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Zeeb Ra, ‘Ann Arbor, MI 48106et WASHINGTON UNIVERSITY Department of Music Dissertation Committee: Roland Jordan, Chairman John Perkins Orland Johnson THE RITE OF SPRING: A RHYTHMIC PERSPECTIVE by Kathy Maria white A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 1987 Saint Louis, Missouricopyright by Kathy Maria White ‘May 1987* To my parents Leamon and Catherine Whitea ACKNOWLEDGEMENTS: The successful completion of this work has come about through the assistance and efforts of many people, all of whon I sincerely thank. Ir, particular, I would like to give special acknowledgement to Professor van den Toorn of the University of Southern California, for sharing portions of his manuscript on the Rite and Dr. James Bailey of the University of Wisconsin and Dr. Easley Blackwood of the University of Chicago for sharing their time and expertise. Special thanks also goes to members of the dissertation committee, Dr. Johnson, Mr. Perkins and especially chairman, Dr. Jordan for their untiring guidance, assistance and support. Professor Emma Kafalenos also supplied invaluable assistance to this project. My family and friends supplied tremendous support, particularly Mrs. Jeanne Bullock, Evelyn Wooten, Vanessa Woods and Geraldine Hailles. Deep appreciation goes to ny sisters and niece who assisted above and beyond the call of duty, especially Diane. As for mom and dad, words cannot even begin to express ny indeptness for their unrelenting commitment, devotion, and financial and moral support. Thanks to my husband Keith and son Phillip for hanging in there, finally and most importantly, thanks be to God.CONTENTS: PER Pood ppAGE Part 10 Acknowledgements........ List of Illustrations.. Ir Introduction... Note on the Editions... 7) Pitch Structure: Aspects and Approaches. + +26 Rhythmic structure Some Observations and Comparisons..... The Configuration of Materials... Sqooent) Russian Folk Songs and the Rite of Spring.... oes + +90 Russian Folk Songs. ++90 II. The Rite of Spring..... TI: analysis. +101 ee 125) The Introduction to Part I.. 128 "Danses des adolescentes" - PI.. +163 Remaining Dances of Part I.. +183 The Dances of Part II.. 206 Summary and Conclusions..... ae +232 Bibliography........... +250 Appendix I - Examples... +253 iiiii LIST OF ILLUSTRATIONS ‘NUMBER CAPTION PAGE 1 Chronological List of Editions.............24 2 Sets 5-23, 5-Z12.... pee oe) 3 Set 5-16, Subset 4-18..........0004, 4 R50+2 and R53, Ist & 2nd Phrases... 5 R24 Reordering of Cells........0..04 103 6 "Jeux des cités" ~ Phrase Structure.......105 7 "Danses des adol." - Form....... 8 Arsis/Thesis of the Dances...... 9 categories of Dances.........0e.e00 10 Passages Demonstrating Techniques of Reordering and Contrast..... e022 ce Introduction to Part I - sum/chart.. +4130 12 Compositional Patterns in Ré.... +4139 13 Danses des adolescentes - sum/chart.......164 14 Rhythmic Stages of “Danses des adol. pocepou: KK) 15 Comparison of Rhythmic Stages Intro to Part I and Complete Part I... 16 "Jeu du rapt, Jeux des cités-sum/chart. 17 Form Comparison - les "Jeux"....... 1s Rhythmic Stages of les "Jeux"...... 1s "Cortége du sage" - sum/chart.............192 20 Texture - "Cortége".......eee seer eee ee ee 193 22 Rhythmic Stages of "Cortége"..., seed22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 43 44 CAPTION PAGE "Danse de la terre" - sum/chart...........195 Rhythmic Stages of "Danse.."...6.0.0006444198 "Rondes printaniéres" - sum/chart.........199 Rhythmic Stages of "Rondes. + +202 Grouping of Units in "Rondes..".........4.203 Rhythmic stages of Part IZ. seeeeee 1208 Intro to PII & "Cercles Myst."............208 "Glorification de l'elue" - sum/chart.....215 Rhythmic Stages in "Glorification"........218 "Evocation des ancétres" - sum/chart......219 Rhythmic Stage in "Evocation".............221 "Action rituelles des ancétres"...........222 Structure of “Action..".... +223 Arch Form of "Action". Rhythmic Stages of "Action". "Danse sacrale" - sum/chart. Rhythmic Stages of "D. sacrale".. category 1 .. Category 2 .. Category 3... Category 4.......645 Category 5 Rhythmic Stages of entire work. ivPART I CHAPTER ONE Introduction At its first performance on May 29, 1913, the Rite of Spring caused a notorious riot, one which Stravinsky has described on many occasions. Although he attributes that scandalous event largely to Nijinsky's choreography and disturbances by others who were determined to undermine the performance, it is very likely that a scandal would have occurred even without these factors, because of the nature of the piece itself.! The form and content of the work seem radically different from any ballet heard before, including Stravinsky's earlier Elrebird and Petroushka. Its driving rhythms, repeating melodies and jarring sonorities assault the senses in an almost physical bombardment. Only a year later, however, after its first unstaged "concert" performance, the work was being hailed as a masterpiece. Stravinsky said of that second performance, "At the end of the 'Danse sacrale,' the entire audience jumped to its feet and cheered."? Today, of course, the T For Stravinsky's discussion of the first performance of the Rite of Spring, see Igor Stravinsky and Robert Craft, Expositions and Developments (New York: Doubleday, 1962) 163-64; and Conversations With Stravinsky (New York: Doubleday, 1959) 45-7. 2 the first concert performance of the Rite of Spring was held on April 5, 1914, at the Casino de Paris, andRite is regarded as an important landmark in music history. Just a few years earlier, another scandal had taken place, not so very far away. Called the "Scandal in the Bésendorfer Saal," the performance of Schoenberg's Second String Quartet made newspaper headlines in Vienna in December 1908. A scathing review of Schoenberg's piece in the Neue Wiener Abendblatt reads: "out of respect for the composer we will assume that he is tone deaf and thus musically non compos...otherwise the Quartet would have to be declared a public nuisance and its author brought to trial by the Department of Health "3 thus in its own day, Stravinsky's work was not the only one to arouse public controversy. More than seventy-five years later, the Schoenberg piece, far from being a "public nuisance," is easily seen as a continuation of the Germanic tradition, a stage in an orderly process of change. The Rite of Spring, on the other hand, remains an isolated, unique, creative statement, one which for all its influence stands very much alone in the twentieth-century repertoire. directed by Pierre Monteaux (who also conducted the opening ballet performance}. See Stravinsky, Expositions 164. 3 Malcolm MacDonald, Schoenberg (London: Dent & Sons, 1976) 2.The Rite was written during a period of cultural upheaval in the Western world. By the turn of the century, the visual arts were moving away from their traditional reference to natural images with the works of the impressionists and post-impressionists. cubism was born in 1907, with the showing of Picasso's Les Demoiselles d'Avignon, and Wassily Kandinsky's earliest fully abstract works dating from 1910. Literature, likewise, was undergoing major transformations. Novelists were moving from the omniscient narrative voice often found in nineteenth-century fiction, to the less objective narration of Henry James and others who were as concerned with the perception of an event as with the event itself. New ideas in scientific thought, including Einstein's revolutionary special theory of relativity that rocked the world of physics in 1905, suggested radical changes in the concepts of space and tine. Music was changing as rapidly as other creative fields, particularly in Vienna, in the works of Schoenberg, Webern and Berg, and in Paris with Debussy, Ravel and, of course, Stravinsky. There was a heightened interest in non-Western music and culture, reflected, for example, in the International Exposition of Paris in 189 which featured performances by North African and Asiatic (including Balinese) musicians and dancers. In addition, the nationalistic movements of the nineteenth centurythat encouraged research into folk art, including music, generated expanding interest in Eastern European and Russian music. Although the various disciplines and interests continued on separate paths of development, it is clear that a major upheaval in Western thought was taking place. The extent to which specific personalities and events of the time directly influenced stravinsky-- although some certainly did--seems less important than the general climate of radical change which existed throughout the culture. It is in this world of artistic ferment that the Rite was composed. While the Rite is one of the most talked-about works in the history of Western music, few analyses have addressed the questions of its underlying rhythmic structure, the interaction of its functioning elements, and its overall rhythmic and formal design. The analyses that have been done of the Rite of Spring can be generally grouped into three categories: those which are simply general descriptions; those that use pitch structure as the primary reference (the pitch-to-rhythn approach); and those that begin with rhythm (the rhythn- to-pitch approach). Most of the descriptive analyses are brief summaries which discuss the effect of the piece and the predominant characteristics of the work. Such passages concerningthe Rite most often occur in general surveys or overviews of twentieth-century music. These descriptions are valuable because, to the extent that they are accurate, they provide a good basis against which technical analysis may be measured. Too often technical analyses of musical works seem far removed from the works as heard and can be practically applied to the music only with difficulty. One way to measure the significance of a technical analysis is to compare it to insightful descriptive statements about the work. Roman Vlad gives .a powerful description of the Rite in his study of Stravinsky: "It is in every sense an ‘extreme’ work in which expressiveness is raised to a white-hot incandescence, the emancipation of dissonances is complete, and the dynamic violence of the music is without precedent."4 Joan Peyser summarizes the importance of the Rite thus: " 11 that began with Firebird and developed in Petroushka culminated in the Rite of Spring. Its spontaneity, bitonality, unconventional rhythms and irregular balance established the work as one of the artistic landmarks of its time."5 *"Roman Viad, Stravinsky (London: oxford University, 1967) 37. 