· Higher use of dissonance, with themes often taken from folk music

· Varied rhythms with extensive use of percussive elements in all instruments

· Tonally, he basically uses diatonic materials including modes and continued use of ostinato

· Expanded virtuosity of orchestral members, utilizing solo instrumental writing (often in extreme ranges)

· Rite of Spring Real Audio for Emory Student Only

o Suites Nos. 1 and 2 for Small Orchestra (1915)

· Economical use of material with smaller instrumental forces; often employs satirical wit

· Uses "absolute" classical and baroque form: song forms, sonata forms, fugues, suites, concerto grosso, and canons

· Emphasis on wind instruments with limited use of strings

· Primary concern for clear, concise organization

· Very little chromaticism -- sometimes "pandiatonicism"

· Transparent textures replace lush, instrumental combinations

· Symphony in Three Movements (1945)

· The Flood (1961-62) dance-drama for television

The son of a leading bass at the Mariinsky Theatre in St. Petersburg, he studied with Rimsky-Korsakov, who was an influence on his early music, though so were Tchaikovsky, Borodin, Glazunov and Debussy and Dukas. This colorful mixture of sources lies behind The Firebird commissioned by Dyagilev for his Ballets Russes. Stravinsky went with the company to Paris in 1910 and spent much of his time in France from then onwards, continuing his association with Dyagilev in Petrushka and The Rite of Spring.

Some topics in this essay:
Rite Spring, Rake's Progress, Neo-classic Period, Ballets Russes, Piano Concerto, Neoclassical Print, Spring Stravinsky, Les Noces, Wind Instruments, Venice Diaghilev's, rite spring, ballets russes, wind instruments, russian folk, print section, petrushka 1911, world war, les noces, firebird 1910, · symphony, rite spring 1913, 1910 petrushka 1911, symphony movements 1945, petrushka 1911 rite, 1911 rite spring,