Reverse Engineering Tonal Structure in Neo-Classical Stravinsky: Poly-Contrapuntalism and Macro-Tonal Process in Stravinsky’s Grand Chorale (original) (raw)

Rethinking Igor Stravinsky historically and theoretically — III

Valery V. Glivinsky Валерий Викторович Гливинский

Naukovij vìsnik Nacìonalʹnoï muzičnoï akademìï Ukraïni ìmenì P.Ì. Čajkovsʹkogo, 2022

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Tonality and Neoclassicism in Stravinsky's Sonata for Piano, Mvt. 2 (1924)

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Interdisciplinary Studies in Musicology , 2022

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Rethinking Igor Stravinsky historically and theoretically — III [Переосмысливая Игоря Стравинского исторически и теоретически – III]

Valery V. Glivinsky Валерий Викторович Гливинский

Paper [Рукопись], 2022

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Rethinking Igor Stravinsky historically and theoretically — II [Переосмысливая Игоря Стравинского исторически и теоретически — II]

Valery V. Glivinsky Валерий Викторович Гливинский

Scientific Herald of Tchaikovsky National Music Academy of Ukraine, 2020

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Five Operas and a Symphony: Words and Music in Russian Culture. By Boris Gasparov. pp. xxii + 268. Russian Literature and Throught. (Yale University Press, New Haven and London, 2005, 30. ISBN 0-300-10650-5.)

Pauline Fairclough

Music and Letters, 2006

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Rethinking Stravinsky historically and theoretically [Переосмысливая Стравинского исторически и теоретически]

Valery V. Glivinsky Валерий Викторович Гливинский

Scientific Herald of Tchaikovsky National Music Academy of Ukraine, 2019

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Marianne Kielian-Gilbert

The Journal of Musicology, 1991

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Post-tonal analytical techniques: Stravinsky’s symphonies of wind instruments

Jeremy Matthews

1998

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Introduction to New Book on Stravinsky

Valery V. Glivinsky Валерий Викторович Гливинский

Contemporary Musicology, 2024

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AN ANALYSIS OF IGOR STRAVINSKY’S “LES NOCES”

2004

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The Roles of Invariance and Analogy in the Linear Design of Stravinsky's "Musick to heare"

David Carson Berry

Gamut, 2008

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A Catalogue of Tunes and the Employment of Trichordal Substructures in Stravinsky's "Les Noces": A Pitch Centered Set Analysis

Journal of Musicartology, 2013

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The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music [Слухач i Твiр як Дуалiстична Основа Морфологiчного Аналiзу Музики]

Valery V. Glivinsky Валерий Викторович Гливинский

2022

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Choral Writing in Selected Sacred Works of Igor Stravinsky: A Conductor's Guide

1982

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The 'Rejoicing Discovery' Revisited: Re-accentuation in Russian Folklore and Stravinsky's Music

Marina Lupishko

ex tempore: A Journal of Compositional and Theoretical Research in Music 13/2, 2007

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Marina Lupishko

Mitteilungen der Paul Sacher Stiftung, 2007

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Hermeneutics and Creative Process: Roman Vlad’s Reception of Stravinsky

Susanna Pasticci

Archival Notes 2, 2017

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Communication and Interaction in Stravinsky's Scherzo fantastique (1907-1908)

1992

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IGOR STRAVINSKY o IN THE FORM OF SIX LESSONS

Nicolas Chiappe

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The Compositional Process of Igor Stravinsky's The Rite of Spring

Karel Volniansky

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Levon Hakobian. Music of the Soviet Age.; Allan B. Ho and Dmitry Feofanov, eds. Shostakovich Reconsidered.; David Haas. Leningrad's Modernists: Studies in Composition and Musical Thought

Current Musicology, 1998

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Stravinsky's Discontinuities, Harmonic Practice, and the Guidonian Space in the "Hymne" from the Serenade in A

José Oliveira Martins

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'Composing with Intervals': Intervallic Syntax and Serial Technique in Late Stravinsky

Massimiliano Locanto

Music Analysis, 2009

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The Structural Role of Polyphonic Episodes in Schumann’s 1842 Chamber Music

Jordan Journal of the Arts: Yarmouk University. , 2018

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Revisiting Stravinsky’s poetics of music: The Souvtchinsky connection

Katerina Levidou

Muzikologija, 2023

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Thematic Counterpoint And Adjacent Constructional Texturing In Tchaikovsky's Six Symphonies

2014

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On the Particular Commonalities of Compositional Approach in the Works of the St. Petersburg Classics [О некоторых общих композиционных приёмах в произведениях санкт-петербургских классиков]

Valery V. Glivinsky Валерий Викторович Гливинский

Music Scholarship (Проблемы музыкальной науки), 2019

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The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music [Слушатель и произведение как дуалистическая основа морфологического анализа музыки]

Valery V. Glivinsky Валерий Викторович Гливинский

2022

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Intertextuality as a component of the operatic system of P.I. Tchaikovsky

TAMGA-Turkish Journal of Semiotic Studies, 2023

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The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music [Слушатель-произведение как двуединая основа морфологического анализа музыки]

Valery V. Glivinsky Валерий Викторович Гливинский

Paper [Рукопись], 2022

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Stravinsky's "Three Pieces for Clarinet", I.

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Konyus' 'Metrotechtonism' and Yavorsky's 'Modal Rhythm': Parallels Between Music and Architecture in Early Soviet Music Theory

Marina Lupishko

Illiano, R. (ed.), Music and Figurative Arts in the Twentieth Century Century (Speculum Musicae 29), Turnhout: Brepols, 2016

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»Liberating« Sound and Perception. Historical and Methodological Preconditions of a Morphosyntactic Approach to Post-Tonal Music

Organized Sound. Klang und Wahrnehmung in der Musik des 20. und 21. Jahrhunderts (musik.theorien der gegenwart 6), hrsg. von Christian Utz, Saarbrücken: Pfau 2013, 11–46, 2013

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Discourse, Interdiscourse and Intertextuality in the Process of Construction of the Musical Meaning: Semiotic Tools for the Analysis and Discussion of Rachmaninoff's Vocalise, Op. 34 No. 14

Ricardo Nogueira de Castro Monteiro

Musical Analysis: Historia - Theoria - Praxis - vol.V, 2019

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