5 goan Peyser, The New Music (New York: Delacorte, 1971) 102.A more recent analysis by Volker Scherliess highlights the prominent rhythmic and tonal motives in one of the most concise and complete overviews of the Rite.© While he identifies the important motive for each dance, he also demonstrates some of the overall rhythmic relationships which exist. Further, he discusses the role of orchestration, and of textual devices in the composition, as well as providing a synopsis of the manuscripts, editions and the first performance. Portions of his analysis are incorporated and expanded in this study. Eric Salzman, has written with particular acumen about the Rite. of its form and structure he eloquently state: 'Most important, Le Sacre is a music which takes shape, not through the extension of line and counterpoint, but through the juxtaposition of static levels of sound and statement, dividing up and punctuating psychological time with rhythmic and accentual statement, articulation, and interpretation."7 Salzman recognizes the technical mastery that gives the work its power: This is a piece of high artifice in the best sense; the idea that it is a "primitive" work seems to be due--aside from the obvious fact of Sqoor Strawingwred. A Igor Stravinsky: Le Sacre du Printemps, Meisterwerke der Musik (Munchen [Munich]: Wilhelm Fink, 1982). 7 Eric Salzman, ttieth-Century Music (New Jersey: Prentice-Hall], 1967) 29-30.the subject matter of the ballet--to the quality “of disassociated insistence which, combined with the striking use of chordal, Roncontrapuntal dissonance, produces an effect of arbitrary, motionless, elemental power. Pitch-to-rhythm studies of the Rite initially relied on 18th-19th century approaches to pitch analysis with variable success. Horst Scharschuch first discusses the development of traditional tonality, then performs a harmonic and pitch analysis of the Rite.? However, he does not deal with the rhythmic aspect. Nor is the terminology for functional harmony that he uses (which often becomes awkward) capable of describing clearly certain elements in the work, such as quartal chords and polytonal passages. As a result, although his book is filled with charts that classify various keys and tonal centers, it does not explain the pitch structure of the Rite in a way that can clearly be related to the work as it is perceived. Pierre Boulez broadens the application of functional tonality to the Rite, suggesting that the music of the Rite is tonal, based upon an attraction created around —EE Salzman 29. ® Horst Scharschuch, Analyse zu Igor strawinsky's "Sacre du Printemps" (Regensburg [in East Bavaria]: Gustav Bosse, 1960) [Forschungsbeitrage Zur Musikwissenschaft, Bd. VIII].certain poles, the tonic, dominant and subdominant. 1° Greater or lesser tension is obtained by means of unresolved appoggiaturas, passing chords and several modalities over one note. However, he does not make detailed arguments in this area. Allen Forte takes a radically different approach by using set theory to analyze the pitch/harmonic organization. 11 This study is an effective demonstration of the various ways in which set theory (a relatively new technique at that time) may be applied to a large work. After stating the major, recurring sets in the work as a whole, Forte makes a detailed measure-by-measure survey of the Rite, using various set operations. The author himself points out that he is not attempting to include an analysis of the large-scale linear connections or features of tonality, register, and orchestration. }2 Indeed, he does not fully address the overall integrated musical structure. Rather, he provides a model with a wealth of analytical tools which may be applied to and incorporated into future analytical studies. 10 Pierre Boulez, "Stravinsky Remains," Notes of an Apprentice, trans. Herbert Weinstock (New York: A. Knopf, 1968) 72-145. 11 allen Forte, The Harmonic Organization of the Rite of Spring (New Haven: Yale University, 1978). 12 Forte 29.a ‘The point of view concerning pitch structure that seems most helpful in understanding the music of the Rite as a whole is the application of the "octatonic scale," a notion suggested by Olivier Messiaen in 1939. Defining the octatonic scale as a system of alternating whole steps and half steps which ends and begins on the same pitch, Messiaen identifies it in the works of Stravinsky and other composers, including Rimsky-Korsakov and Ravel.13 somewhat later, Arthur Berger devoted a study solely to the pitch organization in Stravinsky's music including consideration of the octatonic scale.+4 pieter van den Toorn, in 1983, expanded upon Berger's concepts concerning the octatonic scale, applying them to a thorough and meticulous study of selected works by stravinsky.15 Discussing the Rite in some detail, van den Toorn documents the usage of the octatonic and octatonic/diatonic scales in the individual dances. This work has been one of the most helpful to date in understanding and clearly defining the pitch structure. Analyses using the rhythmic approach are most pertinent to this study. These analyses consider the TS Olivier Messiaen, ier Messiaen, Technique de mon langage musical, trans. John Satterfield (Paris: Leduc, 1956) 59. 14 arthur Berger, "The Problems of Pitch organization in Stravinsky," Perspectives of New Music 2 (1963): 11-42. 18 Pieter van den Toorn, The Music of Stravinsky (New Haven: Yale University, 1983)._ 10 characteristic rhythmic style and structure of the work. The term "rhythmic structure" can be misleading, however, because rhythmic structure is often regarded as simply the meter and foreground rhythmic patterns. As used here, the rhythmic structure is the overall form of the work. Thus it incorporates a discussion of the large scale temporal characteristics, the way the music moves through time, and the way large passages are related to one another as well as to the local "rhythms" of which they are composed. Used in this sense, then, when one discusses large-scale harmonic structures in a classical sonata, one is in actuality considering the rhythmic structure. Most rhythmic studies in the Rite have focused upon local rhythmic characteristics or elements in the music rather the larger levels of rhythmic organization. In these studies, Olivier Messiaen again led the way, being one of the first to discuss rhythmic style. after having analyzed the Rite several times during the course of his early studies, he later introduced the idea of "personnages rhythniques" or "rhythmic character: Messiaen defines these as thematic fragments which are shortened or lengthened by the subtraction or addition of TS-—Gon ference de Bau, 7 Conference de Bruxelles prononcée a 1'Expositions Universelle de 1958 (Paris: Leduc, 1960); and Claude Samuels, Conv ions wit! ier Messiaen, trans. Felix Aprahamian (London: Stainer & Bell, 1976).a certain number of note-values. This process causes the thematic fragment seemingly to die as it becomes shorter, or be reborn as it lengthens, making the fragments seem to become living, breathing entities -- thus the term “personnages rhythmique" or rhythmic characters. Messiaen further states: In this system of rhythmic characters you have, in ‘principle, several characters present. Let's imagine a scene in a play between three characters: the first acts in a brutal manner by hitting the second; the second character suffers this act, since his actions are dominated by those cf the first; lastly, the third character is present at the conflict but xemains inactive. If we transpose this parable into the field of rhythm, we have three rhythmic groups: the first, whose note-values are always increasing, is’ the character who attacks; the second, whose _note-values decrease, is the character who is attacked; and the third, whose note-values never change, is the character who remains immobile...I ‘know that in analysing The Rite of spring I long xeflected on the rhythmic importance of such passages as the Glorification of the Chosen one and the Ritual Dance and that I finished by understanding that the procedure which endowed these two pieces with all their magie power was that of the rhythmic characters Pierre Boulez expands upon Messiaen's concept of rhythmic characters or essentially, rhythmic cells in the works of Varése, Bartok, Berg and Stravinsky.!® in another study, specifically examining the Rite, he shows how the cells utilize techniques of expansion, deletion, reordering and other forms of variation. However, I7-Samuela 370 Samuels 3 18 Boulez, "Propositions," Polyphonie 2 (1948): 65-6. a~ 12 Boulez! analysis is limited to examining selected examples. He does not attempt a detailed study of the entire work. 19 In one of the most thorough and concise studies of the foreground rhythmic structure in a section of the Rite, James Siddons discusses the form of the "Danse sacrale."20 He demonstrates how the processes of retrograde, deletion and expansion are used to build symmetrical rhythmic structures between phrases and between individual beats or pulses. He also outlines a symmetrical organization of the entire section. siddons' findings are incorporated in this study. Works by Stravinsky other than the Rite have been the subject of studies of rhythmic structures at the larger levels. In particular, Edward Cone describes the organization/juxtaposition of larger units of sound in Stravinsky's music, defining the structural process as stratification, interlock and synthesis.21 this process is applied to excerpts from three of Stravinsky's works: Symphony linds, Serenade in A: Hymne and Symphony of Psalms. Katherine Russell discusses the use of textural 17 Boulez, Notes of an Apprentice 66-8. 20 games Siddons, “Rhythmic Structure in the Rite of Spring, 'Danse sacrale,'" Musical Analysis 1 (1972): 6-8. Chapter 9 for further discussion. 