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

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.

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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.

The violin works of Igor Stravinsky form an integral and vital part of the contemporary violin repertoire. The violin works fall into two categories: original compositions and transcriptions of previous compositions. Included in these transcriptions are orchestral suites and selections from ballet and opera. Many similarities can be noted among the compositions of this genre. The majority were composed or transcribed during a fifteen year period of Stravinsky's career and they exhibit a particular style of composition utilized by Stravinsky at that time. These violin works also generate from an amiable association between Stravinsky and a young violin virtuoso, Samuel Dushkin. During this time, Stravinsky was changing the focus of his career from that of being primarily a composer, to composer, conductor and performer. This necessitated compositions which Stravinsky could perform on tours with Dushkin. This study will be primarily concerned with Stravinsky's compositions for violin written during the years 1931 to 1935. In order to put these compositions in perspective, it is beneficial to investigate earlier events in Stravinsky's life.

Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements. Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period.

The primary objectives of this paper are to deal with Stravinsky's use of the trombone and to study the different methods of scoring for the instrument which he has employed in his works. In order to make this discussion more meaningful, the first chapter contains a brief history of the use and the development of the instrument from the fifteenth century up until 1900. In the second chapter Stravinsky's major works are divided into three periods, and each is individually discussed. The general characteristics common to the related major works are pointed out to provide an understanding of each period. The remainder of the paper is devoted to a study of Stravinsky's trombone scoring in three of his major works, one from each period. A concluding chapter summarizes his writing for the trombone as exemplified by these three works, and surveys the scoring for trombone in some of his other works.

Pieter C. van den Toorn has shown that one can label sections of Igor Stravinsky's Russian-period music based on two types of melodic-line (block) interactions: Type I and Type II. This paper analyzes Stravinsky's Rite of Spring and proposes the further classification of Type II sections of music into three categories. Organizing the music into these three categories depends on two aspects:1) the type of texture of the interacting blocks: melody and accompaniment or contrapuntal, and 2) the overall alignment of the interacting blocks' group-level rhythmic accents, which create either a unified or disunified metric accent. Furthermore, these three categories of Type II block structure also occur in other Stravinsky works, as well as works of minimalist composers. / School of Music

At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture. / French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism. / Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.

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) / 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). / 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).