Abstract

Stravinsky’s aim of coordinating man and time through music is explored in the context of changes in our understanding of time at the turn of the twentieth century. His growing expertise in the construction of temporalities of differing quality and depth to create a vehicle for greater temporal and spiritual awareness is traced through the early works from Petrushka to Le Sacre du Printemps, and the background to their time qualities explored. At a distance of 100 years some thoughts are offered on the effect that the première of Le Sacre du Printemps had upon the audience with respect to a more particular awareness of time.