21 Eaward Cone, "Stravinsky: The Progress of a Method," Perspectives of New Music, Fall (1962): 18-26‘ 13 stratification by many twentieth-century composers including stravinsky--rhythmic organization accomplished through the simultaneous and successive placement of "blocks of sound."?? In any musical analysis, the elements of both pitch and rhythm go hand-in-hand. Obviously, one cannot have sound without rhythm (unless perhaps the composition consists of one sustained sonority), and likewise one cannot have rhythmic structure without sound (although the sound may not always be of definite pitch). The one cannot exist in a musical work without the other, they are like two dimensions of the same object. The terms "pitch-to-rhythm" and "rhythm-to-pitch," then, describe different approaches to the same material, different procedures for examining the same elements. Separating the two elements (and other elements, such as timbre and texture), must be understood as simply a methodological strategy to be applied whenever necessary to clarify the musical process. The following study is generated from a descriptive analysis of the piece because it is my belief that it is through an intuitive description of the musical experience that the technical analysis may be clearly evaluated. The analytic procedure considered most valid 72"Xatherine Russell, "Textural stratification in the Twentieth Century," diss., University of Indiana, 1982, 129.14 here is one that grows from and then is reintegrated with the experience of the work itself. The perceived structure of the work is both the source and final measure of the techniques applied to its study. From descriptions of the Rite already quoted, it is clear that the music stands radically outside the German (Western) "Classica: " tradition. As a result, traditional analytical procedures closely related to that tradition are not likely to be fully successful in explaining either the overall or the detailed organization of the piece. Since rhythm in all senses of the word seems to play such a dominant role in the work (as supported by the literature mentioned), it seems most reasonable to center this analytic approach on the nature and structure of the rhythmic organization of the work. The term rhythm has several connotations, one of the most common of which deals with meter, large and small scale time values and patterns formed by these combined values. "Rhythm" also often refers to phrases or passages formed by irregularly and regularly accented patterns. In addition to using these definitions in discussion of rhythm, however, this study will encompass a broader concept of the tern, referring to the passage of the entire work through tine, describing the large scale relationships that form, in essence, the structure of the piece. Rhythn, understood1s in such light, then, is considered to be the primary generating factor of both the local and overall structure in this work. "Rhythmic structure" will be assumed to include both the foreground or stylistic characteristics of the Rite and the large-scale form. Part I of this study will consider aspects of pitch structure, rhythmic organization, and certain features of texture and orchestration. Additionally, there will be a short discussion of the possible influences of Russian folk music on the rhythmic and pitch organization, and an examination of selected musical examples outside of the Western/European art tradition that seem to project similar rhythmic profiles. Part II will consist of a detailed discussion of the entire piece using the rhythm-to-pitch approach. The first and second tableaux of the Rite, Part I and Part II, will be treated as two large movements which are divided into sections or dances. Based on similarities in rhythmic types, function, orchestration and other characteristics, the dances will then be grouped into categories for further study and comparison. After detailed considerations of the various elements and their structure, this analysis will turn in its final stages to ways of reassembling the elements that have been studied, treating their interaction and the way their synthesis creates the overall structure,16 It is this author's contention that through this method the structure and form of the work as a whole as well as the nature of the interaction of its individual elements will be more clearly understocd.17 A Note On The Editions The story of the manuscripts and editions of the Rite of Spring is a nightmare of misprints, reprints and at times utter confusion. Claudio spies explains that because of massive contradictions in the editions, "there is no liklihood of forseeable repair. Ever since the score was first published in 1921, a succession of partly corrected, minimally amended editions has been printed on the basis of the original Edition Russe edition."23 In addition, although the Rite has been performed and recorded innumerable tines, few of the royalties were received by the composer. There was little control over pirated editions because this work, along with Stravinsky's other Russian pieces, was composed when no copyright agreement existed between Russia and the United States or Europe. Thus, for these works, at least in early editions, performers were and continue to be under no obligation to acknowledge royalties to the composer. Louis cyr discusses three important factors that helped increase the number of problems in revisions.24 2-3 SE, Claudio Spies, "Editions of Stravinsky's Music," Perspectives on Schoenberg and Stravinsky, ed. Benjamin Boretz and Edward T. Cone, rev, edition (New York: Norton, 1972) 257. 24 touis cyr, "Le Sacre du Printemps -- Petite histoire d'une grande partition," Stravinsky: Etudes et temoigqnages presentés et reunis par Francois Lesure (Paris: Jean Claude Lattes, 1982) 89-147.18 First, it was Stravinsky's nature to change and revise his works continually. He never considered any of his works as a complete, closed entity. Stravinsky, according to Cyr, "ne peut avoir voulu faire ni de sa partition écrite ni de son enregistrement sonore un modele fige et intouchable."25 Indeed, Stravinsky once said: "I would go on eternally revising my music, however, were I not too busy composing more of it, and I am still far from content with everything in Le Sacre. (The first violin and flute parts in the Cortége du sage, for example, are badly overbalanced)."?6 For this veason, he was continuously revising or making plans for further revisions of the entire work. Second, the orchestration of the work was extrenely demanding and somewhat experimental. It required a huge orchestra, with a nyriad of percussive instruments, and novel instrumental techniques (such as violinists retuning their A strings at the end of "Danse sacrale"). Also, many of the rhythmic passages with shifting meters and shortened time signatures were difficult for instrumentalists to follow. ‘Thus several dances, like the "Danse sacrale" and "Evocation des ancétres," were rewritten with different note values for easier reading 295 ori: ae Cyr 92. 26 igor stravinsky and Robert Craft, Expositions and Developments (New York: Doubleday, 1962) 168-9.1s (for example, the time signature of 2/16 and 3/16 was changed to 2/8, and 3/8). Practical limitations in the size of various orchestras also demanded that accommodations be made for perfornance.?7 Finally, the fate of a score was never assured when it went from one publishing house to another, and when it moved from one continent to another. Le Sacre was party to all of these changes, being composed just before the outbreak of World War I, by a Russian composer whose works were performed all over the world. An example of the discrepancies in revisions is found in instructions on the use of pizzicato in the “Danse sacrale." In the 1913 version, the strings played the passage from R186-189 of the “Danse sacrale," pizzicato. However in the 1922 version of Edition Russe de Musique (ERM), the instructions prepared by Ansermet under the guidance of Stravinsky stated that the strings should play all parts arco (with no pizzicato) from R186 to the end of the work. In confusing contrast, the 1929 revision of ERM re-inserted pizzicato for all strings except the double bass. By 1948 when Boosey & Hawkes, who had acquired ERM in 1947, issued another edition, the pizzicato had again been deleted, except for the second I7-Ty yacty one such i In fact, one such revision was arranged in 1974 by Robert Rudolf for reduced instrumentation, (Belwin-Mills, N.Y., EL 2254). Cyr states that Rudolf, unfortunately, also made changes in the rhythmic content of the music, to the detriment of the work.20 violin part.28 he responsibility for these discrepancies lies with the composer, conductors and publishing houses, and is just one example of the ongoing problems in performance. Stravinsky's most famous manuscript of the sketches is reproduced in the beautifully engraved Sketchbook of the Rite of Spring published in 1969 by Boosey & Hawkes. Although a complete autograph copy of the Rite does exist, it contains several errors, including missing bar lines and errors in the opening theme. A manuscript copy made in 1913 was most likely used by Pierre Monteux for the early performances. While it contains some corrections of the initial manuscript, which were not retained in the following engraved editions, it in turn contains many errors. It is possible that the autograph manuscript of the piano four-hand version of the Rite may be found, although it had not been located as of 1980. Whether an autograph two-hand version for piano exists at this time is more questionable. The only proof of its existence is a letter in which Pierre Monteaux, writing in February of 1913, calls Stravinsky's attention to contradictions SSararsaqaataiiearall i For a detailed discussion and comparison of the xevisions in the string part of "Danse sacrale," see cyr, pages 122-130.21 between Nijinski's two-hand score and the orchestral score. 