[Footnotes]

[Footnotes]
1
The Music of Igor Stravinsky (New Haven, 1983).
2
"Review-Survey: Some Recent Stravinsky Literature," Music Analysis 3 (1984), 205.10.2307/854317
205
3
Berger, "Problems of Pitch Organization in Stravinsky," in Perspectives on Schoenberg and Stravinsky, ed. Benjamin Boretz and Edward T. Cone (Princeton, 1968), pp. 123, 154
Berger
Problems of Pitch Organization in Stravinsky
123
Perspectives on Schoenberg and Stravinsky
1968
4
"Chernomor to Kashchei: Harmonic Sorcery; or, Stravinsky's 'Angle'," Journal of the American Musicolog- ical Society 38 (1985), 72-14210.2307/831550
72
5
Review of van den Toorn, The Music of Igor Stravinsky, in Journal of Music Theory 28 (1984), 129.10.2307/843455
129
7
John Rahn, Basic Atonal Theory (New York, 1980), p. 79
Rahn
79
Basic Atonal Theory
1980
"Some Character- istics of Stravinsky's Diatonic Music," Perspectives 14 [1975], 104-38; and 15 [1977], 58-96)
104
14
Perspectives
1975
8
Review of van den Toorn, p. 132.
132
Review of van den Toorn
9
The Music of Igor Stravinsky, pp. 102ff
102
Van den Toorn's ex. 27
summary, the charts in his ex. 29 on p. 123
10
Joseph Straus, "Stravinsky's Tonal Axis," Journal of Mu- sic Theory 26 (1982), 264.10.2307/843423
264
11
"Letter to the Editor," Journal of Music Theory 28 (1984), 321-22.10.2307/843539
321
12
van den Toorn "never estab- lishes workable criteria for asserting the priority of a single pitch class in a given passage of music" (p. 133)
The Music of Igor Stravinsky, pp. 178-79
178
"Letter to the Editor," pp. 323-25
323
13
Perspectives on Schoenberg and Stravinsky, p. 137.
137
14
Ibid., pp. 134-35.
134
15
Ibid., p. 138.
138
16
The Music of Igor Stravinsky, p. 463, n. 5
463
17
Rimsky's Sadko and Stravinsky's Scherzo fantastique as background to Petrushka and be- yond, pp. 35-39
Rimsky
35
Sadko and Stravinsky's Scherzo fantastique as background to Petrushka and beyond
18
Ibid., p. 37.
37
19
N. A. Rimsky-Korsakov, Polnoe sobranie sochinenii: Literaturnye proizvendeniia i perepiska IV (dop.): Notnye zapisnye knizhki (Moscow: Muzyka, 1970), p. 277
Rimsky-Korsakov
277
Polnoe sobranie sochinenii: Literaturnye proizvendeniia i perepiska IV (dop.): Notnye zapisnye knizhki
1970
Leipzig, 1910
20
n. 4 above
21
The Music of Igor Stravinsky, pp. 36-37
36
22
"Chemomor to Kashchei," pp. 79ff
79
Chemomor to Kashchei
23
"Chernomor to Kashchei," pp. 79-99
79
24
Varvara Dernova, "Garmoniia Skriabina," in A. N. Skriabin: Sbornik statei, ed. S. Pavchinsky (Moscow, 1973), pp. 352-57
Dernova
Garmoniia Skriabina
352
A. N. Skriabin: Sbornik statei
1973
Jay Reise, "Late Skriabin: Some Principles Behind the Style," this journal 6 (1983), 220-3110.2307/746587
220
25
Igor Stravinsky and Robert Craft, Conversations with Igor Stravinsky (Berkeley and Los Angeles, 1980), p. 97.
Stravinsky
97
Conversations with Igor Stravinsky
1980
26
anal- ysis of étrangeté, op. 63, no. 2 ("Late Skriabin," pp. 224-26)
étrangeté
224
Late Skriabin
28
Siegmund Levarie, "Tonal Relations in Verdi's Un Ballo in maschera," this journal 2 (1978), 143-4710.2307/746309
143
29
Perspectives on Schoenberg and Stravinsky, p. 135.
135
30
Berger's point (Perspectives on Schoenberg and Stravinsky, p. 136)
136
31
Perspectives on Schoenberg and Stravinsky, p. 136.
136
32
"Chernomor to Kashchei," pp. 114-15
114
33
The Mu- sic of Igor Stravinsky, p. 64
64
34
Expositions and Developments (Berkeley and Los Angeles, 1981), p. 136
136
Expositions and Developments
1981
35
Florent Fels, "Un Entretien avec Igor Stravinsky á propos de l'enregistrement au phonographe du Pétrouchka," Nou- velles littérraires, 8 December 1928
Fels
8 December
Nouvelles littérraires
1928
Stravinsky: Etudes et té moignages, ed. FranÇois Lesure (Paris, 1982), p. 248
Lesure
248
Stravinsky: Etudes et té moignages
1982
36
Letter to E. M. Petrovsky, 11 January 1903
Sovetskaia muzyka [XVI], no. 12 (1952), 69
12
69
XVI
Sovetskaia muzyka
1952
37
George Perle, "Scriabin's Self-Analyses," Music Anal- ysis 3 (1984), 102-0310.2307/854313
102
39
Forte in Contemporary Tone Struc- tures (New York, 1955)
Forte
Contemporary Tone Structures
1955
"the tones [of the Petrushka chord] are not of equal structural value; F# is by far the more important" (p. 136)
"harmonic functions in Petrushka are entirely secondary to the linear movement" (p. 129)
p. 136
chart on p. 187
40
Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents (New York, 1978), p. 612, n. 136
Stravinsky
612
Stravinsky in Pictures and Documents
1978
41
Letter to Semyon Kruglikov, 11 April 1902
Andrei Rimsky-Korsakov, N. A. Rimskii-Korsakov: Zhizn' i tvor- chestvo, vol. V (Moscow, 1946), p. 67
Rimsky-Korsakov
67
V
N. A. Rimskii-Korsakov: Zhizn' i tvorchestvo
1946
42
Van den Toorn, The Music of Igor Stravinsky, p. 63.
Toorn
63
The Music of Igor Stravinsky
43
Berger, Perspectives on Schoenberg and Stravinsky, p. 137.
137
44
Van den Toorn, p. 64.
64
45
Contemporary Tone Structures, p. 137.
137
46
Forte, "Ives and Atonality," in An Ives Celebration, ed. H. Wiley Hitchcock and Vivian Perlis (Urbana, 1974), pp. 185-86
Forte
Ives and Atonality
185
An Ives Celebration
1974
47
The Music of Igor Stravinsky, p. 64.
64
48
Ibid.
49
Expositions and Developments, p. 137
137
Memories and Commentaries (Berkeley and Los Angeles, 1981), p. 67
50
Igor Stravinsky and Robert Craft, Retrospectives and Con- clusions (New York, 1969), p. 265.
Stravinsky
265
Retrospectives and Conclusions
1969
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