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Adj.1.Stravinskian - of or relating to or like or in the manner of Stravinsky
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The question of Stravinskian influence arises yet again in Herbert Schneider's chapter on the Concert champetre, where the Symphonies of Wind Instruments and Concerto for piano and winds provide decisive points of contact.
Falla's rarely-heard Fantasia Baetica is no overlooked masterpiece - a cocktail of neo-classicism, Stravinskian dissonance and dollops of Spanish colour - but it's fun and Hewitt gave it a flamboyant bravura climax.
This time, Levine showed up, conducting a score he clearly loves with a lush, expansive warmth it doesn't usually enjoy, though with an equally notable absence of Stravinskian bite and drive.
The young pianist was Polish-born Edyta Lajdorf who displayed a real feel for the rhythmic drive of the piece which concludes with a Stravinskian evocation of peasant dancing.
The result is a CD that moves from straight-ahead swing and balladry to Stravinskian rhythmic constructions, the release continues.
Ray Leung's Totem was characterised by a Stravinskian feel of rhythmic frenzy.
Ray Leung's Totem was characterised by a Stravinskian feel of rhythmic frenzy - rhythms which could have been carried better.
Noting the latter as a form of collage, Murchison identifies not only evidence of Boulanger's la grande ligne, but also of Stravinsky's interlocking polyrhythmic ostinatos and of various rhythmic and harmonic jazz elements, explaining that Copland "juxtaposes the old and the new, recycling classical form, canon, Renaissance techniques, and contrapuntal texture of the past with the contemporary techniques of Stravinskian modernism" (p.
This was a way of talking about music that a composer in the Stravinskian tradition would find frustratingly non-musical.
As Klara Moricz will show in her essay below, this Stravinskian I blend of Eurasianism and neoclassicism, put into battle against Schonberg's twelve-tone row, is Central to the ethics of Lonrie's Arop Petra Velikogo, especially the violent behavior of Tsar Peter against the rights of Eros.
I feel that Stravinskian neoclassicism (which Taruskin discusses but does not stress) bulks larger than serialism in the performance of music, if not in its history.
Besides sharing the same Stravinskian harmonic language, the instrumentation of "Igor's Boogie, Phase One" (A1)--clarinet, cornet, drum set--is the same as "Igor's Boogie, Phase Two" (A2).