This paper deals with the relationships between music and choreography in Igor Stravinsky’s ballet works Le Sacre du Printemps and Agon. First, a paradigm for choreomusical analysis proposed by Paul Hodgins is introduced as a means of understanding the possibilities of choreomusical relationships. Then we take a brief overview at Strvinasky’s ballet music composition. Discussions on Le Sacre du Printemps (choreographed by Valslav Nijinsky) focus on extrinsic relationships, that is, the intention of both the composer and the choreographer to illustrate a “pagan rite.” Discussions on Agon (choreographed by George Balanchine) focus on intrinsic relationships, including choreographic reflections on musical elements such as dodecaphony form, texture, and orchestration.