The Structure and Syntax of Stravinsky's Neoclassical Cadential Language

Abstract

The neoclassical compositions of Igor Stravinsky have long provided scholars with a wealth of analytical possibilities. Many approaches to Stravinsky's neoclassical music have revolved around tonal implications therein. One tonal device, however, that has received little attention from the theory community is the common-practice cadence. This study seeks to present a theory of the manner in which Stravinsky's neoclassical compositional practice adheres to and varies from the well-formed standards of the common-practice era. Additional data is studied that shows trends throughout Stravinsky's neoclassical period. Finally, the research examines the future of neoclassical Stravinsky analysis and specifically addresses how this cadential study can contribute to the larger discussion of tonal implications in Stravinsky's neoclassical music.