Stravinsky's "special sense": The rhetorical use of tonality in The Rake's Progress

Music Theory Spectrum

Volumn 19, Issue 1, 1997, Pages 55-80

  Carter, Chandler ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949321301     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/745999     Document Type: Review

References (57)

1. Igor Stravinsky, Poetics of Music, trans. Arthur Knodel and Ingolf Dahl (Cambridge, Mass.: Harvard University Press, 1942), 43
2. "The Composer's View," in Igor Stravinsky: The Rake's Progress, ed. Paul Griffiths (New York: Cambridge University Press, 1982), 2
3. Robert Craft, Stravinsky: Glimpses of a Life (New York: St. Martin's Press, 1992), 38
4. Lord Harewood, "Strawinsky and The Rake's Progress," Opera 2 (1951): 610-18
5. Colin Mason, "Stravinsky's Opera," Music and Letters 33 (1952): 1-9
6. Joseph Kerman, "Opera à la mode," The Hudson Review 6 (1953): 560
7. Opera as Drama (New York: Knopf, 1956)
8. Igor Stravinsky and Robert Craft, Dialogues (Berkeley: University of California Press, 1982), 107-9
9. Igor Stravinsky and Robert Craft, Conversations with Igor Stravinsky (Berkeley: University of California Press, 1980), 126
10. Charles Rosen, Arnold Schoenberg (New York: Viking Press, 1975), 72-73
11. Roger Sessions, Roger Sessions on Music, ed. Edward T. Cone (Princeton: Princeton University Press, 1979), 35-36
12. Donald Harris, "Stravinsky and Schoenberg: A Retrospective Review," Perspectives of New Music 9.2 and 10.1 (1971): 108-23
13. Peter Burkholder, "Brahms and Twentieth-Century Classical Music," 19th-century Music 8 (1984): 76
14. Burkholder "Museum Pieces," Journal of Musicology 2 (1983): 115-34
15. Joseph N. Straus, Remaking the Past (Cambridge, Mass.: Harvard University Press, 1990), 17
16. Pieter van den Toorn, Music, Politics and the Academy (Berkeley: University of California Press, 1995), 170
17. The original quote appears in N. Roerich, "Igor Stravinsky on His Music - A Conversation with the Russian Master,"
18. Leonard Stein "Schoenberg and 'Kleine Modernsky,'" in Confronting Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler (Berkeley: University of California Press, 1986), 322.
19. Boris Asaf'yev, A Book About Stravinsky, trans. Richard F. French (Ann Arbor: UMI Research Press, 1982); original ed. (Leningrad: Triton, 1929; republ. Moscow, 1977)
20. Adele Katz, Challenge to Musical Tradition: A New Concept of Tonality (New York: Knopf, 1945)
21. Felix Salzer, Structural Hearing (New York: Charles Boni, 1952; reprinted New York: Dover, 1962)
22. Allen Forte, Contemporary Tone Structures (New York: Columbia University Teacher's College, 1955)
23. Pieter van den Toorn, The Music of Stravinsky (New Haven: Yale University Press, 1983), xv
24. Arthur Berger "Problems of Pitch Organization in Stravinsky," Perspectives of New Music 2 (1963): 11-42
25. Richard Taruskin "Chernomor to Kaschei: Harmonic Sorcery; or, Stravinsky's 'Angle,'" Journal of the American Musicological Society 38 (1985): 72-142
26. Forte The Structure of Atonal Music (New Haven: Yale University, 1973)
27. Straus "The Progress of a Motive in Stravinsky's The Rake's Progress," The Journal of Musicology 9 (1991): 166-85
28. Joseph N. Straus, "The Problem of Prolongation in Post-tonal Music," Journal of Music Theory 31 (1987): 1-22
29. David Lewin in Generalized Music Intervals and Transformations (New Haven: Yale University Press, 1987)
30. Henry James Klumpenhouwer in " A Generalized Model of Voice Leading for Atonal Music" (Ph.D. Diss., Harvard University, 1991)
31. Martha Hyde, "Neoclassic and Anachronistic Impulses in Twentieth-Century Music," Music Theory Spectrum 18 (1996): 200-35
32. Thomas Greene, The Light in Troy: Imitation and Discovery in Renaissance Poetry (New Haven: Yale University Press, 1982)
33. Harold Bloom The Anxiety of Influence (Oxford: Oxford University Press, 1973)
34. A Map of Misreading (Oxford: Oxford University Press, 1975)
35. Kofi Agawu, "Stravinsky's Mass and Stravinsky Analysis," Music Theory Spectrum 11 (1989): 162
36. Edward T. Cone, "Stravinsky: The Progress of a Method," Perspectives of New Music 1 (1962): 18-26
37. Christopher Hasty, "On the Problem of Succession and Continuity in Twentieth-Century Music," Music Theory Spectrum 8 (1986): 58-74
38. Allen Forte ("New Approaches to the Linear Analysis of Music," Journal of the American Musicological Society 41 [1988]: 315-48)
39. Christopher Lewis in "Tonal Focus in Atonal Music: Berg's op. 5/3," Music Theory Spectrum 3 [1981]: 84-97
40. Howard Cinnamon in "Tonal Elements and Unfolding Nontriadic Harmonies in the Second of Schoenberg's Drei Klavierstücke, op. 11," Theory and Practice 18 [1993]: 127-70)
41. Donald Mitchell, The Language of Modern Music (London: Faber and Faber, 1963), 105
42. Arnold Schoenberg, "My Evolution," in Style and Idea, ed. Leonard Stein (Berkeley: University of California Press, 1984), 88
43. Oliver Neighbour ("Arnold Schoenberg," in The New Grove: Second Viennese School [New York: W. W. Norton, 1983], 62)
44. Alan Lessem, "Schoenberg, Stravinsky, and Neo-Classicism: The Issues Reexamined," The Musical Quarterly 68 (1982): 539
45. Mikhail Drushkin, Igor Stravinsky: His Personality, Works and Views, trans. Martin Cooper (New York: Cambridge University Press, 1983), 9
46. Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists (Cambridge, Mass.: Harvard University Press, 1994), 2-3
47. James Baker ("Schenkerian Analysis and Post-tonal Music," in Aspects of Schenkerian Theory, ed. David Beach [New Haven: Yale University Press, 1983], 183)
48. Robert Craft, "A note on the sketches and the two versions of the libretto," in Paul Griffiths, ed., Igor Stravinsky: The Rake's Progress, 19 and 27
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50. Lynne Rogers "Stravinsky's Approach to Counterpoint" (Ph.D. diss., Princeton University, 1989)
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52. Schenker ("könnte bestenfalls folgende Anlage als das bezeichnet werden, was Strawinsky vorgeschwebt haben mag," Das Meisterwerk in der Musik, vol. 2 [Munich: Drei Masken Verlag, 1926; reprinted Hildesheim: Georg Olms Verlag, 1974], 38)
53. Rudolph Retí, Tonality - Atonality - Pantonality: A Study of Some Trends in Twentieth Century Music (London: Rockliff, 1958), 61
54. Van den Toorn Act II/iii; R189-93
55. Glenn Watkins in "Canon and Stravinsky's Late Style," in Confronting Stravinsky, 222-23
56. Van den Toorn Stravinsky and the Russian Traditions (Berkeley: University of California Press, 1996)
57. Stephen Jay Gould, "Asking Big Questions on Science and Meaning," in The New York Times, October 16, 1995, C14