Igor Stravinsky's neoclassical works have frequently been discussed for their relation to earlier musical styles. While a number of scholars, employing a wide variety of analytical approaches, have examined this aspect of Stravinsky's neoclassical works, only a few have used topic theory to explore the composer's link with music of the past. However, since topic theory is a tool that has most commonly been used to discuss tonal repertoires, some adjustments have to be made when considering non-tonal music. One of the more unique ways in which topics are used in Stravinsky's neoclassical works is in combination with other topics, a process Robert S. Hatten has defined as "troping." In his recent article in the Oxford Handbook of Topic Theory, Hatten refines many of his earlier discussions of troping, discussing four axes, which he describes as degrees of compatibility, dominance, creativity, and productivity.

In this paper I expand on Hatten's discussion of these axes, and focus on some of the ways in which these axes interact in several of Stravinsky's neoclassical works. I will begin by expanding upon Hatten's four tropological axes in order to understand some of the ways in which these axes interact on both local and global levels. I will then present several brief analyses that will demonstrate how these tropological interactions can be used to create more nuanced expressive interpretations in Stravinsky's neoclassical works.