Rethinking Igor Stravinsky historically and theoretically — III
Morphological analysis of the works of Rimsky-Korsakov, Mussorgsky, Borodin, Stravinsky. Identification of a set of invariant sound morphemes, the conceptuality of which is related to the associative and figurative possibilities of listening perception.
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In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. Morphological analysis takes sound construction as its main target.
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