No description available.

No description available.

Treatise (D.M.A.) Florida State University, 2008. / Advisor: Beth Newdome, Florida State University College of Music. Title and description form dissertation home page (viewed 4-7-2009). Document formatted into pages; contains 56 pages.

No description available.

Thesis (M.M.)--Boston University

Abstract Igro Stravinsky composed¡§Pulcinella¡¨ballet under the suggestion of Diaghilev in 1919. In this work, most of the melodies are based on Pergolesi as well as his contemporary composers, in addition to Stravinsky' unique features, such as dissonance intervals and unusual rhythmic patterns. The baroque concerto grosso form was used as a vehicle to describe his ideal of neo-classicism. The violin version of¡§Suite Italienne¡¨was composed in 1925. It's six sections: Introduzione¡B Serenata¡B Tarantella¡B Gavotta con due Variaziono¡B Scherzino¡B and Minuetto & Finale, were all selected from the ¡§Pulcinella¡¨. The current violin version was adapted by Dushkin in 1933. Besides the violin version, there are two other versions, one for cello and the other one for orchestra . In addition to the introduction and the conclusion, the main part of this thesis is divided into three chapters. Chapter one is an overview of Stravinsky's background of music composition. The Ballet Russes's director Diaghilev and violinist Dushkin are also mentioned. Chapter two is a comparison of the two different versions between¡§Pulcinella¡¨and¡§Suite Italienne¡¨. The plot of¡§Pulcinella¡¨is also included. The last chapter is a technical analysis of violin playing as well as musical interpretation of ¡§Suite Italinne¡¨.

Thesis--Musicology--Univ. of Michigan, 1994. / Bibliogr. p. 318-328.

Thesis (doctoral)--University of London, 1997. / BLDSC reference no.: DX207435.

The neoclassical compositions of Igor Stravinsky have long provided scholars with a wealth of analytical possibilities. Many approaches to Stravinsky's neoclassical music have revolved around tonal implications therein. One tonal device, however, that has received little attention from the theory community is the common-practice cadence. This study seeks to present a theory of the manner in which Stravinsky's neoclassical compositional practice adheres to and varies from the well-formed standards of the common-practice era. Additional data is studied that shows trends throughout Stravinsky's neoclassical period. Finally, the research examines the future of neoclassical Stravinsky analysis and specifically addresses how this cadential study can contribute to the larger discussion of tonal implications in Stravinsky's neoclassical music.

Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Mar. 22, 1999, Nov. 29, 1999, and Sept. 11, 2006. Includes bibliographical references (p. 52-53).