Toward a Theory of Formal Function in Stravinsky’s Neoclassical Keyboard Works

Form in Stravinsky’s music continues to be a topic of great interest and varied approaches, including blocks, stratification, juxtaposition, and displacement. This document provides another approach based heavily on the models proposed by William E. Caplin in his Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven. The study focuses on three piano works from Stravinsky’s early Neoclassical period. The document begins with a review of how other analysts have approached form in Stravinsky’s music, followed by on overview of how Caplin’s theory has been applied to works by other composers. Next, since Caplin relies heavily on cadential harmonic progressions of the common-practice period, I propose alternative parameters to define relative conclusions in music, such as motive, rhythm, and counterpoint. Armed with these new cadential constructs, called endings, I identify constituent Caplinian functions (presentations, antecedents, continuations, etc.) which can then be used to construct theme-types, which in turn function as constituent types for larger forms. I also categorize several loosening agents that Stravinsky uses to deviate from normal, balanced theme-types. The final chapter summarizes the research, applies the theory to other works by Stravinsky and other composers, and proposes topics for future analysis