File:Stravinsky Igor Poetics of Music in the Form of Six terney.info From Monoskop .pdf (file size: MB, MIME type: application/pdf). THE POETICS OF MUSIC is like a searchlight turned by Stravinsky on his own work on one hand, and on music in general on the other. Every. More complex and really fundamental is the specific problem of musical time, of the chronos of music. This problem has recently been made the object of a.
|Language:||English, Spanish, Dutch|
|Genre:||Fiction & Literature|
|Distribution:||Free* [*Registration Required]|
From THE POETICS OF MUSIC IN THE FORM OF SIX LESSONS. by Igor Stravinsky. Will I then have to lose myself in this abyss of freedom? what shall I cling in. In this series of lectures, Stravinsky goes through ideas about the artistic process, some ideas about classical music and the traditions of Russian music, and. Poetics of music in the form of six lessons / [by] Igor Stravinsky ; English translation by Arthur Knodell and Ingolf Dahl ; preface by George Seferis Stravinsky, Igor.
If we reverse this musical phenomena in imagination into its opposite not the sound wants to change — but the listener identifies with a will not to change the sound we have found the contents of will, the music listener identifies with. In practice, everything becomes a bit more complicated, so that even more sophisticated volitional processes can be represented musically.
As such, they may change, grow, die, be supplanted or replaced, or transformed gradually into previously unrecognisable and undreamt forms.
Much more immediate, however, is the coordination each of us must necessarily establish between our body and the physical rhythms of the world — which includes our bodies and indeed, all of our being.
As infants, we must learn to crawl, walk and run. Even a newborn baby has various rhythms firmly established within its body during the recapitulation of evolution that is its gestation. In daily movement and in dance, we match the rhythms of our body to conform to both the earth we tread on and the rhythms of other bodies. Before a word is uttered or sung, we beat a rhythm with our feet, walking, running, leaping. We create rhythm, but our creation is not free; it is constrained by the exigencies of the body and its immediate environment.
Thus, we create music first as a response to our environment through the medium of our bodies. We coordinate our bodies to our environment, and in so doing, we create our first notions of time. They are cultural creations, every bit as much as are Mayan pyramids and space telescopes. Music arises in us from necessity: Why is birdsong so endlessly fascinating to us? You are commenting using your WordPress. You are commenting using your Google account.
You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Theory of Music. In these extracts Stravinsky discusses the meaning of music. Share this: Like this: Like Loading Rob Roy McGregor permalink. Barry Mitchell permalink. Stephen Kennamer permalink. Bernd Willimek permalink. Stravinsky's professional life encompassed most of the 20th century, including many of its modern classical music styles, and he influenced composers both during and after his lifetime.
Included among his students in the s was the American composer and music educator Robert Strassburg. In the early s his students included Robert Craft and Warren Zevon. In September , Stravinsky returned to Russia for the first time since , accepting an invitation from the Union of Soviet Composers to conduct six performances in Moscow and Leningrad. Among Stravinsky's final projects was orchestrating two preludes from The Well-Tempered Clavier by Bach, but it was never completed.
On 18 March , Stravinsky was taken to Lenox Hill Hospital with pulmonary edema where he stayed for ten days. On 29 March, he moved into a newly furbished apartment at Fifth Avenue , his first city apartment since living in Paris in After a period of well being, the edema returned on 4 April and Vera insisted for medical equipment to be installed in the apartment.
The cause on his death certificate is heart failure. A funeral service was held three days later at Frank E. Campbell Funeral Chapel. He was posthumously inducted into the National Museum of Dance's Mr. Cornelius Vanderbilt Whitney Hall of Fame in Stravinsky's output is typically divided into three general style periods: The piece premiered 17 January in the Grand Hall of the Saint Petersburg Conservatory but was then lost until September , when it resurfaced in a back room of the city's Conservatoire.
The rediscovery generated much enthusiasm and, as a result, over 25 performances are scheduled in and beyond. Performances in St. Petersburg of Scherzo fantastique and Feu d'artifice attracted the attention of Serge Diaghilev , who commissioned Stravinsky to orchestrate two piano works of Chopin for the ballet Les Sylphides to be presented in the debut "Saison Russe" of his new ballet company.
