Stella Stravinsky Six Chamber Music And Acoustic Research,

Igor · Feodorovich · Stravinsky, the distinguished composer of the 20th century, published 26 pieces of chamber music altogether.In this article, six pieces of typical chamber music are selected, named Trois pieces String Quartet, The Soldier' Tale, Ragtime, Octet for wind instruments, Dumbarton Oaks and Septet of three periods, so as to analyze his style and technique character used in harmony. Furthermore, applying the deductive and comparative approach by the classification and organization of chord structure, harmonic progress and the tonality management in six chamber music. Stravinsky use pitches material on the basis of diatonic tone and pitch organizing principle on the basis of polytonality to form his unique harmonic language. Accordingly, we get the further understanding about Stravinsky's precise and rational music creation style as well as his extraordinary arractive music language.The article consists of six chapters.The first chapter is an introduction of the meaning of this article and the evaluation of the harmony used in various kinds of chamber music as well as his influence on the development of modern music .The second chapter is to a summary of the development of harmony by analyzing each of the six pieces.The following three chapters are the main parts of the article. The third chapter is a classification of the development of the construction of harmony. It stressed on the classification of traditional triad extension and diversification, the variety of tradition-based chord structure pincipile and non-traditional chord structure. The fourth chapter is an analysis on the non-functional harmonic progress on eight aspects to dissertate. From lonely leading of melody composing to modal harmonic progress, the combine of bitonality and polytonality harmonic progress, the polyphonic harmonic progress and so on. The fifth chapter is a discussion on personality tonal overall arrangement and structural principle from three aspects, which are the tonal center, tonal axis and the serial tecnique. The last chapter is a general comment on the disposition of Stravinsky's music under the instruction of aesthetics on the basis of the three chapters above.