29 The engraved version of the fouz-hand piano score was first published in May 1913 by ERM. It was not substantially revised and corrected until 1968 when it was published by B&H. However, new engravings in 1972 in the Soviet Union and a reprint in two volumes by Hansen House, are both based upon the original ERM version. Additionally, extracts from the Rite have been published for piano solo. In 1973 and 1975, the complete work was arranged for Piano solo. Of orchestral parts, only wind parts seem to have been written by hand and used for the first performance. The other copies were hand engraved. Later, most of the publishers who handled the orchestral score published parts as well. These parts were not subject to the large number of revisions that are found in the scores. A brief chronological survey of the engraved orchestral (pocket and full size) scores begins with the first printed score occurring in 1922. This score contained many errors and was revised in 1929 with some errors corrected, others left unchanged, and still new errors added. Essentially, “Danse sacrale" and "Evocation des ancétres" are changed. From the 1929 version, several reprints have occured. In 1943, the eri Cyr 114.22 “Danse sacrale" was substantially revised in instrumentation and time values, creating a fuller chord at the ending and shifting or altering some parts in range. It has been recorded in this form only three times, by William Steinberg, Eugene Ormandy and Stravinsky. The next revision of the entire work occurred in 1948 and included substantial changes. It is referred to as the 1947 revised version. By 1950, a new list of errata had been added to the large score, which was incorporated into the next set of reprints by B&H. By 1965, more corrections were added to a version which was called "1947 revised version with corrections of 1965". At least thirteen reprints have been made of this version. The Soviet Union published the same version under the label of their own publishing house adding minor changes in the titles. This same version was then reproduced by International Music with English subtitles. Once again, in 1967, B&H made more corrections, naming this version "revised 1947, new edition 1967." Additionally, a version for reduced instrumentation was Published in 1974. In addition to the completed work, sections of the Rite have been published in various anthologies, the "Danse sacrale" for example, can be found in the Norton Scores: 3° SUraucharteorathevch, i i ‘A chart of the chronological order of various revision and reprints is listed in Illustration. No. 1.original sources are of little importance for purposes of this study in which primary interest centers on the musical work as it is heard, the way the listener experiences and has experienced the work in the concert hall or on recordings. Therefore, the analysis is based upon one of the scores which reflects the work as it is most often heard, the International Edition, basically a reprint of the Boosey & Hawkes version, "revised 1947, corrected, 1965". 23( Illustration w chronological Listing of Orchestral scores a 1914 1922 1925 1927 1929 = 1933 1941 1945 1948 1949 1950 1951-2 1952-64 1964 Ir ‘IE Ir Ir Iv copier RMY 197 RMV 197 UE 8025 KLMS RMV 197b RMV 197 KLMS HMAS V BH 16333, BH V (v) KIMS L78 KLMS 78 HP.B735448 BH vi BH vii-xvii mus 24 fe of Sprin First printing, (pocket score) Qarge score) Vienna Reproduction of UE 8025 (pocket score) Reprint of I RMVb with changes Reprint of IT RMV with changes in "Danse sacrale" and "Evocation"™ Reprint of KLMS I pocket score. “Ballet Suite," Reprint of II KLMS “Danse sacrale", Revised Version 1943 Printed in London Reprint of 1948. Large score, extra p.2, Rprnt of Previous’ KILNS Pocket score new errata, new engraving, p.2 Rprint with errata of 1950 pocket score Rprnt of BH with minimal corr. pocket score "Danse sacrale"stration No. 1 (con! 1965 BH V-VI URSS 1501 1967 BH 19441-r 1974 BM EL2254 1977 BH 19441-1T NS 47-VI 25 "Rev. 1947 ver", "Rprint w corr 1965," large score, incl. 1950 errata. New engraving of BH large score, 1965. New engraving “Revised 1947 & "New Edition 1967" #ii-xi of pocket scores reprinted from this version with English subtitles Revised ed, Reduced Instrumentation Reprnt of large score Included in Norton scores II “Danse Sacrale" in NS. KEY to Abbreviations: AMP Associated Music Publishers, NY BH Boosey & Hawkes BM Belwin-Mills, NY (arr. Robert Rudolf) HMAS Hampton Miniature Arrow Scores HP INT International Music Co., NY KLMS Kalmus (NY) MUS Music Scores Omnibus (USA) NS Norton Scores RMV UE Universal Editions USSR Editions Musique by USSRa 26 CHAPTER TWO Pitch Structure: Aspects And Approaches The diverse surface texture of the Rite includes, among other features, melodic fragments, triads, periodic rhythmic patterns, and regular meters. All of these elements occur in the music with which the Western listener is most familiar, that which is generated fron the system of functional tonality ("tonal" music).) Consequently, theorists have continued to pursue tonal analyses of this work using the pitch-to-rhythm approach.” However on closer examination, the chords and melodies of the Rite do not function in a manner consistent with traditional 1sth- and l9th-century tonality. Melodies, for example, become segmented fragments which occur with seemingly undetermined goals. Triads are superimposed on and juxtaposed to chords or melodic fragments of conflicting tonality. Musical passages either remain static, dominated by one sonority for long periods, or oscillate between tonalities (or tonal poles), without settling on a particular one. Periodic, articulated passages at the local level are often grouped into extremely irregular and asymmetrical Phrases. Are there important structural differences, Ithe tema FET, ‘| ‘The term "tonal" in quotes will be used for all future references to the term "functional tonality."27 then, between a “functionally tona: piece and this work? What are the results of such differences and similarities in the way the work is experienced? In order to address these questions, one must first describe the process experienced when listening to a functionally tonal work.? Initially, the listener approaches the traditional work with certain expectations based upon his previous listening experiences, expectations which are later confirmed (or in some cases altered or contradicted) by the music itself. Fullfiliment of these expectations is achieved by a resolution of tensions or conflicts which have been generated in the music. Therefore, dissonances which generate tension and conflict must resolve by attaining specific and foreseeable goals. These goals may vary. A cadence for example, is one type of goal. The resolution of a pedal point (from dissonance to consonance within the tonality), resolution of a dominant chord to its tonic, and the resolution of one harmonic section or passage into another are other examples. Since harmonic tensions occur at every level, expected goals are defined at all levels--whether between the local pitches or chords or even in some cases between entire movements. QForw detailed ain For a detailed discussion of the perceptual processes in "tonal" music, see Richard Justin, The Time of Music, diss., Washington University (1985) 184-192.28 The movement away from the point of rest, the tonic, creates the expectation of a return. For example, the harmonic movement from a tonic to dominant chord generates instability and a resulting tension because of the friction between the point where the listener is in the music, the dominant, and the place where ultimately he expects the music to go, the tonic. Thus the tonal work is a closed system, its ending is inherent in its beginning. Once the piece begins, the listener knows a great deal about how it must finally end. For example, the listener knows that the opening and predominant theme of a classical sonata and the opening key, the tonic, will return at the conclusion. The musical work, then, is a process of jorking out" in a satisfying and ingenious way, the opening ideas. As a result there is an implied causality in the system. This trait of causality allows the listener immediately to imprint a framework or structure onto the piece. In fact, the background structure, or Urlinie as it has been called, is already in place in the listener's mind. Heinrich Schenker's approach to music is a response to and reflection of this concept. Thus the piece is a method of unfolding or disclosing the manner in which this music fulfills its inherent plan. The beauty of the work is found in following the path thata“ 29 the music takes--the harmonic conflicts generated and resolved--in order to achieve the expected goals. These expectations enable the listener to perceive the work as a growing, evolving process in which one idea leads into the next, or becomes the next. Implied within the concept of growth is the perception that each element and event is an outgrowth of the basic idea upon which the piece is generated. Within the opening motive of a piece, for example, the breadth and character of the entire piece is suggested. "Tonal" music, then, generates its own forn, Because the work is causal, and is perceived as growing from one basic idea, each element is tightly interwoven into the musical fabric. As a result, every pitch has a specific meaning or several meanings--at both the local and large-scale levels. Ideally, a passage, a chord, or even a note, can be defined according to its placement in the musical work at any one moment in time. Therefore, tonal music allows the listener always to know where he is at any given moment in relation to the overall structure. The sequence of events becomes an important (possibly the most important) factor in the traditionally tonal piece. At the local level, for example, the movenent V to I has a very different connotation fron that of I to V. Likewise at the larger level, the30 placement of movements in certain works (such as Brahms! first symphony) can be of importance in defining the harmonic relationship of movements within the entire work. Each movement, though complete within itself, fits securely into the larger structure. All of the elements which occur simultaneously are part of a single chordal or tonal statement. Regardless of the complexity of the texture, the primary harmonic structure will be clear. our sense of the rate of