Which compositional styles did stravinsky use to reinvent himself after his russian period?

Stravinsky wrote music that was more clearly tonal using forms and rhythmic patterns that owed much to the music of the eighteenth century and 12-tone music, the most intellectually rigorous and severe form of atonal music.

After the Russian period, the next phase of Stravinski's compositional period, overlapping the first slightly, is marked by the Pulcinella ballet (1920). This work offers what will be a hallmark of this period; that is, the return of Stravinski, or "backward" to classical music by Mozart, Bach and their contemporaries. This "neoclassical" style, which in fact was born as an opposition to the raptured subjectivism of romanticism and Germanic expressionism, involved the abandonment of the great orchestras demanded by the ballets. In these new works, written approximately between 1920 and 1951, Stravinski turns mostly towards wind instruments, piano, choirs and chamber works. The Symphonies of Wind Instruments (1920) and the Octet for Wind Instruments (1923) are among the finest works composed for winds.