{"title":"斯特拉文斯基晚期作品的表现力","authors":"C. Flamm","doi":"10.2298/muz2334059f","DOIUrl":null,"url":null,"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.","PeriodicalId":30174,"journal":{"name":"Muzikologija-Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Expressiveness in Stravinsky’s late works\",\"authors\":\"C. Flamm\",\"doi\":\"10.2298/muz2334059f\",\"DOIUrl\":null,\"url\":null,\"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.\",\"PeriodicalId\":30174,\"journal\":{\"name\":\"Muzikologija-Musicology\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Muzikologija-Musicology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2298/muz2334059f\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Muzikologija-Musicology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2298/muz2334059f","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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.
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