Abstract
In response to questions of interpretation of his music, Igor Stravinsky has said simply to let the notes speak for themselves. In this paper I will translate the language of Stravinsky’s music in his Three Pieces for Clarinet Solo. I will demonstrate the following: how Stravinsky was able to derive a harmonic structure out of melodic content, thereby creating a two-dimensional space; the formal structure of each of the three Pieces; and relationships between Three Pieces and another of Stravinsky’s works, L’Histoire du Soldat. This analysis will serve as my translation of Stravinsky’s musical language, which will then be compared to scholarly research conducted regarding the Three Pieces.
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