| This thesis focuses on the forms of polyphonic thinking about the works of Stravinsky that he composed during three different periods of composing, and the art phenomenon reflected in the developing and changing. It aims at an objective, all-round summary and categorization of some works composed by him. From the perspective of music writing practices, it demonstrates how polyphonic thoughts have, during the development of contemporary music, facilitated innovations and breakthroughs in composition skills.The thesis consists of five parts:Introduction, Chapter 1, Chapter 2, Chapter 3 and Conclusion.The Introduction gives a general over-view of polyphonic thinking pattern shifts in music writings of different historical periods, as well as a review about the domestic existing research production of similar research direction.The body of the paper is composed of Chapter 1, Chapter 2 and Chapter 3. Chapter 1 summarizes the biography of Stravinsky, and the roles of polyphonic thinking in the history of Western modern music. Chapter 2 analyzes and sums up five pieces of work composed by Stravinky. Chapter 3 makes a systematic and profound study and analysis of polyphonic skills, as like rhythm, meter, tonality, tone, tension and so on in his works, hoping to identify the academic significance of polyphonic thinking as well as their directive functions in music writing practices.Finally, based on a review of polyphonic thinking in the works of Stravinsky and its manifestations in the three periods of composing, the paper concludes that polyphonic thinking, with its diversified manifestations, has played a significant role in the creation process of contemporary music. It is hoped that the research question may attract attention of experts and scholars in the field and joint efforts may be made in this respect so as to promote the sound development of Chinese contemporary music creations and theoretical studies. |
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