Insights into the musical origins of Stravinsky’s Apollo are discerned in part by applying he principles of versification to phrase structure throughout the work, but most especially in the music that accompanies the “birth of Apollo” and the “Pas de deux” as danced by Apollo and Terpsichore. In keeping with his understanding of classical ballet, Stravinsky endeavored to create a diatonic framework at the surface level. Nevertheless, vestiges of his Russian past are evident at deeper levels of his compositional process. It is as though Stravinsky was using the Greek masks of Greek antiquity to serve as filters for his Russian thumbprint that we associate with his earlier works.
Stravinsky and CraftDialogues p. 26. As part of his discussion of Oedipus Rex Stravinsky writes: “Although I have been concerned with questions of musical manners all my life I am unable to say precisely what these manners are. That I think is because they are not precompositional but of the essence of the musical act: the manner of saying and the thing said are for me the same.”
See Reba Ann Adler“Apollo,”International Dictionary of Balleted. Martha Bremson I:96. See also Marie-Françoise Christout and Margaret M. McGowan “Ballet de Cour” International Encyclopedia of Dance (e-reference edition).