Affiliation:
1. Department of Musicology, Heidelberg University, Heidelberg, Germany
Abstract
Igor Stravinsky?s late style is usually considered in terms of the works?
structure. Following Joseph N. Straus, this article attempts to highlight
expressive, semantic and self-referential dimensions in Stravinsky?s late
compositions. These dimensions emerge there with particular clarity and
partly contradict the usual assessments of this music as abstract and
constructivist; as such, they also challenge the composer?s own statements.
Publisher
National Library of Serbia
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