This book is the first to be devoted to the music of Stravinsky's last compositional period. In the early 1950s, Stravinsky's compositional style began to change and evolve with astonishing rapidity. He abandoned the musical neoclassicism to which he had been committed for the preceding three decades and, with the stimulus provided by his newly gained knowledge of the music of Schoenberg and Webern, launched himself on a remarkable voyage of compositional discovery. The book focuses on five historical, analytical, and interpretive issues: Stravinsky's relationship to his serial predecessors and contemporaries; his compositional process; the problem of creating formal continuity in a repertoire so obviously discontinuous in so many ways; the problem of writing serial harmony; and the problem of expression and meaning. Challenging conventional interpretations, the book shows that Stravinsky's serial music is not only of great historical significance, but also of astonishing structural originality and emotional power.
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'In elucidating its wider compositional basis, Straus has made a valuable and timely contribution to the understanding of a body of music which may in time impress itself on the wider consciousness of musicians and listeners.' International Record Review
Book Description
This book is the first to be devoted to the music of Stravinsky's last compositional period. Challenging conventional interpretations, the book shows that Stravinsky's serial music is not only of great historical significance, but also of astonishing structural originality and emotional power.
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First Sentence:
Stravinsky came to America in September 1939, one step ahead of the conflagration that was to engulf Europe, with the limited intention of fulfilling some concert engagements and delivering the Norton Lectures at Harvard University. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
rotational arrays, segmental subsets, other serial works, serial melodies, melodic stutter, own earlier music, inversional balance, registral lines, serial charts, serial melody, segmental invariance, inversional symmetry, textural blocks, first hexachord, retrograde symmetry, twist motive, serial harmony, transposed rotations, second hexachord, expressive topics, hexachordal combinatoriality, serial derivation, analytical markings, same first note, melodic periods Key Phrases - Capitalized Phrases (CAPs): (learn more)
Requiem Canticles, New York, Canticum Sacrum, The Rake's Progress, Igor Stravinsky, University of California Press, Milton Babbitt, Perspectives of New Music, Robert Craft, Three Shakespeare Songs, Les Noces, Oxford University, Paul Sacher Foundation, Claudio Spies, Present Perspectives, Princeton University Press, Selected Correspondence, Stravinsky Archive, Symphony of Psalms, Los Angeles, Richard Taruskin, Confronting Stravinsky, Ethan Haimo, Jann Pasler, New Theater New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Stravinsky came to America in September 1939, one step ahead of the conflagration that was to engulf Europe, with the limited intention of fulfilling some concert engagements and delivering the Norton Lectures at Harvard University. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
rotational arrays, segmental subsets, other serial works, serial melodies, melodic stutter, own earlier music, inversional balance, registral lines, serial charts, serial melody, segmental invariance, inversional symmetry, textural blocks, first hexachord, retrograde symmetry, twist motive, serial harmony, transposed rotations, second hexachord, expressive topics, hexachordal combinatoriality, serial derivation, analytical markings, same first note, melodic periods Key Phrases - Capitalized Phrases (CAPs): (learn more)
Requiem Canticles, New York, Canticum Sacrum, The Rake's Progress, Igor Stravinsky, University of California Press, Milton Babbitt, Perspectives of New Music, Robert Craft, Three Shakespeare Songs, Les Noces, Oxford University, Paul Sacher Foundation, Claudio Spies, Present Perspectives, Princeton University Press, Selected Correspondence, Stravinsky Archive, Symphony of Psalms, Los Angeles, Richard Taruskin, Confronting Stravinsky, Ethan Haimo, Jann Pasler, New Theater New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 58
books:
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2
books
cite this book:
- Themes and Episodes by Igor Stravinsky on 14 pages
- Memories and Commentaries: New One-Volume Edition by Igor Stravinsky on 9 pages
- The Music of Igor Stravinsky (Composers of the Twentieth Century) by Pieter C. Van Den Toorn on 9 pages
- Present Perspectives by Robert Craft on 8 pages
- Perspectives on Schoenberg and Stravinsky by Benjamin Boreto on 7 pages
See all 58 books this book cites
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