1
Igor Stravinsky in Igor Stravinsky and Robert Craft, Dialogues and a Diary (Garden City, N.Y., 1963), p. 14.
Stravinsky
14
Dialogues and a Diary
1963
2
Olivier Messiaen, The Technique of My Musical Language, trans. John Satterfield, I (Paris, 1957), 59
Messiaen
59
I
The Technique of My Musical Language
1957
3
Modernità e tradizione nella musica contemporanea (Turin, 1955), Chap. 17
Chap. 17
Modernità e tradizione nella musica contemporanea
1955
4
Stravinsky, 3rd ed., trans. Frederick Fuller (London, 1978), PP. 7-8, 17, 258-59.
Fuller
3
7
Stravinsky
1978
5
Arthur Berger, "Problems of Pitch Organization in Stravinsky," Perspectives of New Music, II (1963), 11-4210.2307/832252
11
Benjamin Boretz and Edward T. Cone, eds., Perspectives on Schoenberg and Stravinsky (Princeton, 1968; 2nd rev. ed., New York, 1972), pp. 123-54
Boretz
2
123
Perspectives on Schoenberg and Stravinsky
1972
6
Willem Pijper (1895-1947)
7
"Some Characteristics of Stravinsky's Diatonic Music," Perspectives of New Music, XIV (1975), 104-3810.2307/832545
104
XV (1977), 58-95
The Music of Igor Stravinsky (New Haven, 1983)
The Music of Igor Stravinsky
1983
Elliott Antokoletz's review in this JOURNAL, XXXVII (1984), 428-3610.2307/831182
428
8
George Perle, "Berg's Master Array of the Interval Cycles," The Musical Quarterly, LXIII (1977), 1-3010.2307/741747
1
9
New York, 1978.
10
The Harmonic Organization of "The Rite of Spring" (New Haven, 1978).
The Harmonic Organization of "The Rite of Spring"
1978
11
The Rite (p. 29)
29
12
Stravinsky's "The Firebird" and "Petrushka" (Oxford, 1933)
Stravinsky's "The Firebird" and "Petrushka"
1933
Eric Walter White, Stravinsky: The Composer and His Works (Berkeley, 1966), p. 161
White
161
Stravinsky: The Composer and His Works
1966
13
Charles M. Joseph, Stravinsky and the Piano (Ann Arbor, 1983), p. 277, n. 30
Joseph
277
Stravinsky and the Piano
1983
14
Joseph Straus, "A Theory of Harmony and Voice Leading in the Music of Igor Stravinsky" (Ph.D. diss., Yale Univ., 1981), pp. 4-17
Straus, "Stravinsky's Tonal Axis," Journal of Music Theory, XXVI (1982), 261-9010.2307/843423
261
John Rahn, in his Basic Atonal Theory (New York, 1980)
Rahn
Basic Atonal Theory
1980
p. 79
15
Straus, "A Theory of Harmony and Voice Leading," pp. 16-17.
16
Berger, "Problems," p. 147
147
18
The Music of Igor Stravinsky, p. 464, n. 10.
464
19
Igor Stravinsky and Robert Craft, Memories and Commentaries [Garden City, N.Y., 1960], p. 106
Stravinsky
106
Memories and Commentaries
1960
20
The Music of Igor Stravinsky, p. 42.
42
21
Ibid.
22
Ibid., pp. xix-xx.
xix
23
The Harmonic Organization of "The Rite of Spring," p. 56.
56
24
Current Musicology, XXVIII (1979), 119.
119
XXVIII
Current Musicology
1979
25
Robert Moevs in his review of Forte's book on The Rite of Spring in the Journal of Music Theory, XXIV (1980), especially pp. 103-104
Moevs
103
XXIV
The Rite of Spring in the Journal of Music Theory
1980
26
The Music of Igor Stravinsky, p. 20.
20
27
Vasilii Vasilievich Yastrebtsev (Iastrebtsev), Nikolai Andreevich Rimskii-Korsakov: Vospominaniia, 1886-1908, ed. A. V. Ossovsky, 2 vols. (Leningrad, 1959-60), II, 374 (25 January 1906).
