Type of Document Treatise Author Jorgensen, Michael Lund URN etd-04142008-142508 Title Pastoral Poetry and Stravinsky: A Search for an Expanded Definition of Neo-Classicism through Exploration of the Relationship between the Eclogues of Stravinsky’s Duo Concertant and Petrarch’s Bucolicum Carmen Degree Doctor of Musical Arts Department Music, College of Advisory Committee
Advisor Name Title Beth Newdome Committee Chair Evan Jones Committee Member Frank Kowalski Committee Member Keywords
- Bucolicum Carmen
- Duo Concertant
Date of Defense 2008-04-02 Availability unrestricted AbstractThis treatise examines two movements of Igor Stravinsky’s (1882-1971) Duo Concertant. While writing the Duo Concertant Stravinsky read a book by his friend Charles Albert Cingria (1883-1954) about the poet Francesco Petrarca (1304-1374), known in English as Petrarch. The composition reflected the influence of Cingria’s writing about Petrarch. Stravinsky writes in his Autobiography:
The spirit and form of my Duo Concertant were determined by my love of the pastoral poets of antiquity and their scholarly art and technique. The theme that I had chosen developed through all the five movements of the piece which forms an integral whole, and, as it were, offers a musical parallel to the old pastoral poetry.
Music critic Eric Walter White dismissed Stravinsky’s words, explaining that “in the long run, it would be best to put Stravinsky’s various explanations on one side and accept the work at its musical face value.” Through examining the second and third movements of the work, marked Eglogue I and Eglogue II, this treatise aims to find a connection between Stravinsky’s music and Petrarch’s pastoral poetry. The term eglogue is French for the English term eclogue, which is a style of pastoral poetry. Petrarch wrote a set of twelve Latin eclogues between 1346 and 1352 called Bucolicum Carmen. The first two eclogues in the collection have striking similarities to Stravinsky’s music, and this paper seeks to document the relationship between the works. In the process, the treatise explores an expanded definition of neo-classicism—one that includes works that are inspired by Greek and Roman philosophy and artwork yet are modernized to fit the needs of the society from which it emerges.
Chapter 1 gives a background on Stravinsky’s neo-classical works and the composition of the Duo Concertant. Chapter 2 explores the history of the eclogue from its creation in Alexandria by the ancient Greek poet Theocritus (c. 316-260 B.C.) to Petrarch. Virgil’s Eclogues are also discussed. Chapter 3 gives a historical context to Petrarch’s work through a discussion of his life, work, and philosophy. Chapter 4 compares and contrasts Petrarch and Stravinsky’s first eclogues, and Chapter 5 examines their second eclogues. Chapter 6 presents the conclusion.
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