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Most published work in our field privileges theory over analysis, with analysis acting as a subordinate testing ground and exemplification for a theory. Reversing that customary polarity, this article analyzes three works by Stravinsky (Petrushka, The Rake’s Progress, Requiem Canticles) with a relative minimum of theoretical preconceptions and with the simple aim, in David Lewin’s words, of “hearing the piece[s] better.”


This item appeared in Music Theory Online in Volume 18, Issue 4 on December 2012. It was authored by Joseph N. Straus,, with whose written permission it is reprinted here.

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