Igor Stravinsky

Record year1910–1913

summaryThe original music–dance–stage final states of three early Russian ballets; later choreography and recordings are excluded.

M rationaleTogether, the three early ballets formed a globally significant integrated expressive capacity in rhythmic organization, orchestral timbre, stage time, and dramatic tension; the family is centered at M6.4.

attribution rationaleThe individual's musical core is 0.33; Diaghilev, choreography and scenography, performance, and prehistory account for the majority.

overlap boundaryLater choreography, orchestral performances, recordings, and the reception history of The Rite of Spring are not fed back in.

Evidence gapsContracts, manuscripts, choreography, and rehearsal archives.

Record year1923–1951

summaryNeoclassical instrumental works without a stage; ballets, vocal works, operas, and serial works are excluded.

M rationaleAcross octets, concertos, and symphonic works, various non-stage ensembles continuously reorganize older forms, rhythm, and harmony, forming an important neoclassical instrumental corpus, centered at M5.8.

attribution rationaleThe author is relatively concentrated, but historical forms, performance, and commissioning account for 0.60.

overlap boundaryStage neoclassicism and subsequent performances and recordings are excluded.

Evidence gapsOfficial catalogue export and analyses of representative works.

Record year1920–1947

summaryNeoclassical ballets for which dance and theatre are necessary final states; early ballets and purely instrumental works are excluded.

M rationaleMultiple works reconstruct historical music, myth, and ballet materials into their own complete modern music–dance final states, forming a sustained neoclassical stage-work family, centered at M5.9.

attribution rationaleThe composer accounts for only 0.32; stage collaborators and the prehistory of materials cannot be subsumed.

overlap boundaryPurely instrumental versions receive only documented residual media shares; later choreographic performances are excluded.

Evidence gapsWork-by-work stage archives, score analysis, and borrowed materials.

Record year1916–1923

summarySmall-ensemble, narrative, and percussion stage final states formed under production constraints.

M rationaleThe Fox, The Soldier's Tale, The Wedding, and related works turned wartime resource constraints into mechanisms of small ensembles, narrative, percussion, and mobile theatre, forming an important hybrid-theatre family, centered at M5.7.

attribution rationaleText, stage, and performance teams account for the major part, while the individual retains 0.31.

overlap boundaryEarly grand ballets, neoclassical works, and later productions are excluded.

Evidence gapsWork-by-work texts, choreography, and premieres.

Record year1930–1948

summaryNeoclassical sacred choral and vocal works; late serial sacred works are excluded.

M rationaleSymphony of Psalms, Mass, and related works use psalms and liturgical texts, block-like vocal parts, and unusual ensembles to form a sacred vocal family viable in both liturgy and concert settings, centered at M5.5.

attribution rationaleLiturgical texts, choral traditions, and collective performance account for 0.61.

overlap boundaryThe truth-value of faith and later liturgical use are not counted; subsequent recordings are excluded.

Evidence gapsA complete catalogue, score-by-score analysis, and use in both settings.

Record year1948–1951

summaryThe music, libretto, and original production of a three-act English opera; Hogarth's images themselves are excluded.

M rationaleThe three-act English opera organizes music, libretto, characters, orchestra, singing, and staging into a complete large-scale final state that can independently fail and continue to be revived, centered at M5.5.

attribution rationaleThe libretto, visual sources, operatic prehistory, and production account for 0.66.

overlap boundaryOther stage works, general neoclassical style, and later productions are excluded.

Evidence gapsLibretto archives, score analysis, and premiere records.

Record year1952–1966

summaryIntegrates serial technique with established rhythm, sacred vocal music, and stage language; invention of serialism is excluded.

M rationaleMultiple late vocal, instrumental, and stage works integrate serial organization with his rhythm, sacred vocal music, and stage language, forming an identifiable cross-media body of integrated work, centered at M5.6; the invention of serialism is outside the scope.

attribution rationaleThe individual accounts for 0.30; Craft, predecessors of serialism, collaborators, and performance delivery account for the major shares.

overlap boundaryCounts only the final states of new works; general serialism and Craft's independent work are excluded.

Evidence gapsManuscripts, correspondence, rehearsals, and the formation process of each work.