Like Stravinsky's earlier student works, The Firebird continued to look backward to Rimsky-Korsakov not only in its orchestration, but also in its overall structure, harmonic organization, and melodic content. The music itself makes significant use of a number of Russian folk tunes in addition to two waltzes by Viennese composer Joseph Lanner and a French music hall tune La Jambe en bois or The Wooden Leg.
In April , Stravinsky received a commission from Winnaretta Singer Princesse Edmond de Polignac for a small-scale theatrical work to be performed in her Paris salon.
The result was Renard , which he called "A burlesque in song and dance". In , he completed his last neoclassical work, the opera The Rake's Progress to a libretto by W. Auden and Chester Kallman based on the etchings of William Hogarth. It premiered in Venice that year and was produced around Europe the following year before being staged in the New York Metropolitan Opera in In the s, Stravinsky began using serial compositional techniques such as dodecaphony , the twelve-tone technique originally devised by Arnold Schoenberg.
The first of his compositions fully based on such techniques was In Memoriam Dylan Thomas Agon —57 was the first of his works to include a twelve-tone series and Canticum Sacrum was the first piece to contain a movement entirely based on a tone row. Stravinsky has been called "one of music's truly epochal innovators". Stravinsky's use of motivic development the use of musical figures that are repeated in different guises throughout a composition or section of a composition included additive motivic development.
This is where notes are subtracted or added to a motif without regard to the consequent changes in metre. A similar technique can be found as early as the 16th century, for example in the music of Cipriano de Rore , Orlandus Lassus , Carlo Gesualdo and Giovanni de Macque , music with which Stravinsky exhibited considerable familiarity. The Rite of Spring is notable for its relentless use of ostinati , for example in the eighth-note ostinato on strings accented by eight horns in the section "Augurs of Spring Dances of the Young Girls ".
The work also contains passages where several ostinati clash against one another. Stravinsky was noted for his distinctive use of rhythm, especially in the Rite of Spring The rhythmic structure of music became much more fluid and in a certain way spontaneous".
Browne, "Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art". Over the course of his career, Stravinsky called for a wide variety of orchestral, instrumental, and vocal forces, ranging from single instruments in such works as Three Pieces for Clarinet or Elegy for Solo Viola to the enormous orchestra of The Rite of Spring , which Aaron Copland characterized as "the foremost orchestral achievement of the 20th century.
This is not surprising, as the works were as much exercises in orchestration as in composition. The three ballets composed for Diaghilev's Ballets Russes call for particularly large orchestras:. Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries.
Auden , T. Eliot , and medieval English verse. He also had an inexhaustible desire to explore and learn about art, which manifested itself in several of his Paris collaborations. His interest in art propelled him to develop a strong relationship with Picasso, whom he met in , announcing that in "a whirlpool of artistic enthusiasm and excitement I at last met Picasso.
This exchange was essential to establish how the artists would approach their collaborative space in Pulcinella. The young Stravinsky was sympathetic to bourgeois liberalism and the aims of the Constitutional Democratic Party , even composing an anthem for the Russian Provisional Government , before shifting heavily towards the right following the October Revolution.
I know many exalted personages, and my artist's mind does not shrink from political and social issues. Well, after having seen so many events and so many more or less representative men, I have an overpowering urge to render homage to your Duce.
He is the saviour of Italy and — let us hope — Europe". Later, after a private audience with Mussolini, he added, "Unless my ears deceive me, the voice of Rome is the voice of Il Duce.
I told him that I felt like a fascist myself In spite of being extremely busy, Mussolini did me the great honour of conversing with me for three-quarters of an hour. We talked about music, art and politics". Leave me Mr. Truman and I'm satisfied. Stravinsky proved adept at playing the part of a 'man of the world', acquiring a keen instinct for business matters and appearing relaxed and comfortable in public.
His successful career as a pianist and conductor took him to many of the world's major cities, including Paris, Venice, Berlin, London, Amsterdam and New York and he was known for his polite, courteous and helpful manner. Stravinsky was reputed to have been a philanderer and was rumoured to have had affairs with high-profile partners, such as Coco Chanel. He never referred to it himself, but Chanel spoke about the alleged affair at length to her biographer Paul Morand in ; the conversation was published thirty years later.
Despite these alleged liaisons, Stravinsky was considered a family man and devoted to his children. Stravinsky was a devout member of the Russian Orthodox Church during most of his life, remarking at one time that, "Music praises God.
