——_—_—_—_—_—_—_—_—_—_—eeeeeeee—— «t Music Theory >jecs within the raged to keep 2000 words) and artwork only to considered for vuble spaced (in. leaptions), pro. >rmancet0 nor hhe most recent lintel following inorder: an ab- 1s the footnotes, sifanys the mu: >ted for publica «Music Theory, car; review will receipt. Article should be ad ic Theory Spe. ashington, Sat sent to Patrick setrum, Depatt 9, Texas, 5712. Stravinsky's Mass and Stravinsky Analysis V. Kofi Agawu ‘A recent debate concerning the nature of pitch organization in Le Sacre du priuemps has brought to the fore central issues in Stravinsky analysis. The exchange between Allen Forte and Richard Taruskin epitomizes the broad division betwoen tonal: ists and atonaliss, between analysts who hearin the Rite an in evitable prehistory and therefore develop methods to explain these allegiances, and analysts for whom the radical and mod- cemare uppermost, and who therefore prefer methods that deal ‘with the work “om is own ferms."* However stark the dichot- ‘omy appears conceptually, however, is execution rarely sue- ceeds in maintaining consistently each ofits perspectives. On the one hand, advocates of atonaity are obliged to deal with the uncontroversial contention that no music can be discussed ‘without some reference to its historical circumstances, even Where the relationship between the work andits predecessorsis| an essentially negative one. On the other hand, an analysis, ‘whose extent isthe detailing ofa work's sources, elements, ro= codures, and gestures, and which makes no attempt to explain ‘Whit or ter ead od chlngng comments ons eater version of "See Richard Torshin, “Letter the Ear” Mise Anas (386) 513-30, and Allen Fort, “Letter tothe dors Reply t0 Red “arushin." Mise Ana 50980) 521-85) Joy Stas, Svs’ Toma Aus," Jural of Mase Theory 26 (090.28, hhow these function together to ereate a unified (or disuified) and colerent (or incoherent) whole, is equally imited.” aough Ihave posted ros, chet clini between Savy slats the acl reds fer ana of appa Te sow andl achtowidged thal thst rca rear came wi AP (hor Berga’ ance, “Problems of Ph Organza a Sti” (er ‘peciverof New Mase 2[963 1-2, goto forsee ecopaion the ‘tvapsnwhichsome of hse roblems might Bererved Once of decent fro Hoge may te ced 0 Ptr tan dea To's The Muse of for Savnty (New Haven and London. Yale Usivery Pes, 198) ad ‘Tarun’ pai of artes, "Chernomor to Kache Harmonie Sorcery or, Siranhy’ "Angle." Journal of the American Maicoopea! Sac (Goes), 32-142 and “Cher Perowehke: Harmony and Tonalty thet Saving” Minton Cnty te 10 (187, 28-286, Van den Toor prove an cxuunive ventory of Sia’ octane woshaay, we Tarakin inthe former sad, trace nntenthcentury precedent {oF Srvnlys stones an, othe ate, anaes whole ene from Pe ‘ocho show hat "an oot comple sonore ie mini ae & ‘able pon of tree povering tn wl pa athe] emote’ 26), Ottheother there formations, Aen Forte's The amon Or Inzmion of The Rte of Spring (New Haven and London: Yale Unirty res, 178) develops an prone ted inset coy tere segs at ‘pict chron cnneco sath aber ey twentcestury masters et the Cares M, Joseph, "Stacia Coben in Savin Pa Ra Masi” Mate Theory Spec 4 (98), 76-9 for a tet apation a Fortes method. A prvocae pu of arcs Joseph Straus, "A Pine ft Voie Leading inte Mass of Suvi.” tse Theory Spcram 4 (ip) 10612¢ and "Suavishy's Toa Aas” doura of Mase Theory 26 (G2), 251-29, sagt mayen ch barony adv ending fant a"40 Musie Toory Spectrum ‘What the Forte-Taruskin debate dramatizes most vividly is the ficult of generalization with regard tall of Stravinsky's ‘euvte, givenits unpredictable, chameleon tye of evolution. For even Pieter van den Toorn's rigorous and comprehen sive demonstration of ctatoni consistency in Stravinsky un ervalues what Schenker calls Zusammenhang-—coherence —or, more specifically, “connection,” the ultimate indicator of «dynamism both in tonal and (arguably) in atonal musie* Tn reser Sais, dranang on comments made by Suvi biel eof Gevalpycoloy ax apped to muichy Leva. Meyer athe ‘hscnpine apparatus