Abstract EN:

Rather than a division of the composer's work into different periods, the purpose is to identify some of the fundamental elements bringing together the musical pieces, and to get to the root of what is specific about the sound of Stravinsky's music. The chosen framework is that of the vocal music. Which accounts for the study of some aspects of the relationship between music and text. After defining the main values of the word for the composer, the question of the translations is studied through an extract from ramuz's archives (an excerpt from the text of noces) and a brief escerpt from renard. In taking up the word as basic material, the detailed analysis of the hebrew work (abraham and isaac has lead, thanks to a sketch document from the paul sacher fundation, to a definition of what it means for Stravinsky closely to follow a language stress pattern. The analysis was then extended to the english works elegy for j. F. K. And "musick to heare" (three songs from william shakespeare). Finally, this research into sound consistency in Stravinsky's work involves looking into the specificity and the quality of the sound. The initial "attack" of the sound - of the syllable - itself is illustrated through a rehearsal of Stravinsky with c. Berberian. This makes up a chapter centered on spectrographic analyses. A comparison from anacoustic point of view between extracts from threni and from noces provides a logical acoustic explanation to the specific sound and tone qualities of Stravinsky's music.