I will have to make an attempt to read this once more in a few years' time.

I have the perception that my historical knowledge is not yet fully developed to truly fathom everything that is being deliberated upon in this book.

There are a few precious quotes scattered here and there, but nothing that is entirely unforgettable.

It seems that with the passage of time and the acquisition of more historical understanding, I might be able to gain a deeper and more comprehensive appreciation of the contents within this book.

Until then, I will have to set it aside and look forward to the day when I can approach it with a more informed mind.

Perhaps by then, the quotes that currently seem rather ordinary will shine with newfound significance and become etched in my memory.

For now, I will content myself with the knowledge that I have gained and look forward to the future growth of my historical awareness.

I am not presenting you with a plethora of mere opinions. Instead, I am presenting to you a body of findings. Although these findings were made by me, they are no less valid for others than they are for myself.

Stravinsky's defense of personal experiences not as "mere opinions" but as "findings" that are also "valid for others" didn't particularly strike me as serious. Either no defense is necessary, or this defense is insufficient.

There are six lessons. The first, "Getting Acquainted," is interesting for getting a sense of the man. The fourth and fifth, "Musical Typology" and "Avatars of Russian Music," are his take on the politics of music. The second, third, and fourth pertain to music: they are about the "Phenomenon" itself, about "Composition," and about "Performance." Accordingly, those chapters are the most interesting to a broader audience. They are also the ones I will be returning to.

"One might conceive the process of performance as the creation of new values that call for the solution of problems similar to those which arise in the realm of choreography. In both cases, we give special attention to control gestures. The dancer is an orator who speaks a mute language. The instrumentalist is an orator who speaks an unarticulated language. Upon one, just as upon the other, music imposes a strict bearing. For music does not move in the abstract. Its translation into plastic terms requires exactitude and beauty: the exhibitionist knows this only too well."

He goes on and on and on and on... It seems as if he will never stop.

However, to our surprise, he does eventually explain some difficult concepts in music.

At first, we are a bit impatient, thinking that he is just rambling. But as he continues, we start to realize that he is building up to something important.

He uses simple examples and analogies to make the complex ideas more understandable.

By the end of his explanation, we have a much better understanding of the difficult concepts in music.

We are grateful to him for taking the time to explain things so thoroughly.

His perseverance and patience have paid off, and we have learned a lot from him.

In six lessons, Stravinsky elaborates on his point of view regarding various topics.

These include the work of composition, the performance of works, Russian music, and modernism.

Clearly, these lessons are more of a reflection of his own practice rather than a profound treatise on the chosen topics.

However, it is extremely interesting to peruse his thoughts on other composers' works.

His stance on modernism and his perception of the public and the critic also add to the allure of these lessons.

Stravinsky's unique perspective offers valuable insights into the world of music and composition.

Just finished this and I'm conflicted.

The three stars I give it don't capture how thought provoking I find this lecture series.

I'm puzzled by how much this man hates Wagner and the leitmotif, seeing it as creating a mode of musical interpretation that strays from the intentions of musical expression. This same man is the patron saint of "Fantasia". (Stravinsky was still alive and kicking when Disney turned his Rite of Spring into a prequel to the Land Before Time.) His body of work and his polemic ideology are hard for me to reconcile, and I'd like some help understanding. I'm worried that my confusion stems from the fact that our world has very much gone the way that was nascent at the time of the lecture, the way that Stravinsky seemed terrified would consume our musical culture. We are now a culture that accepts and even champions the musical drama and the tone poem. Perhaps I'm just so indoctrinated by this current state of cultural affairs that I resist his idea that tone poems, musical dramas, and overt musical symbolism are somehow opposed to musical expression.

Despite my confusion, there are some real gems in his lectures. Especially when he steps back from criticism and gets philosophical about the difficulties in achieving a phenomenological balance, for example regarding fantasy: "for imagination is not only the mother of caprice but the servant and handmaiden of the creative will" (63). Later, he sums up his concerns about harnessing the rapacious creative instinct, warning of the pitfalls of letting a curious mind roam free, a quote that is even more relevant in our contemporary age of information technology: "That is why I find it pointless and dangerous to over-refine techniques of discovery. A curiosity that is attracted by everything betrays a desire for quiescence in multiplicity. Now this desire can never find true nourishment in endless variety. By developing it we acquire only a false hunger, a false thirst: they are false, in fact, because nothing can slake them. How much more natural and more salutary it is to strive toward a single, limited reality than towards endless division!" If only Stravinsky could have been more influential in holding back the cultural forces that have led us to our kaleidoscopic, schizoid pop cultural landscape.

