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 performan
