خصائص استخدام ايغور سترافينسكي لتقنية الدوديكافونية في مراثي النبي ارميا (Threni)

Characteristics of Igor Stravinsky's Use of the Dodecafone Technique in the Lamentations of the Prophet Jeremiah (Threni)

This research explores the use of dodecaphony in the composition of the Russian composer Igor Stravinsky`s “Threni”, concentrating on the vocal parts of the musical texture, which reflect the general technical aspects of the composer’s use of dodecaphony. The research aims at determining the particularities that distinguish Stravinsky’s use of the mentioned technique during the dodecaphonic period of his life. The research comes to the conclusion that Stravinsky uses the four main forms of the row worked out by Schönberg. However, Stravinsky, unlike Schönberg, limits himself to using only a number of their transpositions, mainly those situated as a triton, as well as a perfect fourth and fifth from the prime row. He also uses various unorthodox techniques (rotation, mutation, permutation etc.) to create new forms from the prime row, which play a fundamental structural role in the forming of the musical texture and are an essential component of Stravinsky’s Musical style and language