| Papers [1-6] of 6 | Search results on "IGOR STRAVINSKY": |
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Igor Stravinsky's "The Firebird", 2002.
Discussion of the life and music of Russian composer Igor Stravinsky.
1,900 words (approx. 7.6 pages), 6 sources, £ 50.95
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Abstract
This essay explains how the Russian composer Igor Stravinsky reflected, and at times did not reflect, the particular historical and cultural environment of his native Russia. The author integrates relevant biographical material into his discussion of the music, and considers questions such as what the identifying characteristics of the composer's music were, and how they were shown in the composition of "The Firebird". The author also analyzes what the identifying characteristics of Stravinsky's music were, how they were related to the folk music of Russia at the beginning of the twentieth century, and how they meshed and influenced one another.
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Igor Stravinsky & His Music, 2002.
An insight into the life and music of composer Igor Stravinsky, regarded as one of the most influential musicians of the 20th century.
2,425 words (approx. 9.7 pages), 6 sources, MLA, £ 52.95
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Abstract
This paper explores Stravinsky?s long and monumental musical career, discusses the different styles of music that he adopted and developed along the way and explains how the brilliant composer reflected the cultural and historical environment of the times in his work. It also takes a brief look at Russian culture and folk music and assesses how it influenced Stravinsky?s music.
From the Paper
"Recognized as one of the promising young musical talents, Stravinsky was now ready for greater things in life. Even before Petrushka (1911) Stravinsky wanted to write a symphonic pagan ritual initially titled Great Sacrifice. Diaghalev persuaded him to cast it in the form of a ballet that came to be called The Rite of Spring and was destined to herald the start of the modernist era in classical music. The first performance of The Rite at the Theatre des Champs Elysees, Paris on May 29, 1913 has become ?the most notorious event in the musical history of the century.? (Glass, 2000). As soon as the first notes of the unusual music sounded, uproar broke out in the audience. Stravinsky?s daring and creative music was cheered, protested and argued over so loudly during the performance that the dancers were unable to hear the orchestra and fights broke out in the audience. (Ibid.) Modern music would never be the same again."
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Igor Stravinsky, 2004.
Examines the life and works of this famous Russian musical composer.
1,048 words (approx. 4.2 pages), 5 sources, APA, £ 25.95
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Abstract
Igor Stravinsky is one of the greatest composers in history. This paper provides basic biographical information on Stravinsky and then discusses some of his important musical contributions. The paper then provides a reaction to one of his musical works, "Berceuse" (Lullaby), found on the album, "The Rite of Spring/Firebird" (1997).
From the Paper
"He began to play the piano at the age of nine and quickly fell in love with the instrument. He admits in his book that he sometimes lacked the discipline required of the piano and enjoyed the art of improvisation instead. Stravinsky was often chastised for improvising, but in the end improvisation aided him in perfecting his craft. Stravinsky also explains that he was able to efficiently read music at an early age and spent much of his time reading his father?s opera scores. (Stravinsky 1936)"
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The Stravinsky Fountain, 2002.
The paper discusses the Stravinsky Fountain in Paris and the works of sculpture that make up the fountain.
2,075 words (approx. 8.3 pages), 10 sources, MLA, £ 46.95
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Abstract
The paper shows that the Stravinsky Fountain in Paris, France is a humorous and whimsical depiction of composer Stravinsky's music. The paper discusses the lives and works of artists Jean Tinguely and Niki de Saint-Phale whose 16 sculptures make up the fountain.
From the Paper
"De Saint-Phale and Tinguely were friends and created several pieces of work together. Their sculptures border on sexual?merging Tinguely's smooth sometimes-angular wire shapes with De Saint-Phale's colorful, feminine round shapes. The fountain expresses the combination of the hard and the soft and of the male and the female in all of its beauty and promise. The fountain incorporates the two styles and does so with harmony. Images in the fountain are shaped like a heart that is painted in red, yellow and teal, a bicycle, a bluish hat and other sculptures that represent each of the composer's works."
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Classical Composers, 2006.
An examination of the affect of their environment on the works of eight classical composers.
1,300 words (approx. 5.2 pages), 1 source, MLA, £ 30.95
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Abstract
Through an analysis of the music of eight Western classical composers, this paper attempts to understand how their various environments influenced their musical output. The eight composers that this paper studies are: Johann Sebastian Bach, Joseph Haydn, Richard Wagner, Peter Iljitch Tchaikovsky, Claude Debussy, Igor Stravinsky, Bela Bartok and George Crumb. The paper chooses to focus on specific compositions to demonstrate how each artist was affected by the events of his life -- from personal situations such as a family crisis, marriage or the loss of a loved one to broader social/cultural developments in his country or the world.
Outline:
Introduction
Johann Sebastian Bach
Joseph Haydn
Richard Wagner
Peter Iljitch Tchaikovsky
Claude Debussy
Igor Stravinsky
Bela Bartok
George Crumb
Conclusion
From the Paper
"In Bach's Christ lag in Todesbanden (Church Cantata No. 4), written for Easter Sunday, the hymn melody and its verses are used exclusively throughout the piece. The opening measure, in the style of Buxtehude, Bach's mentor, is followed by seven verses, each having its own musical signature. In this opening measure, one can hear that the music is touched by the sorrows of death, but in the third verse, there is an outpouring of joy. This cantata was written in 1724 during a period in Bach's life that was full of musical expression. However, in 1720, his first wife, Maria Barbara died, and in 1721, Bach married Anna Magdalena Wuelken who bore him thirteen children. Thus, through the music of Cantata No. 4, Bach's sadness over the death of his first wife can be sensed; however, due to his strict religious upbringing, his joy can be sensed in the third verse which reflects his knowledge that his late wife is now with God in Heaven."
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Tonality in Crisis, 1900 - 1920, 2002.
Discusses the demise of tonality in early 20th century music.
1,489 words (approx. 6.0 pages), 5 sources, APA, £ 34.95
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Abstract
This paper looks at the radical changes that took place in Western art music in the early years of the 20th century focusing on the loss of tonality and how the music of various composers of the time reflected the changes. The paper includes sections on Debussy, Schoenberg, Berg, Webern, Stravinsky, and Ives.
From the Paper
"Impressionist Claude Debussy was the first composer to successfully assert a French tradition free from Germanic influences in Western music. Debussy's most influential innovation was in his use of chords for tone colour rather than structure, an effect that destroyed the piece?s sense of musical destiny through cadence. The overused diatonicity of the Germanic chord system was replaced with whole tone and pentatonic scales, both of which, lacking a leading note, have little sense of musical destination."
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