symbols parallel another set of symbols which derives from his aesthetic stance: chaos, discipline, and freedom. By treating Stravinsky's compositions chronologically, a development is observed through his Russian, Neo-classical, and Serial periods, which indicates that these symbolic clusters, death/rebirth/eternal life, and chaos/discipline/freedom, are keys both to his aesthetics and to the spiritual development of his imagination. Evidence from Stravinsky himself is given priority, with analysis by scholars and critics introduced where it will clarify the thesis.