Helen Sills is an independent scholar and professional musician. She studied at The Royal College of Music and the Universities of Nottingham and Birmingham, gaining her Ph.D in the music of Stravinsky in 1992. As a member of the International Society for the Study of Time she has published several papers on music and time.

• AcknowledgementsList of Tables and IllustrationsNotes on Previously Published MaterialPrologue1 The Stravinsky Legacy?1 ‘Time’ for a New Legacy?2 Being and Time: A Nightingale Sings …1 Stravinsky’s Spirituality …2 … and Musical Inheritance3 Temporality in Znamenny Chant4 Resonance5 Le Rossignol (1908–14)3 From Now to Eternity1 Petrushka (1911)2 Zvezdoliki (1911)2.1 Stravinsky and the Old Believers2.2 Time Qualities in Zvezdoliki4 A Russian Spring1 Time as a Mental Construct2 The Rite of Spring3 Time Qualities in The Rite of Spring5 A Japanese Spring6 Heaven and Earth1 The 025 Motif and Changing Time Qualities7 New Patterns for Old1 Cortical Patterning2 Three Pieces for String Quartet (1914)3 Chant Dissident (1919)4 Pulcinella (1919–20)5 Symphonies of Wind Instruments (1920) and Cubism6 Symphonies of Wind Instruments (1920): Temporal Form7 Time and Form: Jacques Maritain8 Time for Pushkin9 The Object Is Time1 Mental Imaging2 Octet (1923)3 Oedipus Rex (1926)4 Apollo (1928)5 Lourié’s Understanding of Stravinsky10 A Journey to Hyperspace1 1st Movement2 2nd Movement3 3rd Movement4 Music as a Higher Brain Function11 Faith Matters1 Pater Noster (1926)2 Russian Credo (1932)3 Ave Maria (1934)4 Tests of Faith5 Perséphone (1933)6 Darker Times7 Babel (1944)8 Mass (1944–48)8.1 Kyrie8.2 Gloria8.3 Credo8.4 Sanctus8.5 Agnus Dei9 The Poetics of Stravinsky and Maritain12 A Matter of Time13 Stravinsky, Schoenberg and God1 Belief in Divine Authority2 Belief in the Hebrew God3 Belief in Biblical Mythology4 Belief in Catholic Culture5 Devotion to the Word6 Synthesis14 New Wine1 Cantata (1952)2 Stravinsky, Webern and God3 Canticum Sacrum (1955)4 Threni (1958)4.1 De Elegia Prima4.2 De Elegia Tertia4.3 De Elegia Quinta15 Late Harvest1 A Sermon, A Narrative and A Prayer (1961)1.1 A Sermon1.2 A Narrative1.3 A Prayer2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)3 The Flood (1962)4 Abraham and Isaac (1962–3)5 Requiem Canticles (1966)5.1 Prelude5.2 Exaudi5.3 Dies Irae5.4 Tuba Mirum5.5 Interlude5.6 Rex Tremendae5.7 Lacrimosa5.8 Libera Me5.9 PostludeEpilogueAppendix 1 Victor Ivanovitch Nesmelov: The Science of ManAppendix 2 Gisèle BreletBibliographyIndex

Helen Sills is an independent scholar and professional musician. She studied at The Royal College of Music and the Universities of Nottingham and Birmingham, gaining her Ph.D in the music of Stravinsky in 1992. As a member of the International Society for the Study of Time she has published several papers on music and time.

