Processos identitários na relação de Stravinsky com a música popular americana.

Considering especially Stravinsky's borrowings of American popular music during his Neoclassical period, this article presents reflections on processes from which the modernist identity of Stravinsky may have been articulated. At times, Stravinsky establishes situational alliances that occur through the reinterpretation of the music of the past and, in other some circumstances, associates his Neoclassical aesthetics with popular music. The present text seeks to discuss Stravinsky's approach to the concept of composing works based on the "American popular" idea, noting that such borrowings shows that Stravinsky did not turn himself exclusively to the classical music tradition during his Neoclassical moment, but also to the sounds and inventiveness of his time. [ABSTRACT FROM AUTHOR]