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Review of Johnathan Cross, The Stravinsky Legacy

Review of Johnathan Cross, The Stravinsky Legacy ß Blackwell Publishers Ltd. 2000. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK CRITICAL FORUM Kundera's apostrophe to that `inimitable delight in being, the delight that shows in a euphoric recklessness of imagination, in the pleasure of inventing, of surprising ± even of shocking ± by an invention'.1 He also refers pointedly (p. 11) to the concept of hypostatisation, defining it as `the focus on the moment as an independent event' (though `moment' is a slightly unhelpful, and in fact unnecessary, limitation of the Einsteinian idea of the event as a discrete component of any temporal or spatial process). Hypostatisation leads naturally on to the first of four analytical chapters, each of which identifies a specific aspect of Stravinsky's early thinking which Cross wishes to trace through the work of later composers. The natural formal expression of hypostatisation in music is the block, though in fact, with his preliminary remarks on Modernism still resonating in his argument, Cross approaches what he sees as the archetypal musical instance of block form ± Stravinsky's Symphonies of Wind Instruments ± by way of Cubist painting, and specifically the `Standing Female Nude' of Picasso. The chapter makes a good http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Review of Johnathan Cross, The Stravinsky Legacy

Music Analysis , Volume 19 (2) – Jul 1, 2000

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Publisher
Wiley
Copyright
Copyright © 2000 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00120
Publisher site
See Article on Publisher Site

Abstract

ß Blackwell Publishers Ltd. 2000. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK CRITICAL FORUM Kundera's apostrophe to that `inimitable delight in being, the delight that shows in a euphoric recklessness of imagination, in the pleasure of inventing, of surprising ± even of shocking ± by an invention'.1 He also refers pointedly (p. 11) to the concept of hypostatisation, defining it as `the focus on the moment as an independent event' (though `moment' is a slightly unhelpful, and in fact unnecessary, limitation of the Einsteinian idea of the event as a discrete component of any temporal or spatial process). Hypostatisation leads naturally on to the first of four analytical chapters, each of which identifies a specific aspect of Stravinsky's early thinking which Cross wishes to trace through the work of later composers. The natural formal expression of hypostatisation in music is the block, though in fact, with his preliminary remarks on Modernism still resonating in his argument, Cross approaches what he sees as the archetypal musical instance of block form ± Stravinsky's Symphonies of Wind Instruments ± by way of Cubist painting, and specifically the `Standing Female Nude' of Picasso. The chapter makes a good

Journal

Music AnalysisWiley

Published: Jul 1, 2000

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