Forte. Some cf thefts insta’ osltons ‘ne resedby Tas Strnty’ Angle" andby David Schltr, ‘a Modes, Prologations. sed Ava," oural of Mscegy# (900, 502-309. Among atlas, Wiis EBejomin's "Toa th cuits: Remar he rat Moves ot Stviny+ Concent for Pans ‘nd Wind trues” Deoy On 21-1297), $n 0297), 5°31 roves a wie angi ut atthe tine ngeousenlration fr ral bac asus in Strannsky ants, notably the tlaontpbetmeen “deep and “sure” sutures, Benji stay ao eo ee tat malesffectvewse of ecomposton Ratt Monn ‘Dison! Plo ‘ton Theresa and Compostonl Preset "Journal of Mase Teery 2919), 9-81 develops an sgh of Seber into tayo poge ‘ion of notre nooriin te se of Schubert List, Wap se Sebi Arold Wha Misa! Anaya: Depons and isin, (nagar Lectare inthe acl of Mase, King’s Catlepe Lndon, 198) Me Ata a Haman Seence? Le Sacred prince in Tc) od Practice,” Mae Analysis 1 (982) 3-3) lalnte progr ih Siravly ans, propoig sah of he mos powetlexplanstay methods corel sve Deptt sonal pel oft of sraieton,iterok, and sues, Ears T Cone Sty. The Progresata Method.” Penpacines of Now Mase (192,18 26h et ‘ltedmuch af esponse, ary ess the concep re pea ee te. and dependent upon ctxt and pry bets the mcs they ouch, mamely tht and texte, reins by compere) ‘ors: Buse Critpher Hay nso of Sti Symphonie of Wind Insramen in “On the Problem of Sssison nd Coty “went Centary Mise” Mac Tory Spec 8 (988), 38-74 wh otutyeaendr atin of ison inne 9 Coe “Heinrich Schenker. Dar Mareen der Mash V2 (Mich: Det Masken Vera, 1906) 2:"Resumpton of Ui Condeations, "ins spite of token gestures in that direction Chapter I2of van den ‘Tom's book is entitled “dominant-toni progresson”—there 's no attempt to build on previous work in which the status of diminution in Stravinsky's musi i considered. To skirt the issue of socalled “pitch classes of priority” may be @ conven: ‘ent analytical strategy for the Rite, but it does injustice t0 4 later worksuch asthe Mass whose studied archaism resist fac- ‘Sol Kais. “Mince the Tre Yearbooks Das Metewek a der Mas Hench Schenker: At Anaad Traaton" (Ph D drat, Northwesere Univers 1773), Va 2 i ‘he mow frequent eed dacs ofthe operation of ininuion it Savin use may De oun in Sehnke'“Resempuon of Une Co sseratons,” which cota theft oe edie paph ever bibl of Stravinsky pice. rt Ise he Cnc fr Pao end Wind ‘ramets. Asin thesigzanes of hi sas, ion Babi wt 1964 ks symptomatic a commentary onthe cist of mse dco sts considerable ony that Schenker ans ony Yemessres ot he ‘ano Concerto oral that it ts wth normative inlevncs, proved ‘hemos revealing sight mo the pocedure of Sinmikys compost is ork sugested rier modes af analy ws, nce, demons "ag thatthe path was no ackvard bet forward oan enteson of ein ‘eas of polongton nd contnastion hich provided ass onsen ‘he span of cert tratonaly teste ths aom-exene cone, ook fhe ptm tere supericaly sggeed acy the Snes of ch rogresionweresoppesie aly offre und sain in op | "he mean ofmadvatingstch rhythm eens wth ‘er ifrent ffs (Mion Babi, "Remar on the Ree Str Penpecver of New Muse 22 (194), 3858, repined a Penpcter ‘Schoenberg and Smeviy, Benji Barts al Edward. Con Pri «eta Priston University Pres 1), 165-185; mgs aed). What Fatt merely serie hs been en ale demonstration by Morgen ‘Disonant rotngation," asad thai boner aot rested Serr) thesia demonsrtons ofthe nar of wie ening in tv) ‘may te found allowing: Ade Kats Chalege ie ria Te sion: A New Cone of Taal (New York: Kao, 1985), 296-19 ‘wish cron, isnt een mentonedy van den Toomia The Nef for Surinsy Allen Fore, Contemporary Toe Sachs New York: Cua Universi Teacher's Ctepe, 1985 Fe Sle, Std Hewing Toa! Coherence in Msi New York: Charles Boni 52 repited by Does 1942); and ost rece, Stas, “A Pile Vote Lending ite categori tonic gre TToom’sinsi vuneelated S the apparer comistency further synt “The aim methods of, the Mase, a Stravinsky taskis analy “the close 3 reference te ‘comprehen: lectcal inte implicit der Iysts plot. 1 festin three reset sonia Seie slaieion + “Comore intsity te ‘hoe Engl fos). Basie F ‘Sita rw 662 Masel ar "wat,2otvan den fon"—there the status of| “To sktt the justice to a mresiss fac: sermekin der Sand Wand ‘crane Sirk,” Penpecter "Cone [Po aed). What iS. a0 0 eta for York: Columbia Hearing: Tort ile categorization into a diatonic, octatonic, oF octatonic~ latonicgrid.