• AcknowledgementsList of Tables and IllustrationsNotes on Previously Published MaterialPrologue1 The Stravinsky Legacy?1 ‘Time’ for a New Legacy?2 Being and Time: A Nightingale Sings …1 Stravinsky’s Spirituality …2 … and Musical Inheritance3 Temporality in Znamenny Chant4 Resonance5 Le Rossignol (1908–14)3 From Now to Eternity1 Petrushka (1911)2 Zvezdoliki (1911)2.1 Stravinsky and the Old Believers2.2 Time Qualities in Zvezdoliki4 A Russian Spring1 Time as a Mental Construct2 The Rite of Spring3 Time Qualities in The Rite of Spring5 A Japanese Spring6 Heaven and Earth1 The 025 Motif and Changing Time Qualities7 New Patterns for Old1 Cortical Patterning2 Three Pieces for String Quartet (1914)3 Chant Dissident (1919)4 Pulcinella (1919–20)5 Symphonies of Wind Instruments (1920) and Cubism6 Symphonies of Wind Instruments (1920): Temporal Form7 Time and Form: Jacques Maritain8 Time for Pushkin9 The Object Is Time1 Mental Imaging2 Octet (1923)3 Oedipus Rex (1926)4 Apollo (1928)5 Lourié’s Understanding of Stravinsky10 A Journey to Hyperspace1 1st Movement2 2nd Movement3 3rd Movement4 Music as a Higher Brain Function11 Faith Matters1 Pater Noster (1926)2 Russian Credo (1932)3 Ave Maria (1934)4 Tests of Faith5 Perséphone (1933)6 Darker Times7 Babel (1944)8 Mass (1944–48)8.1 Kyrie8.2 Gloria8.3 Credo8.4 Sanctus8.5 Agnus Dei9 The Poetics of Stravinsky and Maritain12 A Matter of Time13 Stravinsky, Schoenberg and God1 Belief in Divine Authority2 Belief in the Hebrew God3 Belief in Biblical Mythology4 Belief in Catholic Culture5 Devotion to the Word6 Synthesis14 New Wine1 Cantata (1952)2 Stravinsky, Webern and God3 Canticum Sacrum (1955)4 Threni (1958)4.1 De Elegia Prima4.2 De Elegia Tertia4.3 De Elegia Quinta15 Late Harvest1 A Sermon, A Narrative and A Prayer (1961)1.1 A Sermon1.2 A Narrative1.3 A Prayer2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)3 The Flood (1962)4 Abraham and Isaac (1962–3)5 Requiem Canticles (1966)5.1 Prelude5.2 Exaudi5.3 Dies Irae5.4 Tuba Mirum5.5 Interlude5.6 Rex Tremendae5.7 Lacrimosa5.8 Libera Me5.9 PostludeEpilogueAppendix 1 Victor Ivanovitch Nesmelov: The Science of ManAppendix 2 Gisèle BreletBibliographyIndex

Helen Sills is an independent scholar and professional musician. She studied at The Royal College of Music and the Universities of Nottingham and Birmingham, gaining her Ph.D in the music of Stravinsky in 1992. As a member of the International Society for the Study of Time she has published several papers on music and time.

• AcknowledgementsList of Tables and IllustrationsNotes on Previously Published MaterialPrologue1 The Stravinsky Legacy?1 ‘Time’ for a New Legacy?2 Being and Time: A Nightingale Sings …1 Stravinsky’s Spirituality …2 … and Musical Inheritance3 Temporality in Znamenny Chant4 Resonance5 Le Rossignol (1908–14)3 From Now to Eternity1 Petrushka (1911)2 Zvezdoliki (1911)2.1 Stravinsky and the Old Believers2.2 Time Qualities in Zvezdoliki4 A Russian Spring1 Time as a Mental Construct2 The Rite of Spring3 Time Qualities in The Rite of Spring5 A Japanese Spring6 Heaven and Earth1 The 025 Motif and Changing Time Qualities7 New Patterns for Old1 Cortical Patterning2 Three Pieces for String Quartet (1914)3 Chant Dissident (1919)4 Pulcinella (1919–20)5 Symphonies of Wind Instruments (1920) and Cubism6 Symphonies of Wind Instruments (1920): Temporal Form7 Time and Form: Jacques Maritain8 Time for Pushkin9 The Object Is Time1 Mental Imaging2 Octet (1923)3 Oedipus Rex (1926)4 Apollo (1928)5 Lourié’s Understanding of Stravinsky10 A Journey to Hyperspace1 1st Movement2 2nd Movement3 3rd Movement4 Music as a Higher Brain Function11 Faith Matters1 Pater Noster (1926)2 Russian Credo (1932)3 Ave Maria (1934)4 Tests of Faith5 Perséphone (1933)6 Darker Times7 Babel (1944)8 Mass (1944–48)8.1 Kyrie8.2 Gloria8.3 Credo8.4 Sanctus8.5 Agnus Dei9 The Poetics of Stravinsky and Maritain12 A Matter of Time13 Stravinsky, Schoenberg and God1 Belief in Divine Authority2 Belief in the Hebrew God3 Belief in Biblical Mythology4 Belief in Catholic Culture5 Devotion to the Word6 Synthesis14 New Wine1 Cantata (1952)2 Stravinsky, Webern and God3 Canticum Sacrum (1955)4 Threni (1958)4.1 De Elegia Prima4.2 De Elegia Tertia4.3 De Elegia Quinta15 Late Harvest1 A Sermon, A Narrative and A Prayer (1961)1.1 A Sermon1.2 A Narrative1.3 A Prayer2 Two Bible Stories: The Flood (1962) and Abraham and Isaac (1963)3 The Flood (1962)4 Abraham and Isaac (1962–3)5 Requiem Canticles (1966)5.1 Prelude5.2 Exaudi5.3 Dies Irae5.4 Tuba Mirum5.5 Interlude5.6 Rex Tremendae5.7 Lacrimosa5.8 Libera Me5.9 PostludeEpilogueAppendix 1 Victor Ivanovitch Nesmelov: The Science of ManAppendix 2 Gisèle BreletBibliographyIndex