Igor Stravinsky: The Man and His Music

By Alexandre Tansman; Therese Bleefield et al. | Go to book overview

CHAPTER I
General Outlook

EVERY work of art necessarily implies a "convention," taken in its etymological Latin meaning--"conventum," that is to say, a pact, a rule of the game, a tacit agreement between the active and passive elements of the creative process, between the creator of the work of art and the perceiving agent. In most of the highly developed arts, this convention rests upon a centuries-old tradition that provides it with the possibility of a logical and continuous renewal. It seems to me that it would also be useful to establish some sort of convention or rule of the game between the reader and myself in order to avoid any misunderstanding arising from the debatable interpretation of a term or a concept. For the meaning of certain terms is not the same for everyone. Without maintaining that my definitions are the closest approximation of the exact idea, I shall define my terms with the sole purpose of clarifying my exposition.

Contrary to recognized procedure, I shall first discuss Stravinsky's artistic discipline before I go on with the details of his work. It seems to me that analytical detail in so

-3-

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Igor Stravinsky: The Man and His Music
Table of contents

Table of contents

  • Title Page iii
  • Translators' Note v
  • Contents vii
  • Introduction ix
  • PART I 1
  • Chapter I General Outlook 3
  • Chapter II Stravinsky and the Phenomenon of Music 9
  • Chapter III Discipline and Attitude 39
  • Chapter IV Creative Cypology and Craftsmanship 69
  • PART II 141
  • Chapter V Life and Works (1882-1920) 143
  • Chapter VI Life and Works (1920-1948) 207
  • Conclusion 275
  • Chronological Catalogue of Works 279
  • Index 287
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