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The Music of Stravinsky - Collected Essays (Hardcover)
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The Music of Stravinsky - Collected Essays (Hardcover)
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The analytic-theoretical approach to Stravinsky’s music
introduced in the opening four chapters of this volume became the
standard in theoretical and musicological circles during the past
several decades. The features of the approach were adopted and
expanded upon by numerous scholars: see Richard Taruskin,
Stravinsky and the Russian Period (1996); Jonathan Cross, The
Stravinsky Legacy (1998); and Stephen Walsh. Working independently
from an historical perspective, Richard Taruskin came to many of
the same conclusions regarding Stravinsky’s musical language.
Entirely unique is the discussion of the rhythmic emphasis of
Stravinsky’s music, the metrical displacement of repeated themes
and chords, and the disruptive effect of displacement on the
listener. Brought into play is the evolutionary history of meter
and its entrainment by the listener; the concept of "sensorimotor
synchronization" as advanced by the psychologist Bruno Repp, and
that in turn of the "contrametric" nature of Stravinsky’s music
as introduced by David Huron. Explored is the relationship between
African polyrhythm, as discussed by Kofi Agawu, David Locke, and
Steve Reich, to the polyrhythmic stratifications in Stravinsky’s
The Rite of Spring. Of major concern are the critical and aesthetic
issues arising from the interpretation and performance of
Stravinsky’s music. The aesthetic views not only of Stravinsky
himself but also of critics such as Theodor Adorno, Richard
Taruskin, and Robert Craft are discussed at length. Accompanying
the essays are over 100 musical illustrations and analytical
designs, set and processed with consummate skill by Andre Mount.
The essays are prefaced by a newly composed Introduction and then
concluded with a lengthy unpublished chapter on the individual work
and its classification; "Reflections on the Post-War years of
Babbitt, Schoenberg, and Stravinsky". Interactions between the
three composers are discussed, as is the relocation, by the early
1940s, of the Paris-Vienna split between Stravinsky and Schoenberg
to Los Angeles, California. Even in the twilight years of their
respective careers, Stravinsky and Schoenberg remained at a
distance from one another.
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