Per Dahl 
Modes of Communication in Stravinsky s Works 
Sign and Expression

Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky’s heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky s music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden’s triangle, Dahl presents an empirical investigation of Stravinsky’s vocabulary of signs and expressions in his published scores – his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer s different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky s performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.