As pompous as Oscar Wilde's witticisms and as convoluted as polisci readings at times, Stravinsky presents some truly great points. However, often there is not enough explanation or examples provided for me to fully understand them. There could be more coherence at times, and perhaps a reordering of the lessons could be beneficial. For instance, I thought his point of view on the evolution of Russian music would have benefited from being presented sooner rather than later. Lol, boy does he not like Wagner!

Stravinsky's ideas are like a complex puzzle that requires careful examination. While his insights are profound, the lack of clear explanations can make it difficult for the reader to piece everything together. A more logical arrangement of the lessons might help to improve the overall coherence and make it easier for the reader to follow his train of thought. Additionally, his strong dislike for Wagner adds an interesting dimension to his writing, but it also makes one wonder what exactly led to such a vehement opinion.

Despite these drawbacks, there is no denying the value of Stravinsky's work. His ideas have had a significant impact on the world of music and continue to be studied and debated today. By taking the time to carefully analyze and understand his writing, we can gain a deeper appreciation for his unique perspective and the contributions he has made to the field.

These Norton Lectures were delivered precisely as World War II was commencing.

Even without directly referring to that conflict, they stood firm for civilization and its rich traditions, while others seemed to be causing it to deteriorate.

Admittedly, they were not exactly intended for the novice, which is the category that I happen to fit into.

Nevertheless, I still found great enjoyment in the cadence of his words and thoughts.

The rhythm and flow of his language had a certain charm that drew me in, despite my lack of in-depth knowledge in the subject matter.

It was as if his words were a melody that played in my mind, captivating my attention and making me eager to listen further.

Even though I may not have fully grasped every concept, the overall experience of listening to these lectures was a rewarding one.

It made me realize the importance of preserving and celebrating our civilization's traditions, especially during times of turmoil and uncertainty.

Perhaps in the future, as I gain more knowledge and understanding, I will be able to appreciate these lectures even more fully.

The clearest definition of artist pursuit I have ever read is one that truly encapsulates the essence and passion that drives an artist.

An artist's pursuit is not simply about creating beautiful or thought-provoking works. It is a deep-seated longing to express the intangible, to give form to emotions, ideas, and experiences that words alone cannot fully convey.

It is a journey of self-discovery and exploration, where the artist delves into the recesses of their own being to find inspiration and meaning.

It is a commitment to excellence, a tireless effort to refine one's skills and techniques in order to bring the vision to life with the utmost authenticity and impact.

It is also a connection to the world around us, a way of observing, interpreting, and responding to the beauty, the pain, and the complexity of the human experience.

In short, an artist's pursuit is a unique and profound calling that shapes not only the works they create but also the person they become.

I rate this book a 3.5 on a scale of 1 to 5, with 5 being best. It's not a perfect read, but it does have its merits. The author presents some interesting ideas and perspectives that make you think.

As someone once said, writing about music is like dancing about architecture. It's a difficult task, but if anyone can do it, Stravinsky is the one. His insights into music are both profound and thought-provoking.

"The function of tonality is completely subordinated to the force of attraction of the pole of sonority. All music is nothing more than a succession of impulses that converge towards a definite point of repose." This quote really stuck with me. It made me look at music in a whole new way.

"Well in art as in everything else, one can build only upon a resisting foundation: whatever constantly gives way to pressure, constantly renders movement impossible. My freedom thus consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings." This is such a powerful statement. It reminds us that in order to create something truly great, we need to have limitations and boundaries.

This book is a collection of Igor Stravinsky's speeches at the Arts and Literature Stadium regarding the poetics of music or the structure of music.

Although in the preface, Stravinsky claims that all his talks are the result of research and without personal bias, in fact, all his words are his personal opinions and have a certain direction. Of course, this does not reduce the value of the book at all, but still, what the author claimed was not the case, and it is necessary to listen to opposing views and conduct research on them.

Unfortunately, I read the book at a time when I did not have access to the Internet and could not examine many of its aspects more accurately by myself. I will definitely return to it later.

In general, Stravinsky emphasizes the active role of the musician in the composition of music, and creativity and innovation alone are not enough. On the other hand, he believes that unlimited freedom and meaningless and even destructive restraint are not good, and music should be created within a specific framework, otherwise, the result will be worthless.

Regarding the role of the performer, it is also said that the performer should be both an executor and an interpreter of the piece. He must be exactly familiar with the correct way of performing the piece, the atmosphere and the style of the period in which the music was created, and finally, perform the piece itself without flaws (!).

I think this book will be an interesting one for music lovers! :)

Even among the great lecturers of classical music, such as Bernstein and Toscanini, there is no one who is as purely confessional and personal as Stravinsky.

What begins as a series of lectures on rather typical musical semantics, seen through the perspective of one of the most significant musical figures in history, evolves into something far more profound.

Stravinsky's lecture on the place of God and faith in music is truly remarkable. Even as a non-religious individual, I discovered it to be deeply enlightening.

His insights into how religious themes and beliefs can be expressed and incorporated into music offer a unique and thought-provoking perspective.

It makes one reflect on the power of music to convey emotions and ideas that go beyond the realm of the purely musical.

Stravinsky's ability to share his personal thoughts and experiences in such a candid and engaging way is what sets his lectures apart and makes them a must-read for anyone interested in music and its relationship to the human spirit.

Stravinsky is not a poet, philosopher, or speaker.