These are Stravinsky's Eliot Norton Poetry lectures at Harvard from the 1930s.

For someone who is so modern, he astonishingly has a profound understanding of the music of the past. In particular, he shows a great appreciation for the works of Brahms and the Romantics. However, he holds a strong aversion to Wagner.

Stravinsky is fiercely opinionated, yet everything he says sounds eminently reasonable. His lectures are presented with remarkable brevity and clarity, allowing the audience to easily grasp his ideas.

It is truly fascinating to listen to the perspective of an artist like Stravinsky on his own field. His insights offer a unique and valuable window into the world of music, both past and present.

These lectures not only provide a wealth of knowledge about music but also offer a glimpse into the mind of one of the most influential composers of the 20th century.

Overall, Stravinsky's Eliot Norton Poetry lectures are a must-read for anyone interested in music, art, or the creative process.

I really enjoyed the long stretches he spent just shitting on Wagner.

It was quite entertaining to see how he would go on and on about his negative views of Wagner.

It seems that Wagner has been really quiet since this book dropped.

Maybe he is feeling the impact of the criticism or perhaps he is just keeping a low profile for the time being.

Either way, it's interesting to observe the reaction and the subsequent silence from Wagner.

It makes one wonder what will happen next and if Wagner will respond in any way.

Only time will tell, but for now, the focus remains on the author's scathing remarks about Wagner.

Stravinsky represents another high point of creativity for me.

His works are truly remarkable and have had a profound impact on the world of music. After listening to his "Rite of Spring", it is impossible not to be in awe of his genius. The piece is a masterpiece that showcases his unique style and innovative approach to composition.

You should also give his violin concerto and ballet "Agon" a listen. These works are equally impressive and demonstrate his versatility as a composer.

Stravinsky was one of those rare, protean spirits that comes along only once or twice a century. His ability to continuously push the boundaries of music and explore new ideas is truly inspiring.

His music will continue to be studied and enjoyed for generations to come, and his legacy will always be remembered as one of the greatest in the history of music.

Stravinsky's lecture at Harvard was excellent, albeit short. He was always an articulate speaker, and it was fascinating to hear about his compositional approach, which had changed significantly over the years. He shared his thoughts on the motivation behind his constant exploration of music, as well as his views on the past, present, and future of music. Stravinsky was one of the few composers who had a deep respect for the music of the past while also being firmly committed to pushing music forward. It is interesting to compare his thoughts with those of his contemporaries, such as Shoenberg, and the later generation of experimental musicians in the 50s. Additionally, the reemergence in the 60s/70s of more secular-influenced composers like Arvo Part, Gorecki, and John Tavener provides another perspective for comparison. Overall, Stravinsky's lecture offers valuable insights into his creative process and his place in the history of music.

Wildly poetic, in a sense that is still understandable.

It's truly a remarkable piece of writing that manages to be both highly imaginative and yet accessible.

However, I did have to Google certain words to know for sure I understood the meaning of the sentence.

This shows that while the language is rich and evocative, there are some terms that might be a bit unfamiliar to the average reader.

Nevertheless, it didn't detract from the overall enjoyment of the text.

I read it in one day by the pool at the hotel on Mallorca.

The beautiful setting of the poolside added to the charm of the reading experience.

The warm sun, the gentle breeze, and the sound of the water made it the perfect backdrop for getting lost in the pages of this poetic work.

It was a truly relaxing and enjoyable day spent with this wonderful piece of literature.

A Glimpse into the Mind of a Great Creator

This piece offers a fascinating look into the inner workings of a truly remarkable creator. It seems that his lectures hold a wealth of inspiration for creative minds of all kinds. For the most part, it makes for a wonderful read, captivating the reader and offering valuable insights. However, it should be noted that the last three lectures do require a bit more than just a basic knowledge of music. Those with a deeper understanding of the subject will likely get even more out of these final sections. Overall, it is a thought-provoking and engaging exploration of the creative process, one that is sure to leave a lasting impression on anyone interested in the world of art and innovation.

Music has always been a fascinating subject that has the power to shape our emotions and perspectives. It is in the realm of musical theory that we begin to understand the fundamental principles and structures that underlie different musical compositions. However, as we delve deeper into the world of music, we also encounter the enchanting realm of Romanticism. This is where the boundaries of musical theory seem to fade away, and a new world of passion, imagination, and individuality unfolds. The construction of my views on where musical theory ends and Romanticism begins has been a journey of exploration and discovery. Through listening to a wide variety of musical works and studying the historical and cultural contexts in which they were created, I have come to appreciate the unique魅力 and significance of both musical theory and Romanticism.