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'''Inguarus Theodori filius Stravinskij'''<ref>Gens ''Strawiński'' originem [[Polonia|Polonicam]] habet [http://www.rosjapl.info/muzyka/strawinski.php] [http://www.biografija.ru/show_bio.aspx?id=121651]</ref> ([[Russice]] Игорь Фёдорович Стравинский, [[translitteratio|tr.]] ''Igor' Fëdorovič Stravinskij''; natus die [[17 Iunii]] [[1882]]; die [[6 Aprilis]] [[1971]] mortuus) fuit [[compositor]], syntonarius,{{dubsig}} ac [[clavicen]] [[Russia|Russicus]], a pluribus hominibus [[musica]]e peritis in [[cultura Occidentalis|civitatibus occidentalibus]] atque in sua patria potentissimus [[saeculum 20|saeculi vicensimi]] compositor habitus.<ref>Anonymous 1940; Cohen 2004:30; Page 2006; Robinson 2004; Théodore et Denise Strawinsky 2004:166.</ref> Penitus cosmopolitus, nominatus est a ''[[Time]],'' libello nuntiorum hebdomadale, unus ex [[centum]] potentissimorum saeculi hominum.<ref>Glass 1998[http://web.archive.org/web/20000601005316/http://www.time.com/time/time100/artists/profile/stravinsky.html ''TIME 100: Igor Stravinsky'' apud www.time.com].</ref> Praeter quam quod is pro suis compositionibus immortalitatem accepit, adsecutus est laudem [[clavilista]] et [[conductor]], saepe in primis suorum operum exsecutionibus.
 
[[Vita]] musica Stravinskiana notabilis fuit ob varietatem generum. Primum innotuit ob tres [[balleta]]s ab ''impresario'' [[Sergius Diaghilev|Sergio Diaghilev]] [[mandatum (ats)|mandatas]] et a [[Ballets Russes]] ('Balletis Russicis') Diaghilevianis actas: ''[[L'Oiseau de feu]]'' (1910), ''[[Petrushka (balleta)|Petrushka]]'' (1911), et ''[[Le sacre du printemps]]'' (1913).<!-- The ''Rite'', whose premiere provoked a riot, transformed the way in which subsequent composers thought about rhythmic structure; to this day its vision of pagan rituals, enacted in an imaginary ancient Russia continues to dazzle and overwhelm audiences. --> Post primam aetatem Russicam, annis [[1920]] ad [[neoclassicismus (musica)|neoclassicismum]] animadvertit. Opera illiushuius aetatis antiquisveteribus formis musicis ([[concertus grossus|concerto grosso]], [[fuga]], [[symphonia]]) uti solebant, quae, acrumacrem [[animi motus|animi motum]] sub [[superficies|superficie]] remota vel austera celantes, confectiones hominum musicae peritorum saepe agnoverunt, exempli gratia [[Iohannes Sebastianus Bach|Ioannis Sebastiani Bach]], [[Iosephus Verdi|Iosephi Verdi]], et [[Petrus Čajkovskij|Petri Čajkovskij]].
 
Annis [[1950]], rationes [[Serialismus|seriales]] accessit.<!-- using the new techniques over the final twenty years of his life to write works that were briefer and of greater rhythmic, harmonic, and textural complexity than his earlier music. Their intricacy notwithstanding, these pieces share traits with all of Stravinsky's earlier output; rhythmic energy, the construction of extended melodic ideas out of a few cells comprising only two or three notes, and clarity of form, instrumentation, and of utterance.