Yastrebtsev
II
Nikolai Andreevich Rimskii-Korsakov: Vospominaniia, 1886-1908
1906
28
Joseph Kerman, "A Romantic Detail in Schubert's Schwanengesang," The Musical Quarterly, XLVIII (1962), 36-49.10.2307/740215
36
29
no. 15
James Webster, "Schubert's Sonata Form and Brahms's First Maturity," 19th Century Music, II (1978), 20-21
Webster
20
II
19th Century Music
1978
Schubert's harmonic extensions is Donald Francis Tovey, "Tonality in Schubert," The Main Stream of Music and Other Essays (New York, 1959), pp. 134-59
Schubert
Tonality in Schubert
134
The Main Stream of Music and Other Essays
1959
30
Finale of Schumann's Fantasia, Op. 17
32
Richard Taruskin, "How the Acorn Took Root: A Tale of Russia," 19th Century Music, VI (1983), 189-212
Taruskin
189
VI
19th Century Music
1983
33
Beethoven's Piano Sonata no. 12 in A-flat, Op. 26
34
Sonetto 104 del Petrarca (first composed as a song in 1838-39)
Zoltan Gárdonyi, "Neue Tonleiter- und Sequenztypen in Liszts Frühwerken (Zur Frage der 'Lisztschen Sequenzen')," Studia musicologica, XI (1969), 181
Gárdonyi
181
XI
Studia musicologica
1969
35
Lajos Bárdos, "Ferenc Liszt, the Innovator," Studia musicologica, XVII (1975), 3-38
Bárdos
3
XVII
Studia musicologica
1975
Bengt Johnsson, "Modernities in Liszt's Works," Svensk tidskrift fdr musikforskning, XLVI (1964), 83-117
Johnsson
83
XLVI
Svensk tidskrift fdr musikforskning
1964
R. Larry Todd, "Liszt, Fantasy and Fugue for Organ on 'Ad nos, ad salutarem undam,'" 19th Century Music, IV (1981), 250-61
Todd
250
IV
19th Century Music
1981
36
Nikolai Andreevich Rimsky-Korsakov, My Musical Life, trans. Judah A. Joffe, ed. Carl Van Vechten (London, 1974), p. 78.
Rimsky-Korsakov
78
My Musical Life
1974
37
Sergei Mikhailovich Liapunov, ed., "Perepiska M. A. Balakireva i N. A. Rimskogo-Korsakova (1862-1898gg.)," Muzykal'ny sovremennik, VII (March 1916), 92.
Liapunov
Perepiska M. A. Balakireva i N. A. Rimskogo-Korsakova (1862-1898gg.)
92
VII
Muzykal'ny sovremennik
1916
38
Louis Andriessen and Elmer Schönberger, Het apollinisch Uurwerk: Over Stravin- sky (Amsterdam, 1983), p. 228.
Andriessen
228
Het apollinisch Uurwerk: Over Stravinsky
1983
39
Stravinsky, p. 17.
17
40
Donald Street, "The Modes of Limited Transposition," The Musical Times, CXVII (1976), 82010.2307/960176
820
41
Suben's attempt in "Debussy and Octatonic Pitch Structure," pp. 8-15
43
Liszt's Sursum corda
44
Letter to E. M. Petrovsky (librettist of Kashchei the Deathless), 11 January 1903, Sovetskaia muzyka, [XVI], no. 12 (1952), 69
45
Yastrebtsev, Vospominaniia, II, 468 (23 January 1908).
468
47
"A Theory of Harmony and Voice Leading," p. 15
"Stravinsky's Tonal Axis," p. 264
264
Sixth Sonata, Op. 62 (1911-12)
Sixth Sonata, mm. 64- 127, 166-235, 252-319
Seventh Sonata, Op. 64
George Perle appeared, which confirms and extends the substance of these remarks: "Scriabin's Self-Analyses," Music Analysis, III (1984), 101-2410.2307/854313
101
48
Antokoletz, review of van den Toorn, The Music of Igor Stravinsky, p. 429.
