Aesthetics of Objectivism in Igor Stravinsky's Neoclassical Works
| dc.contributor.advisor | McLucas, Anne | en_US |
| dc.contributor.author | Lee, SunHwa | en_US |
| dc.creator | Lee, SunHwa | en_US |
| dc.date.accessioned | 2012-10-26T04:08:33Z | |
| dc.date.available | 2012-10-26T04:08:33Z | |
| dc.date.issued | 2012 | |
| dc.description.abstract | This thesis examines Stravinsky’s aesthetics of objectivism, as described in his own book and displayed in three different genres from his neoclassical period: Symphonies of Wind Instruments (1920), Perséphone (1933), and Orpheus (1947). My research has significance, in that I combine aesthetics and musical analysis in examining Stravinsky’s objectivism. Drawing on Stravinsky’s book, Poetics of Music in the Form of Six Lessons, I define his objectivism as the structural organization of musical materials, the denial of expression of subjective emotion, the importance of the composer’s invention, and the concept of limitation. Stravinsky’s objectivism appears in various ways in the different genres. The instrumental piece Symphonies of Wind Instruments presents the lack of linear continuity and development. The melodrama Perséphone represents his objectivism through his rearrangement of French text, and the ballet Orpheus shows his restrained expression in reduced orchestration, quiet dynamics, and cool tone colors. | en_US |
| dc.identifier.uri | https://hdl.handle.net/1794/12469 | |
| dc.language.iso | en_US | en_US |
| dc.publisher | University of Oregon | en_US |
| dc.rights | All Rights Reserved. | en_US |
| dc.subject | Igor Stravinsky | en_US |
| dc.title | Aesthetics of Objectivism in Igor Stravinsky's Neoclassical Works | en_US |
| dc.type | Electronic Thesis or Dissertation | en_US |
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