movement or passage of each predominant idea (not to be confused with tempo) is determined by the "harmonic rhythm." The illusion of motion is essential to any musical work. In "tonal" music, there is a sense of unified 2nd consistent motion at both the local and large levels. Perpetual motion is perceived because of the constant growing and evolving of the musical work. This motion is controlled and uni-directional, and proceeds at a fairly uniform pace through the work. Harmonic progression determines the speed at which motion will be perceived, how fast or slow a passage will seem to move. As rhythm and pitch unfold or grow at a specific rate, periodic meter becomes a normal characteristic, one which is generated and supported by the harmonic change. The concept and term "harmonic rhythm" is discussed in Walter Piston's Harmony, 1st edition (New York: Norton, 1941) 41-55.os 31 The Rite does not create this kind of rhythmic process. Although the listener might expect elements of functional harmony to interact in the same way, the Rite quickly dispenses with these assumptions. The usual tensions and conflicts which are generated by elements within "tonal" music are not solved by movement to expected goals. In fact, the expected goals seldom materialize, or possibly we are "taught" early in the work not to expect resolutions. There is no clear example of a "full cadence" in the entire work. Neither do pedal points, or static, dissonant configurations resolve the dissonances they create. Harmonically unstable passages--instead of being resolved--are followed by equally unstable passages which are contrasting in texture, character and tonal center. The Rite is an open rather than a closed structure. Consequently, an event occurring at the beginning of the piece does not necessarily return at the end. The tonal world" in which we begin is not reinstated. At the local level, there is no equivalence of harmonic progression. A passage might be successfully followed by one of several alternatives: it might move to a different melodic passage, it might move to a contrasting tutti phrase, it might broaden into an ostinato or centonic passage, or it might simply stop, pause.* Essentially, *-Ghristomher weistnn ‘ ‘ Christopher Meister defines the term "centonic" as "the use of two or more fragnents--either similar or32 the new event is not caused by the previous one, its structure does not resolve (or sometimes even address) the existing tension. Therefore, the work is not causal. It is not a rhythmic structure in the sense of "tonal" forms. Since it is not causal, the Rite is not a predictable structure. One stage does not harmonically lead into another. While there is a sense of growth in the work, it seems to take place by explosion and interruption from one stage to the next, rather than by an inevitable unfolding or transition. This process of change occurs through juxtaposition and sometimes superimposition of contrasting or differing ideas. what growth occurs is most probably the result of the expansion of the "world" of the piece as more of its disjunct parts are given. In contrast to "tonal" music, each note does not have a special meaning in both the local and large levels. Likewise, the sequence of events is not of primary importance. Melodies can easily be interchanged without affecting the dynamics and the nature of tension and resolution in the passage. Note the passage at dissimilar--combined in various orders to produce constantly different, rarely repeating segments. This is one of three terms used to identify the behavior of elements in the Introduction to PI of the Rite of Spring: iterative, centonic and static. For further discussion, see Christopher Meister's "Textural Analyses," diss. Washington University, St. Louis, MO. 1983, 21.33 Rehearsal R9 in the Introduction to Part I. This descending motive in the oboe is followed two measures later by an answering ascending motive in the piccolo clarinet. (See Example 6.9). Yet in the passage which follows, with the addition of two-note ostinatos by bassoons and sustained harmonics by double basses, the notives are restated and they have exchanged places. This time the ascending motive has taken the lead and is followed or answered by the descending motive. (see chapter 6). Without traditional harmonic relationships, the melodic and chordal elements assume a high degree of independence from other similar structures in the work, and from one another. As Eric Salzman writes, “Everything in Le Sacre is asserted, everything is given by the piece itself, nothing falls into place naturally or by expectation."5 Each new event is "given," it does not evolve from its preceding passage. Just as two objects placed on a table can be seen as related to but not dependent upon one another, successive passages can be seen as related but independent. Because of their harmonic independence, these ideas are heard as separate entities, not as a continuation of a particular process. Within these passages then, melcdic fragments, chords, ee Salzman 30.C 34 and the varying rhythmic cells are combined and recombined both successively and simultaneously. If one were to view the pitches as a mere extension of "tonal" music, one would find a sequence of pitch collections that do not define directionality. Another sequence of pitch collections would just as easily create an acceptable form. Additionally, the collections could be played simultaneously. This could not be seen as successful in traditionally tonal terms. Unlike a "tonal" work, all of the elements that are played simultaneously are not necessarily part of a single harmony or harmonic statement. In fact, several contrasting, independent ideas are often combined, creating "layered" passages. Tension is created then, by superimposing layers as well as juxtaposing textures or passages. Functional tonality is primarily a "rhythmic" system. It generates the conditions through which the rhythmic manipulation and alternation of arsis/thesis can drive or generate teleological forms of extraordinary power. The Rite is not "tonal." Its rhythmic image and structure is radically different from that we have "learned" in music of the standard repertory. The way pitches function, however, is as vital to the overall image of the Rit @ as it is in more familiar "tonal" structures.35 To compare various ways in which theorists have analyzed the pitch structure, we will look at the opening passage of "Jeux des cités rivales" (R57). (see Example 2.1 R57, R57+2 and ing the pitch structures in traditional tonality, it is almost impossible to use one key for a detailed analysis. Defining it in two or three keys is more practical. However, as one moves toward polytonality one moves farther away from the causality and closure that is characteristic of "tonal" music. The opening measure of R57 suggests some sort of dominant function in the bass instruments. A tritone is set up between "F#" and "Cc". The notes suggest a dominant of G major (V7 or VII). The tuba and timpani add to the dominant feeling by introducing the "BY. Tt can be heard as a 13th of the dominant chord, but more likely it is heard as a 4-3 suspension or dissonance over the "Fi" or 7-6 over "C." However, the dissonance never really resolves from "BY to the "A" (although, the local pitch movement from "B" to " "in the melody suggests a partial resolution), nor does the larger dominant passage ever resolve to a tonic "G" chord, or a substitute such as E minor. Instead, the bass passage becomes a pedal sane See, i This system of identifying measures is used by Allen Forte in his study Harmonic Analysis of the Rite of Spring and is incorporated in this study for facility in comparison and discussion.es 36 point, continuing and increasing the tonal instability, and thus increasing the tension. The horns join at R57+2. . Tonally speaking, the two upper voices could have been considered part of F major, were it not for the use of "B" instead of "Bb" and "F#" clashing "F" in the harmony. D minor is suggested, however, a major IV chord followed by the minor V in the minor key is harmonically unclear. Thus, since there is no raised 7th degree to the tonic, D-Dorian modality is Presumed. Consistent with the modal scale, the lower voices suggest the D-lydian followed by the D#-frigian mode. Harmonic confusion continues, however, as the "! 4 clashes against the sounding "D" in the surrounding voices. When the upper pitches move to "G/E" during the passage and at its end, they suggest a dominant harnony, one which never resolves. In the previous example, the horn melody is analyzed in the various ways discussed. [See Example 2.1), The pedal point in the bass instruments outlines the tritone "Cc" - "F#" which is in powerful conflict with the tonic if the tonal center is "F." It can be explained by labeling the pedal point a V of G/IV in D minor, or VII of G/II, major II in F major, but neither explanation is satisfactory. If the tonic is "D", likewise, what relationship is "D#" in the bass--a local tonicization which never resolves? What type of D tonality would beoO 37 correct, since the passage uses aspects of the major, minor, dorian, frigian and lydian forms? Additionally, the accompaniment to the melody in the bassoons ("c" and "F#" in R57+2) suggests the tonality of E major-minor. Now the composite harmonic passage uses the tonalites of D major-ninor-dorian-frigian-lydian, E major-minor, F major and G major. At R58, the same passage is repeated, altered only by the deletion of two repeated notes. Since this Passage continues to generate the tension raised at its previous occurrence, without resolving any of the conflicts, from a “tonal” view, this passage is unclear, static and weak, The harmonies do not progress, but are stated, interrupted, then restated.” after a time, they are heard as non-functioning factors. Melodies, chords, and other elements of "tonal" music, when taken out of their original environment and transposed into an alien or foreign aesthetic context, seem to become objects. They now take a passive role as individual elements in the musical experience; that is they do not generate the structure or form upon which the work is based. 