Soon after Debussy's death in March 2018, Stravinsky began work on a memorial, the Symphonies d'instruments à vent (1920). This piece was to become iconic both for music-theoretical reflection on modern approaches to musical time and for musicological archaeologies of Stravinsky's debts to ‘Russian traditions’. Along both avenues, particular emphasis has long been given to the work's closing chorale, initially published separately in the 1920 Debussy tombeau issue of La Revue musicale.This article argues for a radical reappraisal of the Symphonies, which builds anew on Stephen Walsh's 1996 study of the sketches and shifts the emphasis onto temporal questions long neglected under pitch-focused analysis. Exposing ‘thematic’ concerns of rhythmic and metrical parsing (as distinct from unifying motives or pitch sets), and interpreting Stravinsky's hommage in light of Debussy's famous 1907 definition of music as ‘de couleurs et de temps rythmés’, I ultimately bring fresh metacritical perspective to fundamental questions of analytical method and purpose long entertained (e.g.) by Joseph Kerman, Carl Dahlhaus, Kofi Agawu, and Robert Walser.

中文翻译：

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分析，que me veux-tu？解读斯特拉文斯基的德彪西纪念碑

德彪西于 2018 年 3 月去世后不久，斯特拉文斯基开始建造一座纪念碑，Symphonies d'instruments à 发泄（1920）。这件作品无论是对现代音乐时间方法的音乐理论反思，还是斯特拉文斯基对“俄罗斯传统”的债务的音乐考古学，都将成为标志性的作品。在这两个方面，长期以来一直特别强调这部作品的闭幕合唱，最初分别发表于 1920 年的德彪西通博问题在于歌舞剧. 本文主张对交响曲，它重新建立在斯蒂芬沃尔什 1996 年对草图的研究的基础上，并将重点转移到在以音高为重点的分析中长期被忽视的时间问题上。揭示节奏和韵律分析的“主题”关注点（不同于统一的动机或音调），并解释斯特拉文斯基的致敬根据德彪西 1907 年著名的音乐定义为“de couleurs et de temps rythmés'，我最终为 Joseph Kerman、Carl Dahlhaus、Kofi Agawu 和 Robert Walser 长期以来（例如）提出的分析方法和目的的基本问题带来了新的元批判视角。