‘Threni’: Stravinsky's ‘Debt’ to Krenek

Hogan, Clare

doi:10.1017/s0040298200035658

Cited by 32 publications

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“…36 36 On which there already exists copious literature: see especially Spies (1965a), (1965b) and (1967); Rogers (1968); Hogan (1982); Van den Toorn (1983), pp. 442–4; Babbitt (1986) and (1987a); Morris (1988); and Straus (2001), pp.…”

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‘Composing withIntervals’: IntervallicSyntax andSerialTechnique inLateStravinsky

Locanto

2009

Music Analysis

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In Stravinsky's final serial works, the intervallic component assumed a more decisive role than in his in earlier compositions, becoming the foundational aspect of a ‘motivic’ technique, the specific aspects of which are illustrated here through several sketch-based analyses. In Stravinsky's case, motivic-intervallic syntax and serial procedures operate according to slightly but significantly different criteria: the first on the level of single intervals, the second on the level of pitch-class sets. Using several specific examples drawn from compositions ranging from Agon to the Requiem Canticles, this article demonstrates that the discrepancy provided Stravinsky with a stimulus, rather than an obstacle, to composition, and provides a guide to the interpretation of certain well-known characteristics both of his creative process and of his serial technique. The music-theoretical aspects of Stravinsky's intervallic syntax are illustrated, and its interaction with serial technique is observed from two conceptually different directions: from intervallic motives to rows (the initial definition of a row of pitches), and from the row to intervallic motives (the transformation of the ‘abstract’ row into concrete musical contexts)

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‘Composing withIntervals’: IntervallicSyntax andSerialTechnique inLateStravinsky

Locanto

2009

Music Analysis

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The Cambridge Stravinsky Encyclopedia

2021

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Igor Stravinsky is one of a small number of early modernist composers whose music epitomises the stylistic crisis of twentieth-century music, from the Russian nationalist heritage of the early works, the neo-classical works which anticipate the stylistic diversity of the contemporary musical scene in the early twenty-first century and the integration of serial techniques during his final period. With entries written by more than fifty international contributors from Russian, European and American traditions, The Cambridge Stravinsky Encyclopedia presents multiple perspectives on the life, works, writings and aesthetic relationships of this multi-faceted creative artist. This important resource explores Stravinsky's relationships with virtually all the major artistic figures of his time, painters, dramatists, choreographers and producers as well musicians and brings together fresh insights into to the life and work of one of the twentieth century's greatest composers.

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Editors’ Preface

2021

The Cambridge Stravinsky Encyclopedia

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‘Threni’: Stravinsky's ‘Debt’ to Krenek

Cited by 32 publications

References 1 publication

‘Composing withIntervals’: IntervallicSyntax andSerialTechnique inLateStravinsky

‘Composing withIntervals’: IntervallicSyntax andSerialTechnique inLateStravinsky

The Cambridge Stravinsky Encyclopedia

Editors’ Preface

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