Selected Bibliography
Agawu, Kofi. “Stravinsky’s Mass and Stravinsky Analysis.” Music Theory Spectrum 11
(1989): 139–63.
Berger, Arthur. “Problems of Pitch Organization in Stravinsky.” Perspectives of New
Music 2 (1963): 11-42.
Boretz, Benjamin and Edward T. Cone. Perspectives on Schoenberg and Stravinsky.
Princeton: Princeton University Press, 1968.
Brunnemer, Alice. “Igor Stravinsky’s Mass: An Unacceptable Vehicle for the Roman
Catholic Liturgy.” Master’s Thesis, California State University, Long Beach,
1993.
Buxbaum, Erica. “Stravinsky, Tempo, and Le Sacre.” Journal of the Conductors Guild
13 (1992): 32-39.
Carr, Maureen. Multiple Masks: Neoclassicism in Stravinsky’s Work on Greek Subjects.
Lincoln: University of Nebraska Press, 2002.
Carter, Chandler. “Stravinsky’s ‘Special Sense’: The Rhetorical Use of Tonality in The
Rake’s Progress.” Music Theory Spectrum 19 (1997): 55-80.
Cone, Edward T. “Stravinsky: The Progress of a Method.” Perspectives of New Music 1
(1962): 18-26.
———. “The Uses of Convention: Stravinsky and His Models.” Musical Quarterly
48 (1962): 287–99.
Cross, Jonathan. The Stravinsky Legacy. Cambridge: Cambridge University Press, 1998.
Gilbert, Amy. “Aspects of the Religious Music of Igor Stravinsky.” In Confronting
Stravinsky: Man, Musician, and Modernist. Edited by Jann Pasler, 195-206.
Berkeley and Los Angeles: University of California Press, 1986.
Griffiths, Graham. Stravinsky’s Piano: Genesis of A Musical Language. Cambridge and
New York: Cambridge University Press, 2013.
Griffiths, Paul. Igor Stravinsky: The Rake’s Progress. Cambridge and New York:
Cambridge University Press, 1982.
———. Stravinsky. New York: Schirmer, 1992.
Horlacher, Gretchen. “The Rhythms of Reiteration: Formal Development in Stravinsky’s
Ostinati.” Music Theory Spectrum 14 (1992): 171–87.
———.“Running in Place: Sketches and Superimposition in Stravinksy’s Music.” Music
Theory Spectrum 23 (2001): 196-216.
———. Building Blocks: Repetition and Continuity in the Music of Stravinsky. New
York: Oxford University Press, 2011.
Hunter, Mary. “Igor and Tom: History and Destiny in The Rake’s Progress.” The Opera
Quarterly 7/4 (1990): 38-52.
Pasler, Jann, ed. Confronting Stravinsky. Berkeley and Los Angeles: University of
California Press, 1986.
Slim, H. Colin. “Lessons with Stravinsky: The Notebook of Earnest Andersson (18781943).” The Journal of the American Musicological Society 62/2 (2009): 323-412.
Straus, Joseph. “Stravinsky’s ‘Tonal Axis.’” Journal of Music Theory 26 (1982): 261–90.
———. “A Principle of Voice Leading in the Music of Stravinsky.” Music Theory
Spectrum 4 (1982): 106–24.
———. “The Progress of a Motive in Stravinsky’s The Rake’s Progress” The Journal of
Musicology 9 (1991): 165-185.
———. Introduction to Post-Tonal Theory. New Jersey: Prentice Hall, 2000.
———. “Three Stravinsky Analyses: Petrushka, Scene 1 (to Rehearsal No. 8); The
Rake’s Progress, Act III, Scene 3 (“In a foolish dream”); Requiem Canticles,
“Exaudi,” Music Theory Online. 18/4 (2012).
Taruskin, Richard. “Chez Petrouchka: Harmony and Tonality ‘chez’ Stravinsky.” 19th
Century Music 10 (1987): 265–86.
Trivers, Juliana. “Directed Motion in Stravinsky’s Mass.” Ph. D. diss., New York
University, 2004.
Tymoczko, Dmitri. “Stravinsky and the Octatonic, A Reconsideration.” Music Theory
Spectrum 24 (2002): 68-102.
Tymoczko, Dmitri and Pieter C. van den Toorn. “Colloquy—Stravinsky and the
Octatonic: The Sounds of Stravinsky.” Music Theory Spectrum 25 (2003): 167202.
Van den Toorn, Pieter C. The Music of Igor Stravinsky. New Haven: Yale University
Press, 1983.
White, Eric Walter. Stravinsky: The Composer and His Works. Berkeley and Los
Angeles: University of California Press, 1979.
Williams, B. M. “Time and Structure of Stravinsky’s Symphony in C.” Musical
Quarterly 59 (1973): 355–69.