429
49
Straus, "Stravinsky's Tonal Axis," p. 264
264
50
Yastrebtsev, Vospominaniia, I, 318.
Yastrebtsev
318
I
Nikolai Andreevich Rimskii-Korsakov: Vospominaniia, 1886-1908
51
Ibid., p. 392.
392
52
Simon Harris's excellent but poorly named article "Chord-Forms Based on the Whole-Tone Scale in Early Twentieth-Century Music," The Music Review, XLI (1980), 36-51
Harris
36
XLI
The Music Review
1980
54
Gordon D. McQuere, "Concepts of Analysis in the Theories of B. L. Yavorsky," The Music Review, XLI (1980), 278-88
McQuere
278
XLI
The Music Review
1980
Gordon D. McQuere, "The Theories of Boleslav Yavorsky," Russian Theoretical Thought in Music, ed. Gordon D. McQuere (Ann Arbor, 1983), pp. 109-64
McQuere
The Theories of Boleslav Yavorsky
109
Russian Theoretical Thought in Music
1983
55
Boleslav Leopoldovich Yavorsky, "Neskol'ko myslei v sviazi s iubileem Frantsa Lista," Muzyka, no. 45 (8 October 1911), 961
Yavorsky
45
961
Muzyka
1911
56
McQuere, "Concepts of Analysis," pp. 285-86
285
57
Robert Moevs, review of Forte, The Harmonic Organization of"The Rite of Spring," pp. 103-104.
103
59
5 June 1901
Andrey Nikolayevich Rimsky-Korsakov, N. A. Rimskii-Korsakov: Zhizn' i tvorchestvo, V (Moscow, 1946), 62.
Rimsky-Korsakov
62
V
N. A. Rimskii-Korsakov: Zhizn' i tvorchestvo
1946
60
Vladimir Derzhanovsky, "K ispolneniu preliudii-kantaty 'Iz Gomera,' " Muzyka, no. 28 (10 June 1911), 603
Derzhanovsky
603
28
Muzyka
1911
61
10 July 1901
Rimsky-Korsakov, N. A. Rimskii-Korsakov, V, 65.
65
62
Ibid., p. 64.
64
63
11 April 1902
Ibid., p. 67.
65
Memories and Commentaries, p. 57.
57
66
My Musical Life, p. 400
400
67
Feodosii Rubtsov, Osnovy ladovogo stroeniia russkoi narodnoi pesni (Leningrad, 1964)
Rubtsov
Osnovy ladovogo stroeniia russkoi narodnoi pesni
1964
S. Pushkina, "Tol'ko li diatonika?" Sovetskaia muzyka, [XXXI], no. 3 (1967), 102-104
Pushkina
3
102
XXXI
Sovetskaia muzyka
1967
R. Birkan, "O tematizme 'Svadebki' Stravinskogo," Iz istorii muzyki XX veka, ed. Mikhail Semenovich Druskin (Moscow, 1971), p. 178
Birkan
O tematizme 'Svadebki' Stravinskogo
178
Iz istorii muzyki XX veka
1971
Jerko Bezic, "Yugoslavia, Folk Music: Croatia," The New Grove Dictionary, XX, 594
Bezic
594
XX
The New Grove Dictionary
68
van den Toorn, The Music oflgor Stravinsky, pp. 39-41, 131-33
39
Richard Taruskin, "From Subject to Style: Stravinsky and the Painters," Stravinsky: Centennial Essays, ed. Jann Pasler (Berkeley and Los Angeles: University of California Press, forthcoming)
Taruskin
From Subject to Style: Stravinsky and the Painters
Stravinsky: Centennial Essays
69
Igor Stravinsky and Robert Craft, Expositions and Developments (Garden City, N.Y., 1962), p. 63
Stravinsky
63
Expositions and Developments
1962
70
Taruskin, "How the Acorn Took Root," pp. 198-200
198
Taruskin, "'Little Star': An Étude in the Folk Style," Musorgsky: In Memoriam, 1881-1981, ed. Malcolm Hamrick Brown (Ann Arbor, 1982), pp. 57-68
Taruskin
'Little Star': An Étude in the Folk Style
57
Musorgsky: In Memoriam, 1881-1981
1982
71
Nikolai Andreevich Rimsky-Korsakov, Notnye zapisnye knizhki, Polnoe sobranie sochinenii: Literaturnye proizvedeniia i perepiska, IV, suppl. (Moscow, 1971), 120.
