"An excellent collection of essays, which makes an important contribution to the understanding of that perennially seminal focus for twentieth-century music studies, Igor Stravinsky." (John Rahn, editor of Perspectives on Musical Aesthetics). Igor Stravinsky left behind masterpieces in every major genre and worked in each of the most significant compositional styles of the twentieth century. His output was staggering, his innovations far-reaching and sometimes scandalous. Stravinsky Retrospectives puts the diverse achievements of this protean composer into critical and historical perspective. The contributors provide a variety of perspectives on Stravinsky's work and career. Richard Taruskin examines Stravinsky's use of text, its relation to Russian folk music, and its consequences for his rhythmic practice. Milton Babbitt vastly extends our knowledge of Stravinsky's twelve-tone procedures. Paul Johnson, Ethan Haimo, and Joseph Straus all examine Stravinsky's neoclassical works. Claudio Spies looks at the early Russian influences on Stravinsky, and William Austin provides a nuanced analysis of Stravinsky's historical importance and of recent research on his many compositions. The editors, Ethan Haimo and Paul Johnson, are professors of music at Notre Dame University. The remaining five contributors are professors of music at other distinguished institutions: Milton Babbit and Claudio Spies at Princeton University; Richard Taruskin at the University of California-Berkeley; Joseph Straus at CUNY Queens College; and William Austin at Cornell University.