Cover image for The Stravinsky legacy
Title:
The Stravinsky legacy
Author:
Cross, Jonathan, 1961-
Personal Author:
Publication Information:
Cambridge ; New York : Cambridge University Press, 1998.
Physical Description:
xii, 282 pages : illustrations ; 26 cm.
Language:
English
ISBN:
9780521563659
Format :
Book

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Library
Call Number
Material Type
Home Location
Status
Central Library ML410.S932 C87 1998 Adult Non-Fiction Non-Fiction Area
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Summary

Summary

It has become increasingly apparent in recent decades that Stravinsky's music has had far-reaching influence on the development of music in our century. Stravinsky's modernist innovations - evident in such features as his music's discontinuity, its stasis, its ritualized anti-narrative, its novel rhythmic and formal structures, its articulation of new kinds of musical time, and its reinterpretation of music and materials from the past - have helped shape much of the music of our time. This book represents a first substantial attempt to evaluate Stravinsky's technical and aesthetic legacy. In Part I ('The Stravinsky Legacy'), Jonathan Cross explores the breadth of Stravinsky's impact on the music of composers as diverse as Adams, Andriessen, Birtwistle, Boulez, Carter, Messiaen, Reich, Stockhausen, Tippett, Varse and Xenakis. In Part II ('Stravinsky Reheard') he returns to Stravinsky's neoclassical music to examine how recent developments in composition and musicology affect our understanding of and analytical approaches to Stravinsky.


Reviews 1

Choice Review

Cross (Univ. of Bristol, UK) divides this eighth volume in the "Music in the Twentieth Century" series into seven chapters under two headings: "The Stravinsky Legacy" (five chapters) and "Stravinsky Reheard" (two). His principal arguments counter the opinions of Theodor Adorno, who, writing in the 1960s, saw musical modernism--i.e., musical "progress"--embodied in the works of Arnold Schoenberg rather than Igor Stravinsky. Cross's discussion of Adorno's views is central to the first and last chapters: sandwiched between are chapters showing the influence on a wide range of composers of Stravinsky's block forms, "structural rhythms," and theatrical works and even Stravinsky's influence on minimalism. The composers cited extend from Edgard Var`ese through Elliott Carter and Olivier Messiaen to Steve Reich and Harrison Birtwhistle, among others. In his penultimate chapter--"A Fresh Look at Stravinsky Analysis"--Cross gives his explication of Symphony in C and Symphony in Three Movements. This volume has minor typographical errors but clear music examples and figures, endnotes, and detailed index. It is directed to those already familiar with Stravinsky and his career: upper-division undergraduates, graduate students, and their mentors interested in music theory, musicology and aesthetics. R. Stahura; Ripon College


Table of Contents

Part I The Stravinsky Legacy:
1 Introduction: Stravinsky-s modernism
2 Block forms
3 Structural rhythms
4 Ritual theatres
5 Minimal developments
Part II Stravinsky Reheard
6 A fresh look at Stravinsky analysis
7 Conclusions: Stravinsky, Adorno and the problem of non-development

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