[Footnotes]

[Footnotes]
2
Edward Cone, "Editing Schoenberg's Twelve-Tone Music," Journal of the Arnold Schoenberg Institute VIII/2, 141-57
Cone
2
141
VIII
Journal of the Arnold Schoenberg Institute
Ethan Haimo, "Editorial Responsibility and Schoenberg's Troultesome 'Misprints,' " Perspectives of New Music XI/1 (1972), 65-75
Haimo
1
65
XI
Perspectives of New Music
1972
p. 154
3
Karen Grylls, "The Aggregate Reordered: A Paradigm for Stravinsky's Requiem Canticles" (Ph.D. dissertation, University of Washington, 1993)
Susannah Tucker, "Stravinsky and His Sketches: The Composing of Agon and Other Serial Works of the 1950s," (Ph.D. dis- sertation, Oxford, 1992)
Christoph Neidhofer, "An Approach to Interrelating Counter- point and Serialism in the Music of Igor Stravinsky, Focusing on the Principal Diatonic Works of his Transitional Period" (Ph.D. dissertation, Harvard, 1991)
Robert Craft, always conform to the published score, unless other- wise noted. Some mistakes included in Table 1 were identified previously in Tucker, op. cit.
Charles Wolterink, "Harmonic Structure and Organization in the Early Serial Works of Igor Stravinsky, 1952-57" (Ph.D. dissertation, Stanford, 1979)
Norbert Jers, Igor Strawinskys SpÄte Zwölftonwerke (1958-1966) (Regensburg, 1976)
Jers
Igor Strawinskys Spöte Zwölftonwerke (1958-1966)
1976
Canticum Sacrum
4
Robert Craft, "Stravinsky: A Centenary View," in Present Perspectives (New York, 1984), 215-31 is stll accurate" "What should be placed on the Stravinksy agenda for future generations of music lovers? First, his pub- lished music is in an unspeakable condition ... A 'complete works' must be begun, the variorum edition his publishers promised him" (223-24)
Craft
Stravinsky: A Centenary View
215
Present Perspectives
1984
5
Craft in "Analyses par Robert Craft," in Avec Stravinsky (Monaco, 1958), 103-96
Craft
Analyses par Robert Craft
103
Avec Stravinsky
1958
6
Stravinsky and Craft, Dialogues (Berkeley, 1982), 55-56.
Craft
55
Dialogues
1982
7
Lawrence Morton, "Stravinsky at Home," in Confronting Stravinsky, ed. Jann Pasler (Berkeley, 1986), 343.
Morton
Stravinsky at Home
343
Confronting Stravinsky
1986
8
Milton Babbitt, "Order, Symmetry, and Centricity in Late Stravinsky," Confronting Stravinsky, ed. Jann Pasler (Berkeley, 1986), 248.
Babbitt
Order, Symmetry, and Centricity in Late Stravinsky
248
Confronting Stravinsky
1986
9
Robert Craft, "Introduction" to Dialogues (Berkeley, 1982), 14
Craft
Introduction
14
Dialogues
1982
New York Times, June 19, 1966.
Craft
June 19
Dialogues
1966
10
Cantata, In Memoriam Dylan Thomas, and Septet
11
Christoph Neidhofer, "Analysearbeit im Fach Komposition/Musiktheorie fiber die Movements for Piano and Orchestra von Igor Stravinsky" (Masters thesis, Musik-Akademie der Stadt Basel, 1991), 54
12
Movements (Stravinsky, vol. 11, Music- Masters, 1998, p. 11)
11
11
Movements
1998
14
Claudio Spies, "Some Notes on Stravinsky's Abraham and Isaac," Perspectives of New Music III/2, (1965), 104-2610.2307/832508
104
Spies, "Some Notes on Stravinsky's Variations," Perspectives of New Music IV/1 (1965), 62-7410.2307/832527
62
Spies, "Some Notes on Stravinsky's Requiem Settings," Perspectives of New Music V/2 (1967), 98-12310.2307/832162
98
15
Spies listed in footnote 14 above
John Rogers, "Some Properties of Non-duplicating Rotational Arrays," Perspectives of New Music VII/ 1 (1968), 80-10210.2307/832427
80
Charles Wuorinen, Simple Compo- sition (New York, 1979)
Wuorinen
Simple Composition
1979
Milton Babbitt, "Order, Symmetry ...," and Babbitt, "Stravinsky's Verticals and Schoenberg's Diagonals: A Twist of Fate," in Stravinsky Retrospectives, ed. Ethan Haimo and Paul Johnson (Lincoln, Nebraska, 1987), 15-35
Babbitt
Stravinsky's Verticals and Schoenberg's Diagonals: A Twist of Fate
15
Stravinsky Retrospectives
1987
Robert Morris, "Generalizing Rotational Arrays," Journal of Music Theory XXXII/1 (1988), 75-13210.2307/843386
75
17
Craft and Vera Stravinsky, Stravinsky in Pictures and Documents (New York, 1978), 55-56
Stravinsky
55
Stravinsky in Pictures and Documents
1978
19
Craft and Stravinsky (1978)
Joseph Straus, in "Two 'Mistakes' in Stravinsky's Introitus," Mitteilungen der Paul Sacher Stiftung IV (1991), 34-36
Straus
Two 'Mistakes' in Stravinsky's Introitus
34
IV
Mitteilungen der Paul Sacher Stiftung
1991
20
Craft and Stravinsky (1978)
Stravinsky writes, "No novelty will be found in the manipulation of the series except, perhaps, in chord structure where, however, it is less a question of seriation than of choice" (Igor Stravinsky and Robert Craft, Themes and Episodes (New York, 1966), 63-64
Stravinsky
63
Themes and Episodes
1966
22
Joseph Straus, "A Theory of Voice Leading for Atonal Music," Studies in the Structure of Nineteenth- and Twentieth-Century Music, ed. James Baker, David Beach, and Jonathan Bernard (Rochester, 1997), 237-74
Straus
A Theory of Voice Leading for Atonal Music
237
Studies in the Structure of Nineteenth- and Twentieth-Century Music
1997
23
Stravinsky considers the following his prime ordering of the series for The Flood
a
Robert Craft, "Reihenkompositionen: Vom 'Septett' zum 'Agon'," Musik der Zeit XII (1955), 43-54.
Craft
Reihenkompositionen: Vom 'Septett' zum 'Agon'
43
XII
Musik der Zeit
1955
a
Paul Phillips, "The Enigma of Variations: A Study of Stravinsky's Final Work for Orchestra," Music Analysis III/1 (1984), 69-89.10.2307/854038
69
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