Chapters in this book

1. Frontmatter I
2. Contents V
3. Illustrations VII
4. Introduction IX
5. Russian Background
6. 1. Igor Stravinsky and Russian Preliterate Theater 3
7. 2. From Subject to Style: Stravinsky and the Painters 16
8. 3. Stravinsky and Prokofiev: Sizing Up the Competition 39
9. Dance, Theater, and Collaboration
10. 4. Music and Spectacle in Petrushka and The Rite of Spring 53
11. 5. The Devil's Dance: Stravinsky's Corporal Imagination 82
12. 6. Set Designing for Stravinsky 89
13. Theoretical Perspectives
14. 7. Harmonic Syntax and Voice Leading in Stravinsky's Early Music 95
15. 8. Octatonic Pitch Structure in Stravinsky 130
16. 9. Writing The Rite Right 157
17. 10. Discontinuity and Proportion in the Music of Stravinsky 174
18. 11. Aspects of the Religious Music of Igor Stravinsky 195
19. 12. The Utopian Unison 207
20. Compositional Practices in the Late Music
21. 13. The Canon and Stravinsky's Late Style 217
22. 14. Order, Symmetry, and Centricity in Late Stravinsky 247
23. 15. On the Significance of Stravinsky's Last Works 262
24. Currents and Contemporaries
25. 16. Three Japanese Lyrics and Japonisme 273
26. 17. Stravinsky and the Pianola 280
27. 18. Stravinsky, Dushkin, and the Violin 298
28. 19. Schoenberg and "Kleine Modernsky" 306
29. Personal Portraits from the California Years
30. 20. The Genius and the Goddess 323
31. 21. Stravinsky at Home 328
32. Appendix. Selected Source Material from "A Catalogue of Books and Music Inscribed to and/or Autographed and Annotated by Igor Stravinsky" 345
33. Acknowledgments 355
34. Notes on Contributors 359
35. Index 363