Even when we view this collection of lectures from that perspective, Stravinsky fails to present a compelling or unified argument for himself.

The majority of these essays are highly opinionated and extremely musically conservative. This is rather ironic considering his status as a rebel in the canon of classical music.

As absurd and self-flattering as Stravinsky appears in this text, his viewpoint is at least historically significant, particularly in the last chapter.

Here, he formulated the basis of contemporary performance practice and established a foundation upon which contemporary classical music exists.

Overall, although this book is important, it is a very frustrating read. I simply could not get through it without constantly detecting flaws.

It seems that Stravinsky's ideas, while having some historical value, are presented in a way that makes it difficult for the reader to fully engage and appreciate.

Perhaps a more objective and balanced approach would have made this book a more enjoyable and enlightening read.

If you love to "think music", then this article is for you.

Music has the power to touch our souls,激发 our emotions, and transport us to different worlds. It is not just a form of entertainment but a language that can communicate complex ideas and feelings.

When we "think music", we engage with it on a deeper level, analyzing its structure, melody, harmony, and rhythm. We try to understand how these elements work together to create a unique musical experience.

By thinking about music, we can also gain a better appreciation for the art form and the hard work that goes into creating it. We can learn about different musical styles and genres, and explore the works of different composers and musicians.

So, the next time you listen to music, take a moment to "think music". Let your mind wander and explore the beauty and complexity of this wonderful art form.

Igor Stravinsky's Norton lectures at Harvard from 1939 - 40 were of great significance.

During this time, as the European conflict was on the verge of shattering the classical system in various aspects such as composition, conducting, performing, and typology, Stravinsky himself was about to embark on a long process of unravelling his own ideas.

This was to accommodate the new information emerging from Schoenberg, Boulez, and the Americans Cage and Cunningham.

Stravinsky's last "Lesson" on the performance of music serves as a powerful apology for music as a fine art.

He believed it should be entrusted to an elite who are trained to embody composition as the "will to expression."

Stravinsky's kind of music, the composer of Le Sacre du Printemps, was quite interesting in his antipathy to the word "modern."

His music did not run parallel to "ontological time" but rather ahead of it, "dislocating the centers of attraction and gravity and setting itself up in the unstable."

This characteristic made it highly adaptable to the translation of the composer's emotive impulses.

Balanchine felt that Stravinsky was "an architect of time," and his music was like "a dancer's floor" which was the reason for movement.

However, Cunningham, who was not swayed by the subjection of ontology to architecture, thought the floor was just the floor.

In a performance, there was a literal time dance shared with music, and that was all they needed to share.

But for Stravinsky, coming out of a revolutionary period where program music had been co-opted through Soviet social realism, too much was at stake to also repudiate the theatrical space of the dance, as the will to express was the ontological basis for a "potential music."

In his preface to this collection of lectures, Darius Milhaud makes a profound comment. He says, "Poetics of music is like a searchlight turned by Stravinsky on his own work on one hand, and on music in general on the other."

This comment serves as an excellent introduction to this short yet impactful book. Given as part of the Charles Eliot Norton lectures, these compact essays offer a fascinating insight into the mind of one of the greatest composers of the twentieth century.

Half of the book is dedicated to music in general. It delves deep into the phenomenon of music, exploring its composition, the diverse types of music, and various aspects of musical style. Stravinsky's argument regarding critics who overlook his own music is particularly interesting. He looks back at earlier composers such as Bach and Beethoven, who also endured similar disregard before ultimately being recognized as great masters.

Furthermore, the commentary includes a more specific examination of Russian music in particular and a thought-provoking discussion on the interpretation of music. These lectures by a great Russian master, whose own style evolved significantly over his lifetime, make for captivating reading for all those who have a passion for music.

It offers a unique perspective and a wealth of knowledge that enriches our understanding and appreciation of the world of music.

I truly relished this exploration into the composer himself.

His robust perspectives on what music is and isn't were fascinating. The role of criticism and audience opinions in determining the value of a work, his assertion that freedom emerges within limitations, his perceptive comments about what a culture is, and his rather amusing yet captivating takes on other composers all added depth to this work.

At times, it wasn't completely lucid what he was attempting to convey, and numerous aspects could have benefited from more detailed elaboration than this concise book provided. Some elements even seemed outright contradictory. For example, his stance that music should solely strive to be music and never endeavor to be something else, like a tone poem that tells a story, while he has no qualms with Opera or Ballet. The demarcation here wasn't clear to me.

Nonetheless, despite these minor drawbacks, I regarded this as an excellent little book, and I will most definitely revisit it in the future.

In this series of lectures, Stravinsky delves into various aspects of the artistic process.

He shares his insights on classical music and the rich traditions of Russian music.

Moreover, he elaborates on how music should be performed.

Initially, I was rather astonished by Stravinsky's conservative viewpoints regarding the construction of music.

However, upon reflecting on his music itself, it began to make more sense.

Specifically, I was intrigued by his exploration of the concept of creativity.

He emphasizes the importance of having a purpose while moving forward, even without a preconceived plan.

Furthermore, he takes some rather pointed jabs at Beethoven and John Cage, as well as other indeterminists.

This adds a touch of a snarky tone to his otherwise serious pursuits.

Overall, these lectures offer a fascinating glimpse into Stravinsky's musical mind and his unique perspective on the world of music.