Introduction

Part I: Sign and expression in communication

1 Prelude

1.1. The point of departure

1.2. Discourses of a musical work

2 The multi-layered triad

2.1 Ogden

2.2 Agawu

2.3 A multi-layered triad

2.4 Literacy

2.5 Bacon

2.6 A complete communication model

3 Stravinsky’s background and languages

3.1 St. Petersburg

3.2 Suisse/France

3.3 Religion

3.4 America

4 The Aesthetics

4.1 A grid

4.2 Quotes from Stravinsky

4.3 Comments and critiques of Stravinsky’s aesthetics

4.4 Adorno

5 The Logics

5.1 The operational grid

5.2 Some aspects from semiotics and linguistics

5.3 Some statements from Stravinsky

5.4 Bacon’s idols

6 The Ethics

6.1 The ethical grid

6.2 The listening process

6.3 The composer in action

7 Postlude

Part II: Modes of Communication in Stravinsky’s music

8 Notation

9 Music notation and literacy in music: a historical approach

10 A study of Stravinsky’s notation practice: an empirical approach

10.1 Design

10.2 Results

11 Vocabulary, concepts and adjustments: a semiotic approach

12 Musicians’ music reading practices: a cognitive approach

12.1 Music reading

12.2 Approaching the music notation

12.3 Elements in Stravinsky’s notation practice

13 Stravinsky’s recordings and performances: a critical approach

13.1 The composer as performer

13.2 Some case studies

13.3 Reliability and validity

Conclusion

Appendices:

1 Work categories

2 Vocabulary

3 Works in the Serial period

4 Shorted and stretched notes