7 Measures R57+2 and R57+3 constitute the first statement. This is interrupted by the following two measures, R57+4 and R57+5. The first idea is then restated at R58. None of the harmonic dissonances of the first statement has been resolved or manipulated in any way, therefore the music has not "progressed" from one point to another.38 As such, certain elements of "tonal" music can be said to be "artifactual" in this instance. "artifactual" in this sense of the term describes an object taken out of its original functional context, like a ritual object, whose ritual meaning is forgotten and which is now simply contemplated as a work of art. Here, the object's original function is not forgotten, but is no longer actively employed. “Artifactual" implies an element of "artificiality," in the sense that the artist has removed an "object" from its native or original context/function and placed it in a completely different context. This concept of "tonal" artifacts is valuable, because a large part of the conflict and impact of the work comes from the fact that it uses familiar elements but in a radically different way from that to which we are accustomed. Among other things, our identification of certain elements with their "tonal" referents facilitates our ability to discriminate independent, separate ideas when imbedded in simultaneous layers of structure. on a large and general scale, the work can be described in terms of chords and melodies. However, this approach would allow only a descriptive labeling of some Passages. Therefore, a means must be found to describe clearly the sonorities and pitch patterns which take on tremendous importance in the Rite.os 39 Allen Forte has provided such a vocabulary by analyzing this passage, R57+2 and R58, using set theory.® In his analysis, Forte examines each of the four melodic lines played by the horns and identifies two sets: 5-23 and 5-212. Illustration No. 2 Sets 5-23, 5-712 Set 5-23 0, 2, 3, 5, 7 (tr. +2 and +11)9 Set 5-212 0, 1, 3, 5, 6 (tr. +3 and +11) ‘The outer voices use set 5-23 and the inner voices use set 5-Z12,. (See Example 2.2). Set 5-23, according to Forte, is a familiar set in the Rite, while set 5-212 only occurs incidently in R22. However, 5-Z12 is the z correspondent of 5-236 which is not an incidental chord, but the set of the predominant motive beginning in R64 ./10 In describing vertical sets or sets generated by simultaneous sounding of these lines, Forte notes that —— Forte 5 ° ver." = transposed. The sets are written with "c", which is "0" as the starting pitch. Symbol means that the particular set occurs in the music transposed by the designated number of half steps. For example (tr +11) means that the set is transposed by 11 half steps, thus beginning on pitch "B", 1 Forte found that some pitch sets had a corresponding set with the same total intervalic content. He used the term "Z correspondent" to describe a pitch set related to another i: this manner. See Forte's Harmonic Analysis of the Rite of Spring, 3-5 for further discussion.os 40 the first three eighth notes of both measures use set 5- 16. (See Example 2.2). Illustration No Set 5-16, Subset 4-18 Set 4-18 0,2, 4, 7 (tr. +22) Set 5-16 0, 2, 3, 4,7 This set has been metrically accented in its previous occurrences in the Rite. It is also a superset of 4-18 which is quite common throughout the work.1! Forte demonstrates that Set 4-18 was the prevailing set in the sketchbook version of this passage; however, with the added doublings of the melodic lines, it was made more complex, becoming 5-16. (He does not name the other 5+ note sets formed by the simultaneous sonorities). Set theory accomplishes the task of providing a vocabulary for discussing pitch groupings and relationships which are outside (as well as inside) the system of functional tonality. By using procedures such as set transpositions, inversions, and complements (in addition to other procedures), this theory opens the door to new ways of considering and describing the relationships between pitches, new ways of demonstrating piteh organization and scructure. In this respect, set A superset is defined as a set which contains specific smaller sets within it. Thus if set 5-16 is a superset of 4-18, the entire set 4-18 is contained in the larger set 5-16; 4-18 is a subset of 5-16.ot ~~ 41 theory is a procedure that can be applied to any type of music which uses pitches. It is possible to define the whole complex of pitches in any given work, by identifying prominent sets and subsets and examining their various inter-relationships. (Of course, such a procedure would be exceedingly complex if the pitches themselves were not systematically organized as in 12- tone equal temperament.) One of the main probleme however, with any evaluation in set theory is that the process whereby pitches are grouped as significant sets is not always clearly defined. It is often difficult to choose which sets are valuable to the overall structure, and which are not. While relationships may often be described between sets, their significance to underlying structure is, at least in this case, uncertain. Pieter van den Toorn has found a particular pair of sets which is clearly valuable to approaching the overall pitch structure, and which can be expanded through definable subsets which are likewise important elements in the work. These two related sets are the diatonic and octatonic scales. The diatonic set is a collection of the seven diatonic pitches (in any transposition). van den Toorn differentiates between the seven possible finals within any diatonic pitch collection through the tonal contextoy 42 of the fragments themselves (thus encompassing the entire range of diatonic modes). Against this treatment of the diatonic scale is juxtaposed the octatonic system. He presents the octatonic scale as occuring in three transpositions which he labels Collection I, II and t1r.1? (see Example 2.3). To apply this to the example under consideration, the first two measures are a subset of Collection II of the octatonic scale. In fact, the passage outlines the scale with the tritone as the central point. The opening passage uses both the ectatoni ' scale of Collection II in the accompaniment and the diatonic scale on "F" in the melody. Additionally, the important pitches occur in thirds, major and minor, and together, they incorporate the octatonic scale. (See Example 2.3). Between the octatonic and diatonic systems, several subsets occur which are common to both: for example, the minor and diminished triad, and the first four notes of the minor scale (pitches "A,B,C,D" from Collection II, for example). By providing large, easily recognizable units (essentially supersets), this theory operates on a broader scale than most other set theory analyses. Discussions concerning pitches in the second half of this paper will be closely related to this type of thinking. As a scalar approach, it is close to the way I2VYan den Doorn; 5o- ‘Van den Toorn, 50-51.ms _~ 43 we-hear the piece. Superimposition of these two systems accomplishes the same thing as do attempts to treat polytonality or bitonality in the Rite. ‘Thus, all (or most) of the pitches are related to an easily defined underlying structure. Of the three pitch-to-rhythm approaches, the octatonic/diatonic approach seems for our purposes to be the most successful in describing the pitch organization. This vocabulary allows us to discuss pitches at the local level and the underlying structure of the pitch collections. However, none of the systems clearly describes how the pitches are generated, or accounts for the underlying structure of the entire piece. "Tonal" analysis should prove to some extent predictive if the the work had generated from the system. Here, however such analysis simply cannot explain the movement from one element to the next. Set theory analysis proves unconvincing as a generative theory, except on extremely local levels. It does not demonstrate a systematic plan of transposition or explain all of the pitch collections and their occurrences. Since the octatonic/diatonic approach also fails to provide such a systematic plan, we may speculate here that the pitches, unlike those in a "tonal" work,ns 44 are somehow superimposed on another structural generator.13 In summary, there are important structural differences between a "tonal" work and this particular work. Detailed comparison of the way in which the listener experiences these styles demonstrates that the Rite does not create causal chains of events and is not predictable in terms of large-scale structure; it is an open rather than closed form. And while portions of the pitch structure can be explained by set theory, and more specifically the octatonic/diatonic theory of Pieter van den Toorn, the unifying structure is more likely to be found through study of the rhythm and rhythmic structure. 13 the tendency of lower pitches to imply dominant function in the Rite is reflective of the octatonic scale itself which tends to imply a complex dominant. The octatonic scale is utilized not only by Stravinsky but by other composers as well. This aspect of the structure will be explored in chapter 3.45 CHAPTER THREE Rhythmic structure Some Observations And Comparisons In no other area is the Rite more radical or striking than in its rhythm -- driving, irregular accents, tremendous surges of tension, and releases of energy. In order to relate our analytic approach to the work as we hear it, it is obvious that the question of rhythm will be central. However, rhythm is one of the most difficult musical areas to discuss. suzanne Langer writes that "the essence of rhythn is the preparation of a new event by the ending of a previous one." "The swing of a pendulum is rhythmic... The kinetic force that drives the pendulum to the height of its swing builds up the potential that will bring it down again; the spending of kinetic energy prepares the turning point and the fall."? In another example of rhythmic motion, Langer writes, "Each new comber rolling in is shaped by the undertow flowing back, and in its time actually hurries the recession of the previous waves by suction." The gesture of generating or building up tension--denonstrated one by waves pushing to shore and two by the physical act of simply inhaling--is called rcnsenneiiancersrent Suzanne Langer, Feeling and Form, (New York: Scribner's Sons, 1953) 126. 