Music is well or better able to praise him than the building of the church and all its decoration; it is the Church's greatest ornament". Although Stravinsky was not outspoken about his faith, he was a deeply religious man throughout some periods of his life.
As a child, he was brought up by his parents in the Russian Orthodox Church. Baptized at birth, he later rebelled against the Church and abandoned it by the time he was fourteen or fifteen years old. After befriending a Russian Orthodox priest, Father Nicholas, after his move to Nice in , he reconnected with his faith. He rejoined the Russian Orthodox Church and afterwards remained a committed Christian. In his late seventies, Stravinsky said:. I cannot now evaluate the events that, at the end of those thirty years, made me discover the necessity of religious belief.
I was not reasoned into my disposition. Though I admire the structured thought of theology Anselm 's proof in the Fides Quaerens Intellectum , for instance it is to religion no more than counterpoint exercises are to music.
I do not believe in bridges of reason or, indeed, in any form of extrapolation in religious matters. I can say, however, that for some years before my actual "conversion", a mood of acceptance had been cultivated in me by a reading of the Gospels and by other religious literature.
If Stravinsky's stated intention was "to send them all to hell",  then he may have rated the premiere of The Rite of Spring as a success: The real extent of the tumult is open to debate and the reports may be apocryphal. In , Time magazine named Stavinsky as one of the most influential people of the century. In the published article, Satie argued that measuring the "greatness" of an artist by comparing him to other artists, as if speaking about some "truth", is illusory and that every piece of music should be judged on its own merits and not by comparing it to the standards of other composers.
That was exactly what Jean Cocteau did when he commented deprecatingly on Stravinsky in his book, Le Coq et l'Arlequin. According to The Musical Times in All the signs indicate a strong reaction against the nightmare of noise and eccentricity that was one of the legacies of the war What for example has become of the works that made up the program of the Stravinsky concert which created such a stir a few years ago?
Practically the whole lot are already on the shelf, and they will remain there until a few jaded neurotics once more feel a desire to eat ashes and fill their belly with the east wind. Bach , conceding that, "there is no denying the greatness of Stravinsky.
It is just that he is not great enough". The composer Constant Lambert described pieces such as L'Histoire du soldat as containing "essentially cold-blooded abstraction".
They are merely successions of notes that can conveniently be divided into groups of three, five, and seven and set against other mathematical groups" and he described the cadenza for solo drums as "musical purity He compared Stravinsky's choice of "the drabbest and least significant phrases" to Gertrude Stein 's 'Everyday they were gay there, they were regularly gay there everyday' "Helen Furr and Georgine Skeene", , "whose effect would be equally appreciated by someone with no knowledge of English whatsoever".
Adorno described Stravinsky as an acrobat and spoke of hebephrenic and psychotic traits in several of Stravinsky's works. Contrary to a common misconception, Adorno didn't believe the hebephrenic and psychotic imitations that the music was supposed to contain were its main fault, as he pointed out in a postscript that he added later to his book. Adorno's criticism of Stravinsky is more concerned with the "transition to positivity" Adorno found in his neoclassical works.
This trick, however, soon exhausts itself". In certain schizophrenics, the process by which the motor apparatus becomes independent leads to infinite repetition of gestures or words, following the decay of the ego".
Performances of his music were banned from around until , the year Nikita Khrushchev invited him to the USSR for an official state visit. In , an official proclamation by the Soviet Minister of Culture, Yekaterina Furtseva , ordered Soviet musicians to "study and admire" Stravinsky's music and she made hostility toward it a potential offence. Earlier writers, such as Aaron Copland , Elliott Carter , and Boris de Schloezer held somewhat unfavorable views of Stravinsky's works, and Virgil Thomson , writing in Modern Music a quarterly review published between and , could find only a common "'seriousness' of 'tone' or of 'purpose', 'the exact correlation between the goal and the means', or a dry 'ant-like neatness'".
Igor Stravinsky found recordings a practical and useful tool in preserving his thoughts on the interpretation of his music. As a conductor of his own music, he recorded primarily for Columbia Records , beginning in with a performance of the original suite from The Firebird and concluding in with the suite from the same ballet. Although he made an appearance, the actual performance was conducted by Robert Craft. Stravinsky published a number of books throughout his career, almost always with the aid of a sometimes uncredited collaborator.
