Poetics of Music in the Form of Six Lessons

by Igor Stravinsky

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Poetics of Music collects Igor Stravinsky's 1939-1940 Norton Lectures, delivered at the height of his neoclassical period. Ranging from the phenomenology of rhythm to the fate of high culture in the Soviet Union, he explores both the creative potential and the limitations arising from fidelity to tradition and submission to formal constraints.

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2 reviews
Absolute delight! The language was smooth, and cold, like icy milk. He wrote it in his head in Russian, then on paper in French, and then it was translated into English. Charming, sincere, earnest....a real lovely all around book about music I will always have on my shelf.
In his preface to this collection of lectures Darius Milhaud says, "Poetics of music is like a searchlight turned by Stravinsky on his own work on one hand, and on music in general on the other." This comment provides an excellent introduction to this short book. Given as part of the Charles Eliot Norton lectures, these compact essays provide an insight into the mind of one of the greatest composers of the twentieth century.
Half the book is concerned with music in general,focusing on the phenomenon of music, its composition, the various types of music and aspects of musical style. His argument regarding critics who ignore his own music is interesting as he looks back at earlier composers like Bach and Beethoven who suffered from similar show more disregard before being crowned as great masters.
Further commentary includes a more specific look at Russian music in particular and a discussion of the interpretation of music. These lectures by a great Russian master whose own style evolved significantly over his lifetime make great reading for all who love music.
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The Russian composer Igor Stravinsky, considered to be one of the greatest composers of the twentieth century, was born in 1882 near St. Petersburg. Stravinsky began piano lessons at the age of 9. He had little interest in a career in music, however, until 1902, when he was introduced to Rimsky-Korsakov while studying law at the University of St. show more Petersburg. For the next three years, he studied composition with Rimsky-Korsakov. In 1909 the ballet impresario Serge Diaghilev heard a performance of one of Stravinsky's symphonic works and commissioned him to compose three ballets for his Ballets Russes in Paris. These three pieces---The Firebird (1910), Petrouchka (1911), and The Rite of Spring (1913)--- established Stravinsky as the foremost musical innovator in his use of syncopated and irregular rhythms and harsh-sounding harmonies. After World War I, Stravinsky settled in France. The Russian Revolution of 1917 and the Communist dictatorships that followed kept him away from his native land until 1962. In France, Stravinsky's association with Diaghilev continued until the impresario's death in 1929. During this time, the composer adopted a simpler musical style, inspired by the classical composers of the eighteenth century. One of the first indications of this interest in classical music was heard in his ballet Pulcinella (1920). Stravinsky's interest in classical forms influenced his music for over 30 years. Stravinsky moved to the United States in 1939 and became an American citizen in 1945. His continued interest in ballet resulted in an association with the Russian-born choreographer George Balanchine and his New York City Ballet company, for whom Stravinsky wrote several works. In addition, Stravinsky composed a variety of other works, including several operas, the most famous of which is The Rake's Progress (1951). During the mid-1950s, Stravinsky became interested in serialism. The use of serialism in his later works resulted in highly structured and concise compositions, such as his choral composition Threni (1958). A unique and unpredictable composer, Stravinsky never founded a specific school of composition. Nevertheless, his work has had a great influence on many modern composers. (Bowker Author Biography) show less

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Common Knowledge

Canonical title
Poetics of Music in the Form of Six Lessons
Original publication date
1942
First words
I consider it a great honor to occupy the Charles Eliot Norton chair of poetics today, and I take particular pleasure in thanking the Committee that has so kindly invited me to address the students of Harvard University.
Last words
(Click to show. Warning: May contain spoilers.)And that is how music comes to reveal itself as a form of communion with our fellow man—and with the Supreme Being.

Classifications

Genres
Music, Nonfiction, Philosophy
DDC/MDS
780Arts & recreationMusicMusic
LCC
ML410 .S932 .A13MusicLiterature on musicLiterature on musicHistory and criticismBiography
BISAC

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(4.04)
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12 — Catalan, Danish, Dutch, English, Finnish, French, German, Italian, Portuguese, Spanish, Swedish, Turkish
Media
Paper, Ebook
ISBNs
19
ASINs
12