Modes of Communication in Stravinsky’s Works: Sign and Expression

Contents

• Introduction
• Part I: Sign and Expression in Communication
• Prelude
• 1.1.1. The point of departure
• 1.1.2. Discourses of a musical work
• The multi-layered triad
• 1.2.1 Ogden
• 1.2.2 Agawu
• 1.2.3 A multi-layered triad
• 1.2.4 Literacy
• 1.2.5 Bacon
• 1.2.6 A complete communication model
• Stravinsky's background and languages
• 1.3.1 St. Petersburg
• 1.3.2 Suisse/France
• 1.3.3 Religion
• 1.3.4 America
• The Aesthetics
• 1.4.1 A grid
• 1.4.2 Quotes from Stravinsky
• 1.4.3 Comments and critiques of Stravinsky's aesthetics
• 1.4.4 Adorno
• The Logics
• 1.5.1 An operational grid
• 1.5.2 Some aspects from semiotics and linguistics
• 1.5.3 Some statements from Stravinsky
• 1.5.4 Bacon's idols
• 1.6 The Ethics
• 1.6.1 The ethical grid
• 1.6.2 The listening process
• 1.6.3 The composer in action
• 1.7 Postlude
• Part II: Modes of Communication in Stravinsky's music
• 2.0 Notation
• 2.1 Music Notation and Literacy in Music
• A historical approach
• 2.2 A study of Stravinsky's notation practice
• An empirical approach
• 2.2.1 Design
• 2.2.2 Results
• 2.3 Vocabulary, concepts and adjustments
• A semiotic approach
• 2.4 Musicians' music reading practices
• A cognitive approach
• 2.4.1 Music reading
• 2.4.2 Approaching the music notation
• 2.4.3 Elements in Stravinsky's notation practice
• 2.5 Stravinsky's performances and recordings
• A critical approach
• 2.5.1 The composer as performer
• 2.5.2 Some case studies
• 2.5.3 Reliability and validity
• Conclusion
• Appendices:
• 1 Work categories
• 2 Vocabulary
• 3 Works in the Serial period
• 4 Shorted and stretched notes