2 Langer 128. 3 Langer 128.rN ~ 46 arsis. The act of releasing tension--the waves receding from shore or the individual exhaling--is called thesis. In both examples, one motion is inherent in the previous one. In the German/European musical tradition of the isth- and 19th-century, the elements of rhythm and pitch are dependent upon one another. In fact, the operations of rhythm and pitch in this music are inseparable. The rhythmic significance of a pitch is largely determined by the durational values of that pitch, but, on the other hand, the rhythmic/metrical accent is defined or given by pitches. Therefore, as has been discussed in Chapter 2, the overall rhythmic structure of this music is created by the harmonic rhythm on several levels. A certain amount of tension is generated by chordal movement. The relative amount of tension is determined by the characteristics of the chord (which are part of the traditional tonal system). For example, the dominant chord generates a great deal of tension and the listener expects to hear it resolve at some point. Built into 2 statement of the dominant is the expectation that the resolving tonic must be sounded. If the music moves to VI instead of I, tension is still maintained; the piece cannot end. This harmonic structure is hierarchical and thus operates at all levels of the work.~ 47 The individual beats, their subdivisions, and the larger, consistent groupings together form the pulse and meter--tools which express the structure generated by the harmonic rhythm and the melodic form. These periodic elements form the underpinnings for the overall tonal structure. Groupings of temporal sounds or pulses can exist independently of a "defined" pitch and harmonic structure, However, the harmonic structure of a musical work must include pulse and meter for its execution: the sense of systematic movement from one event to the next. The sense of movement or passage as articulated through meter and pulse operates differently, depending upon the musical style. Many works of J.S. Bach, for example, denonstrate the use of the periodic articulated pulse which seems to Propel motion from the beginning to the end of the work in a consistent, uni-directional thrust or propulsion. At the local level, there is not a strong differentiation between beats; instead, the beats seem to be of almost equal value or weight. This continuous, articulated pulse generates a long arsis, which does not resolve until the end of the piece. The first fugue in C major, from the Well-Tempered Clavier is a good example of this process. (See Example 3.1). Its persistent use of stretto reinforces a sense of ongoing flow. Each clear cadence is balanced by aa 48 strong arsis in another line; when one phrase reaches a point of conclusion it becomes, at the same time, the arsis to the next phrase. These broad artic phrases seen to push through the meter, The measures themselves do not seem to be grouped into hypermeasures of strong and weak beats (or arsis and thesis). at this metrical level, each passage has basically the same intensity or creates about the same rate of tension. There are no large fluctuations of intensity between measures: instead a gradual buildup continues to the end. Thus, it is at all levels that the pervasive pulse seems to push forward "through" the metric units. Consistently growing and evolving, this stream of continuous energy is not unlike the musical experience of jazz. Observe Count Basie's "one o'clock Jump," for example.4 There is the same sense of forward thrust or propulsion that is experienced through an almost undifferentiated, articulated pulse. Almost mechanical in its persistence, the bass and drums continue a regular, articulated pulse which propels the listener to the final resolution. again the meter is generated by the harmonic changes. In both the Jazz and the Baroque examples, the pulse seems to push through the measures, metrical levels seem to have been created by the harmonic Tor wecording oF © For recording of Count Basie’s "One O'Clock Jump" see Smithsonian Big Band Jazz Collection or Columbia 45 rpm disc B-33301.ey oN 49 movement as well as by pattern repetition. In this system of unrelenting, uni-directional motion, an intensity is created which is not resolved until the work ends. By the time of Mozart, the nature of motion in the work had changed. In this musical style, the sense of motion was more like the waves on the beach as the tide rises. While the waves move consistently further onto shore, they proceed in a process of advancing--pushing forward--and receding. The pulse-to-pulse tension is much less than in Bach (or Count Basie) as the metric periods become more obviously significant. Focus has turned from the local pulse to the larger beats generated by the measure and hypermeasure groupings. For example, in Mozart's piano sonata #K533/494 in F major, the first phrase, stated in two measures, could be considered artic, followed by the responding thetic phrase. (See Example 3.2). Additionally, emphasis has moved to the motivic melody which seems to generate the music based on less persistant harmonic progression than in Bach (except in highly unstable transitions, development 11 episodes, etc.). At all levels, alternating harmonies are common, especially between tonic and dominant. Much more emphasis is placed on exploring and expanding this relationship within a key before traveling to a different one.50 Although there are moments of transition and climax, when this music seems to move with the propulsive force of Baroque music, there is generally a lesser degree of consistent tension in this music. Because the organizing factor is the harmonic rhythm which operates at all levels of the work, the work itself is extended and expanded. Now works have the flexibility to cadence, stop locally at one point, and introduce another harmonic idea at the local level, because the music is all perceived within a large harmonic structure. Additionally, at the local el, the music does not seen as intense rhythmically. Beethoven continues to expand the harmonic tension and explore the relationships within and between keys. In one of his works, however, he composes a passage which, for a moment, sounds like it was extracted fron the Rite using not only the same rhythmic, timbral and chordal structure, but many of the same pitches as well. This eccurs in the development section of the first movement of the "Eroica" symphony. From the beginning of the movement, Beethoven has imbedded certain conflicts in the rhythmic pattern through his introduction of the anacrusis in the opening measures 7-8, and subsequent extensions (measures 28-35, 109-112, 124-131). (See Example 3.3). By measures 124- 131, the movement, which began in clear triple meter,51 seems to move to a conflicting duple meter, then immediately shifts back to the triple as the music noves to the next section. This passage generates a tremendous amount of tension through harmonic and rhythmic conflict. In the development, the shifting, or rather alternating meters and elusive, unclear tonality in broad, percussive, repeating chords, together pave the way for the resulting passage at measure 280 where at the height of the conflict, the music suddenly shifts to a low, dissonant, repeated, percussive-like chord in the strings. For a moment the listener seems to have stepped out of tine into the future, into the Rite, A few seconds later, as the chord resolves, the scene returns to Beethoven and we realize that it was a temporary excursion to the edge of traditional boundaries, a result of the unstable chordal progressions, shifting, < wflicting rhythmic groupings and percussive "ictus" orchestration. (See Example 3.3). At the point of interest, the music has built up tremendous tension by sequential movement of unresolved chords. At measure 276, the harmony prolongs its resolution to the tonic by moving from repeated 1-6/4 chords in "Cc" to IV-6/5 ("PF"), However, instead of resolving finally to the tonic, as expected, the music abruptly stops. After a pause the strings begin that radically contrasting passage heard as a low, mysteriouscy 52 chord in undifferentiated beats. Its tonality is confusing in light of what has just preceded; instead of some type of harmony related to "c", particularly the dominant of "G", on hears a BM7 chord with the added minor ninth. It is unclear and startling in its intensity and abrasiveness. At measure 282, the minor ninth "Cc" resolves to a "BY doubling and the listener understands the chord as the dominant of E major or minor. Most importantly, when the tonality is unclear, the meter temporarily "lost", and when one chooses an undifferentiated sequence of equally weighted pulses...the passage sounds much like the Rite. In fact, it uses some of the same pitches as in the "Danse des adolescentes _¥et, as soon as Beethoven's chord is placed within a harmonic context, in this case understood as a dominant chord which is to be resolved in the next few measures, the passage immediately becomes clear and stylistically consistent; it sounds like Beethoven again. This suggests that when the tonality is removed or confused, focus moves to the sonority or to the rhythmic articulation itself, which has the potential to generate tremendous force of a different sort than that created by more typical harmonic rhythm. Tonal dissolution, however, is not enough by itself to recreate the musical experience of the Rite. Manylan 53 years later, Debussy repeats sone ideas or cells from the Rite in his viola, harp and flute sonata with mixed results. All through the final movement of the piece, Debussy has passages which suggest the machine-like pulse of the Rite. In measure 43, the harp and viola begin with an ostinato made up of alternating pitches a tritone apart. In this context, the interval, one used frequently by Stravinsky, has no clear "tonal" meaning. (See Example 3.4). Although the instruments are by nature delicate, and the sound sensuous, Debussy