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.
| Identifer | oai:union.ndltd.org:arizona.edu/oai:arizona.openrepository.com:10150/312625 |
| Date | January 2014 |
| Creators | Templin, Aaron |
| Contributors | Traut, Donald G., Traut, Donald G., Pomeroy, Boyd, Decker, Pamela |
| Publisher | The University of Arizona. |
| Source Sets | University of Arizona |
| Language | en_US |
| Detected Language | English |
| Type | text, Electronic Dissertation |
| Rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. |
Page generated in 0.0021 seconds