Igor Stravinsky left behind a complex heritage of music and ideas. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available.

IntroductionPart I: Sign and expression in communication1 Prelude1.1. The point of departure1.2. Discourses of a musical work2 The multi-layered triad2.1 Ogden2.2 Agawu2.3 A multi-layered triad2.4 Literacy2.5 Bacon2.6 A complete communication model3 Stravinsky’s background and languages3.1 St. Petersburg3.2 Suisse/France3.3 Religion3.4 America4 The Aesthetics4.1 A grid4.2 Quotes from Stravinsky4.3 Comments and critiques of Stravinsky’s aesthetics4.4 Adorno5 The Logics5.1 The operational grid5.2 Some aspects from semiotics and linguistics5.3 Some statements from Stravinsky5.4 Bacon’s idols 6 The Ethics6.1 The ethical grid6.2 The listening process6.3 The composer in action 7 PostludePart II: Modes of Communication in Stravinsky’s music8 Notation9 Music notation and literacy in music: a historical approach10 A study of Stravinsky’s notation practice: an empirical approach10.1 Design10.2 Results11 Vocabulary, concepts and adjustments: a semiotic approach12 Musicians’ music reading practices: a cognitive approach12.1 Music reading12.2 Approaching the music notation12.3 Elements in Stravinsky’s notation practice13 Stravinsky’s recordings and performances: a critical approach 13.1 The composer as performer13.2 Some case studies13.3 Reliability and validityConclusionAppendices:1 Work categories 2 Vocabulary3 Works in the Serial period4 Shorted and stretched notes