Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)

Нanna Savchenko

doi:10.34064/khnum2-19.11

Abstract

Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)

Highlights

The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly
The multifigure technique in horizontal projection is realized at microand macro-syntactic levels
The analysis of the scores of the ballet Apollon Musagète has shown the effect of the constant principle of multifigure technique

Summary

Introduction

The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works In the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those changes that took place in the orchestration of the composer, and to reveal certain constants, universals Savenko) of orchestral thinking and orchestration as a set of technological methods

Objectives

Discussion

Conclusion