Stravinsky's TopologyStravinsky's Topology is an innovative explanation of the music of the great composer Igor Stravinsky (1882-1971). Specifically, this book examines Stravinsky's implementation of certain twelve-tone row forms for particular formal events and to enhance the poetry in his later works with poetic texts. This book, reprinted from a doctoral dissertation, presents a new analytical method called Object-Oriented analysis to study Stravinsky's smaller works Epitaphium, Anthem, Elegy for J. F. K., Fanfare for a New Theater, and The Owl and the Pussy-Cat. The remainder of this book is devoted to a detailed examination of Stravinsky's expanded Object-Oriented compositional technique in The Flood and in his largest late work, Threni. This investigation concludes with remarks about how a conductor can apply Object-Oriented analysis in performance. 216 pages. |
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Page 6
... Rows 73 Graphical Representation 73 Tonal Analogy 75 Graphical Depiction of Rows in an Object 78 Dramatic Characterization by Row 80 Misordering as a Depictive Device 80 Depictive Changes in Row Returns 81 The Flood: Conclusion 82 ...
... Rows 73 Graphical Representation 73 Tonal Analogy 75 Graphical Depiction of Rows in an Object 78 Dramatic Characterization by Row 80 Misordering as a Depictive Device 80 Depictive Changes in Row Returns 81 The Flood: Conclusion 82 ...
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... Rows Employed 42 TABLE 8. 9 TABLE 9. TABLE 10. TABLE 11. Epitaphium “für das Grabmal des Prinzen Max Egon zu Fürstenberg” (1959) Graphical Representation of Rows Employed 44 Anthem “The dove descending breaks the air” (1962) Poetic Text ...
... Rows Employed 42 TABLE 8. 9 TABLE 9. TABLE 10. TABLE 11. Epitaphium “für das Grabmal des Prinzen Max Egon zu Fürstenberg” (1959) Graphical Representation of Rows Employed 44 Anthem “The dove descending breaks the air” (1962) Poetic Text ...
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... Rows Employed by All Vocal Parts 72 The Flood, Graphical Representation of Rows Sung by God 74 The Flood: Satan's Aria 75 Tonal Implications of the First and Last Tones of the Rows in The Flood 76 Musical-Poetical Aspects of the Vocal ...
... Rows Employed by All Vocal Parts 72 The Flood, Graphical Representation of Rows Sung by God 74 The Flood: Satan's Aria 75 Tonal Implications of the First and Last Tones of the Rows in The Flood 76 Musical-Poetical Aspects of the Vocal ...
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Contents
Table of Contents | 12 |
Conventions Used in This Paper | 18 |
TABLE | 26 |
General Remarks about Stravinskys Serial Technique | 27 |
TABLE | 32 |
Stravinskys Row Succession | 37 |
Simple Application of Stravinskys Method in His Short | 39 |
TABLE 8 | 43 |
TABLE 17 | 56 |
The Owl and the PussyCat 196566 | 66 |
Analysis of Structure and MusicalPoetical Effect of Rows | 73 |
Conclusion | 82 |
Wrapped Repetitions form threedimensional Objects | 92 |
Various Intervals Create Several Different Object Types | 101 |
TABLE 45 | 106 |
CHAPTER 6 | 111 |
1959 | 45 |
TABLE 12 | 49 |
Elegy for J F K 1964 | 51 |
TABLE 51 | 113 |
CHAPTER 7 | 165 |
APPENDIX | 201 |
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Common terms and phrases
ALEPH Alto Anthem Bass Bb C# Bb Eb Bb F# Bb G C# Bb C# Eb C# G Canticum sacrum chorus clarinet Claudio Spies Eb Bb Eb C# Eb Eb Eb F Eb F# elegia tertia Elegy for J. F. K. employs rows ending pitches Epitaphium F Bb F C# F Eb F F# F# E Eb F# Eb F# G Fanfare Flood formal foundational rows G Bb G C# G Eb G F# George Perle Graphical Representation hexachords last notes last pitches Lord Matrix int Object-Oriented analysis pitch classes Poetic Text Prime form Prime row profundis Pussy-Cat Querimonia Raoul Dufy RES(H Retrograde Inversion row succession rows beginning Rows Employed rows P-0 Schoenberg Second Object Sensus spei serial soprano Stravinsky employs Stravinsky’s row Stravinsky’s twelve-tone structure T. S. Eliot tenor TETH Third Object Threni De elegia TSADE twelve-tone compositions twelve-tone music twelve-tone technique vocal voices Warren Benson