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

In 1926, after rejoining the Russian Orthodox Church, Igor Stravinsky began composing religious music. These religious works provided a creative outlet for Stravinsky’s personal interest in religion and religious philosophy and also revealed Stravinsky’s professional exploration of a new musical genre. His personal religiosity played an integral role in the composition of these pieces by originally inspiring the subject of the works, and later providing intellectual stimulation during the composition process. This thesis will examine three of Stravinsky’s religious works from his Neo-Classical period, including Otche Nash, Symphony of Psalms, / Thesis / Master

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.

Thesis (Ph. D.)--University of Washington, 1997. / Includes bibliographical references (leaves [175]-188).

Thesis (M.Arch.)--University of Detroit Mercy, 2008. / "28 April 2008". Includes bibliographical references.

Thèse (M. Mus.) -- Université Laval, 1997. / Bibliogr.: f. 71-73. Vidéogr.: f. 74. Publ. aussi en version électronique.

À la Manière de Stravinsky is one piece in a series of works composed by Jean-Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. This study will add to the published material on Jean-Michel Defaye and this influential series of pieces and is intended to further the interest of research into the works of this important composer.

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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.