Modes of Communication in Stravinsky’s Works
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A01=Per Dahl
Absolute Music
Aesthetics
Author_Per Dahl
Basilar Membrane
Category=AVA
Category=AVLA
Category=AVN
Category=AVP
cognitive musicology
Communication
Composer's Idea
Composer’s Idea
empirical music research
ensemble performance practice
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Eye Hand Span
Kenner Und Liebhaber
Knowledge Acquisition
Metronome Marking
Multi-layered Model
Music Notation
music semiotics
Musical Rhetoric Figure
Neoclassical Period
Neoclassical Works
notation analysis
Notation Practice
Pater Noster
Performer's Interpretations
Performer's Level
Performer's Performance
Performer’s Interpretations
Performer’s Level
Performer’s Performance
Pierrot Lunaire
Postlude
Robert Craft
Round Window
semiotic analysis of Stravinsky scores
Serial Period
Stravinsky's Background
Stravinsky's Music
Stravinsky's Scores
Stravinsky's Works
Stravinsky’s Music
Stravinsky’s Scores
stylistic epochs comparison
Tempo Character
Traditional Notation System
Product details
- ISBN 9781032111087
- Weight: 520g
- Dimensions: 156 x 234mm
- Publication Date: 17 Dec 2021
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky’s music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer’s different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky’s performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.
Per Dahl is Professor of Music at the University of Stavanger, Norway.
