In the first chapter, Artistic Interminglings: Picasso, Cubism, and Stravinsky's Compositional Approach, I draw the parallel between Pablo Picasso's artistic approach during his Cubist period and Stravinsky's compositional approach, delineating three common elements between the two artists: context/modelling, cut-and-paste, and substitution. The compositional output of Igor Stravinsky is roughly divided into three periods: Russian, Neoclassical, and Serial.
This dissertation is part of the following collection of related materials. 1997, abstract: Igor Stravinsky's last ballet, Agon (1953-57) is an enigmatic entanglement of tonal, serial, and twelve-tone compositional procedures in conjunction with French court dances, classical ballet, and musical textures reminiscent of Anton Webern. In the second chapter, A Day in the Memory: The Fifth, the Torchbearer, and the Magician, I take a whimsical look at Stravinsky, the twelve-tone composer. URI: handle: t/2027.42/130395, subject(s Agon, Ballet, Composers, Stravinsky, Igor). Careful analysis of several neoclassical and transitional works serves to demonstrate Stravinskys innovative methods of voice leading, economy of pitch class set material, and ingenuity in redefining Classical era forms.