* This isnot to underplay the value of van den ‘Tom's insight that otatonc collections permeate apparently unrelated Stravinskan surfaces, but merely to point out that the apparently rigorous theoretical demonstration of stylistic ‘consistency still leaves room for—one might say roquires— further synthesis and integration in analytical application, ‘The alm of the present study isto describe the principal methods of pitch organization in a single work of Stravinsky's, the Mass, work which has nt been much treated in the recent Stravinsky literature.” [should indicate at the outset that my task sanaytical, not theoretical. The fat that analysisinvolves “the close and systematic study of individual eompesitions by reference toa set of technica principles which are coherent and comprehensive" s sufficient indication ofthe necessarily dia- Jectcal interplay between theory and analysis, but its not an plicit denial of the possibility for emphasis within the ana- Iyst’s plot. Thus TstressSchenker'sidea of “connection,” mani- festin three conventional categories, cadence, diminution, and ‘rex categorie acl fom Berge’ “Problems of Pc Or ‘ionin Strain den To for whoa provide the motel fhsseaton scheme for "otonting the questo of eos. ea, ‘ed isincson in Stroiay mus” (The Mul Sank.) "Comporedbetwcce 5a 9 ihe Kye andthe Gaia wee shed 91984, the Mar ns ir peroredin 48 under be ton of Er Arse ‘ett the Testo la Seals Manon Oxaber 2,188, Wisscored foro ‘Shoes, Enis or, two Basone eno umpet three tromones and acho ras of mens oes (aos ad bay) ad cides ies (descant adal toe). Basic background information may be found in Rebert Cra Svs’ Mas Netbooks gr Sank. Edin Ca (Ne™ Yore: Dus Sloan, an esr, 1, 301-204, and ne Waker Whe, Siavinshy: The Camper and Hs Works (Beree Univers of shorn Pres 12nd 17) 4-430, Ofameerslenteretare woe ical actions tothe psc, Rishad F. Goldman, "Caren Choice" The Musical Quart 38(198) 4815 a neh Kernan, Pros Repo ‘on Stavky,” The Hation Review (198), 13413. "ital Maal Ana? Savinsky's Mass and Analysis 141 prolongation, each of which is not metely applicable to the ‘Mass but, further, provides the most effective tol for reading the dynamic sense ofthe passage in question. By taking my ead from Sehenker—a lead that goes in directions not necessarily advocated by him—I seem to be arguing the case fora tonal rather than an atonal Mass. Iti not on such a sweeping and simplistic declaration that my argument tums, however, The tension between “old” and “new which inevitably confronts Stravinsky analysts isan important motivation here too, but it should not obstruct the central task of suggesting ways in ‘which, to put it simply, we might hear or lear to hear the Mass ‘cent sticulating device, one which orcnts the sense of, various segments ofthe Mas, isthe cadence. Itserves to close off numerous sections ofthe piece, not merely asa “terminat- ing convenience” (to borrow van den Toorn’s suggestive term) ‘but asthe most important element of an implicit losing mecha- nism. There are two complementary properties of cadence, & syntactical arrangement and what might be called a gestural sense, Both are necessary to ensure that not all Vl successions, ty rating templar ota of Schonkers Savi ass 50 highly hate ot ontooked tc ierave ature of enterpse—ame), tothow hat Svinys Pano Conca exited wg tat kes tment he are mi" anda that Savin’ rege for enone: ‘on™ tral ina pine wich “throug Bad, nati and woman (Resumption of Unie Covert,” fa Kay, Vl 3 212-210). We bead nat ower, sar Seber ste pefeenes in oreo cept Cheespanatory veal sth, Adora sential ope sdedcompars {rest of Scher ad Srsiky, Pop of Modo ue ras. ‘Anne G. Mil and Wey V Blonter Ne York: Seabury Pres 18. ome te gublomite asthe ecm conjunction in ever pss. ‘Sev ao Hy, "On he role of Sesouon and Conn Twentieth ‘Cniry Mas