Rimsky-Korsakov
120
IV
Notnye zapisnye knizhki, Polnoe sobranie sochinenii: Literaturnye proizvedeniia i perepiska
1971
72
Yastrebtsev, Vospominaniia, II, 301.
301
73
Claudio Spies, "Conundrums, Conjectures, Construals or, 5 v. 3: The Influence of Russian Composers on Stravinsky," among papers presented at the Stravinsky Centennial Conference at Notre Dame University, forthcoming from the University of Nebraska Press, edited by Ethan Haimo and Paul Johnson
74
George Perle's analysis of Scriabin's Seventh Sonata in Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, 5th rev. ed. (Berkeley, 1981), pp. 41-43
Perle
5
41
Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern
1981
William Austin, "The Music of Robert Palmer," The Musical Quarterly, XLII (1956), 35-5010.2307/740473
35
Jay Reise, "Late Skriabin: Some Principles behind the Style," 19th Century Music, VI (1983), 220-31
Reise
220
VI
19th Century Music
1983
75
Russkaia muzykal'naia gazeta, VII, no. 51 (17 December 1900), col. 1269
51
VII
Russkaia muzykal'naia gazeta
1900
76
Rimsky- Korsakov, Polnoe sobranie sochinenii, IV, suppl., 40
40
77
Natalia Zaporozhets, A. K. Liadov (Moscow, 1954), p. 175
Zaporozhets
175
A. K. Liadov
1954
78
Yastrebtsev, Vospominaniia, II, 277.
277
79
They Are Seven (Semero ikh, 1918)
Love for Three Oranges (1919)
Yury Kholopov, "Diatonicheskie lady i tertsovye khromaticheskie sistemy v muzyke Prokof'eva," Ot Liulli do nashikh dnei, ed. Valentina Konen (Moscow, 1967), pp. 277-78
Kholopov
Diatonicheskie lady i tertsovye khromaticheskie sistemy v muzyke Prokof'eva
277
Ot Liulli do nashikh dnei
1967
80
Étude (January 1925)
January
Étude
1925
Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents (New York, 1978), p. 204
Stravinsky
204
Stravinsky in Pictures and Documents
1978
Igor Stravinsky, Themes and Conclusions [Berkeley, 1982], P. 183
Stravinsky
183
Themes and Conclusions
1982
81
Yastrebtsev, Vospominaniia, II, 495.
495
82
The Music of Igor Stravinsky, p. 463, n. 4.
463
83
The Music of Igor Stravinsky, p. 329.
329
84
The Music of Igor Stravinsky, p. 21
21
85
Ibid., p. 329
329
86
Ibid.
87
Lazare Saminsky, Music of Our Day: Essentials and Prophecies [New York, 1932; 2nd ed., New York, 1939], p. 225
Saminsky
2
225
Music of Our Day: Essentials and Prophecies
1939
pp. 24-42
89
"Stravinsky's Tonal Axis," pp. 289
289
n. 17
290, n. 18
91
Igor Stravinsky, Poetics of Music in the Form of Six Lessons, trans. Arthur Knodel and Ingolf Dahl (New York, 1947), PP. 74, 73
Stravinsky
74
Poetics of Music in the Form of Six Lessons
1947
William Austin, "Stravin- sky's 'Fortunate Continuities' and 'Legitimate Accidentals,' "
n. 73
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