In his autobiography, Chronicle of My Life , which was written with the help of Walter Nouvel , Stravinsky included his well-known statement that "music is, by its very nature, essentially powerless to express anything at all". A collection of Stravinsky's writings and interviews appears under the title Confidences sur la musique Actes Sud, A full catalogue and details of access arrangements are available here.
From Wikipedia, the free encyclopedia. For other uses, see Stravinsky disambiguation. This name uses Eastern Slavic naming customs ; the patronymic is Fyodorovich and the family name is Stravinsky. Russian-born composer. Further information: List of compositions by Igor Stravinsky. Igor Stravinsky discography. A Creative Spring: Russia and France, — excerpt ". The New York Times. New York City , New York: Archived from the original on 6 March Retrieved 24 June The Stravinsky family, like the name, is Polish, a fact which needs to be stressed in view of recent and perfectly understandable attempts by Kiev scholars to claim Stravinsky as a Ukrainian of Cossack lineage.
This simply means, for our purposes, that this branch of the Strawinscys claimed descent from the more ancient — probably German — house of Sulima. Stefan Strawinski traced the family tree back to the late sixteenth century, when the Strawinscys held high state office, in a kingdom where there were no hereditary titles and power was symbolized by honorific titles associated with purely ceremonial duties.
Museums of the Volyn. House Museum of Igor Stravinsky in Ustylug. Calling on the Composer. Yale University Press. Retrieved 24 January Stravinsky and Craft , pp. Stravinsky and Craft , p. Retrieved 3 March Laws ch. Composer Genealogies: Retrieved 25 November — via Google Books.
Warren Zevon: Desperado of Los Angeles. The Evening Sun. Retrieved 7 January — via Newspapers. A Call to Assembly: The Autobiography of a Musical Storyteller. The Guardian. Archived from the original on 8 September Retrieved 25 November Folk and Popular Tunes in Petrushka.
I, pp. Miami, Florida: Edwin F. Symphony No. Jurgenson, n.
Elective Affinities", in Picasso: Between Cubism and Neoclassicism, — , ed. Olivier Berggruen Milan: Skira, ISBN The Nation. The Second Exile: France and America, — Knopf Doubleday Publishing Group. Swiss News , 25 May Retrieved 28 December Strawinsky and D. Strawinsky Retrieved 9 March Tempo Retrieved 25 November — via Cambridge Core.
Retrieved 15 March Fondation Igor Stravinsky. Retrieved 2 November Retrieved 20 March Adorno, Theodor. Philosophy of Modern Music. Translated by Anne G. Mitchell and Wesley V. New York: Mohr, Adorno, Theodor W. University of Minnesota Press. Time Magazine Monday, 11 March. Los Angeles Times 3 June. Huxley on Huxley. DVD recording. Cinedigm, Histoire du Soldat Suite ". Berry, David Carson. Charles Scribner's Sons. Blitzstein, Marc. The Musical Quarterly 21, no.
Reprinted , The Musical Quarterly 75, no. Browne, Andrew J.
Online link accessed 19 November subscription access. Cocteau, Jean. Le Coq et l'arlequin: Reprinted , with a preface by Georges Auric. Notes Concerning Music , translated by Rollo H. Myers, London: Egoist Press, Cohen, Allen. Howard Hanson in Theory and Practice. Westport, Conn.: Praeger Publishers. Cooper, John Xiros editor. Elliot's Orchestra: Critical Essays on Poetry and Music.
Copeland, Robert M.
The Musical Quarterly 68, no. Copland, Aaron. Music and Imagination. Cambridge, Massachusetts: Harvard University Press.
Craft, Robert. On a Misunderstood Collaboration". The Atlantic , no. Glimpses of a Life. Lime Tree; New York: St Martins Press. Chronicle of a Friendship , revised and expanded edition. Vanderbilt University Press. Davis, Mary. Fashion Theory 10, no. Dubal, David. The Essential Canon of Classical Music. North Point Press. Eksteins, Modris. Rites of Spring: The Great War and the Modern Era. Houghton Mifflin Company. Reprinted , New York: Glass, Philip.
Greene, David Mason. Biographical Encyclopaedia of Composers. Igor Stravinsky: Cambridge Opera Handbooks. Cambridge University Press. Hazlewood, Charles.