incorporates colorations and slight nuances which suggest percussive qualities. at measure 46, the flute plays a distant echo of the haunting motive of the "Danses des adolescentes." It is followed by an opening four-note motive which is similar, though not identical, to the passage at R14 in the 2, "Db, Bb, Eb, Bb." This time, however, the notes include the tritone: "Gb, C" which later are expanded to "Gb, C, Ab, Cc." The nature of the instruments, the slower tempo, and the legato quality of the performance prevent this section from creating exactly the same type of abrasive, aggressive impression as the music in the Rite. Yet it definitely sounds like a reference to the earlier work. Over the ostinato, the melodic passage first stated by the flute returns (measure 50). It is similar to theo 54 Russian-based tunes which permeate all of the Rite. Instead of being reordered and perhaps lengthened or shortened by a single cell, however, the melody is embellished and prolonged. Unlike the Rite, the same idea is not repeated again and again. Rather, the music seems to grow from one idea into the next, suggesting the process of progression (measures 50-54, 54-57). The illusion of Stravinsky's Rite is finally and completely destroyed when the harmony changes and the basic pattern continues (Measure 58). The tension which has been generated and increasing in the previous passage seems to dissolve as a harmonic thesis takes place (Measures 54 and 58). What begins sounding like the Rite has become, in almost imperceptible increments, Debussy. (See Example 3.4). Several musical works outside of the Western European musical tradition contain characteristics which are similar to aspects of the Rite. Although it is not known whether stz insky was familiar with these works when he composed the Rite, such a comparison is still valuable for studying and describing the structure ana impact of the Rite. Let us look first at examples of African drum music from the Yoruba of Nigeria.> Characteristically, the ® "The songs are located on the recording African and Afro-American Drums, Ethnic Folkways Library FE 4502) Band 7 “Drums of Nigeria - Yoruba" and 4502A: Band 1, “Ruanda - The Watutsi."oN 55 instrumental numbers are polyrhythmic, more than one rhythmic pattern performed simultaneously. The rhythms are usually conflicting and ambiguous when played, allowing more than one interpretation of the patterns. The first example, performed on the "Igbin" talking drums, begins with the smallest drum playing alone a simple pattern which could be heard in 6/4 meter. (See Example 3.5). After approximately five repetitions of this pattern, the drum is joined by the larger bass druns and a few beats later by the full percussion ensemble. Immediately, the pulse suggested by the single drum has been changed. Now a new composite pattern emerges (6/8), and the opening instrument is reinterpreted. (see Example 3.5). ‘The rhythmic patterns are redundant and their repetitions are self generating, becoming almost hypnotic as they continue. Part of this effect is caused by Properties inherent in a compound meter. With triplets, the arsis moves to thesis gesture in a more gradual, almost circular type of motion. Thus the transition from ene gesture to the next is powerful but not as obvious as the duple units, and the motion seems to be ongoing, possibly continuing forever. Each drum is identified with a particular rhythmic pattern, Thus as they are played simultaneously, each still retains a particular identity. Since emphasismm 56 includes not only the successive orderings of the vhythmic patterns but the interrelationships of the simultaneous sounds, there is a sense of spatial texture or structure in the music. The tempo of the underlying pulse differentiates and marks these works to a great extent. Additionally, the faster the pulse, the more percussive and powerful the impression upon the listener. Most of the instruments play a repeating pattern. However, one of the instruments incorporates variations in its repetitions. Thus it will play a pattern, pause for a specific period, repeat the pattern, and pause for a shorter or longer period of time. The entrance of this pattern seems to mark larger groupings of the music. Since the entrances are irregular, another layer of conflict is created in the work. In other words, the larger groupings formed within this music, are irregular. Within the continuous rhythmic patterns, improvisation is employed, but only to a small degree, for example, the addition of extremely short notes, similar to grace notes, before or during the playing of the primary pattern. The overall effect of this music is a generation and release of large amounts of energy. The listener seens to tap onto an ongoing process or experience which he later leaves, but which might continue indefinitely, just as if one were pushing a pole into the earth and57 encountered an underground stream. The sense of aggression and incessant motion occurs from the unending repetition of the parts, and the conflicts which are created between the various rhythmic patterns which are never resolved. The Rite also contains passages of a similar rhythmic complexity in which several conflicting rhythmic patterns are superimposed. The entire section "cortege du sage" beginning at R64 is structured in this way. At the background level for both these passages and the previous example, there is a sense of stasis, a huge block of sound within which melodic or rhythmic fragments are reiterated. However, while the music seems static at the large scale, it is extremely vibrant and active at the foreground where motion continues at a rapid pace. The conflicts are augmented in the Rite because not only are the rhythmic patterns in conflict, but the pitch patterns and the suggested tonal centers are in conflict. This is an important characteristic of the *cortége du sage" because the tremendous tension aptly prepares the way for the finale of Part I, "Danse de la terre." Jazz saxophonist Ornette Coleman performed two works which further demonstrate characteristics in common with the Rite. The first work "Congeniality" is based on an opening melodic pattern which is improvised by the alto58 saxophone and trumpet over drums and bass.© ‘This work is a development of earlier jazz styles. It contains the constant pulsation by drums and bass guitar at a fast, driving pace. However, the avoidance of periodic harmonic patterns which might generate a metrical structure, removes the work from traditional jazz. The harmonic changes are suggested by the melodic lines, but they are diffused over a period of time, rather than sounded at one particular point. What are created, then, are broad artic passages which build and recede, never truly resolving even at the end of the piece. The work seems to stop, not to resolve, as the energy is continuously being released. In a later work, Coleman carried this idea of free improvisation to its logical extreme, the complete removal of harmonic progression from the work. He felt that if one had to use a particular harmonic pattern as a basis for an improvisatory melodic idea, then one might as well write out the melody, thus losing the vital spontaneity and creativity essential for performance. Therefore, in order to allow a musical medium where melodic ideas would be free of the limitations of generative harmonic structure, Coleman created the form he called free jazz. In this form, the performers freely 8 the recorded Soar 7 The recorded song "Congeniality" is located in the Smithsonian Collection of Classic Jazz, PG11891, Side 12: Band 2.59 improvise, responding to one another, and are not guided by a harmonic pattern or underlying tonality. “Free Jazz" is a work of 36-minutes duration that is the result of an all-day recording session.” The instrumentation consisted of saxophone, trumpet, bass clarinet, basses and drums which were divided into two quartets and placed opposite one another in the recording studio. The passage chosen for examination which occurs near the beginning of the recording (Side A) is framed at both beginning and end by an explosion of sound as the instruments simultaneously play rapidly, rising and falling chromatic lines (labeled "x"). The conflicting, abrasive melodic fragments create a sense of utter chaos, suddenly followed by a succession of sustained sonorities (labeled " ) which the instruments slowly and simultaneously sound. This segment of the entire work is ended by the return of the two opening passages, this time in reverse order, creating an arch-like, retrograde effect: (x) (y) (body of the passage) (y) (x). The main body of the section follows the opening gestures based upon a driving pulse in the bass guitars and drums. In this passage, two basses and two drunmers ——— eee The complete recording is called "Free Jazz" by ornette Coleman, December 21, 1960, Atlantic S-1364. Excerpts of this recording are located’ in the Smithsonian Collection of Classic Jazz, Side 12: Band 3.60 set up and continue a constant, undifferentiated non- metric pulse, over which the saxophone, trumpet and clarinet play. Those instruments enter and leave the texture in short, alternating and often overlapping, percussive spurts. The sounds range from chromatic fragments to excerpts of nursery tunes; from single, short, rapid blasts to long, held tones. one performer might begin a short melodic fragment which is taken up by another instrument, then abruptly halted as other ideas emerge. Each new beginzing is heard as a new event, one which fuels the pulse. * The longer the pulse continues, the more it seems to generate itself. The music seems to become hypnotic, like that of the African drum pieces. At one point, the listener receives a shocking jolt as the bottom seems to fall out of the music. This occurs when the drunmer himself begins to improvise and changes the pulse from a consistent, undifferentiated redundancy to a conflicting irregular rhythmic pattern with contrasting long and short accents. The basses also insert more complex rhythmic patterns into the texture. At that point, the entire work seems in chaos and the listener has no sense of order, progression, or concerted motion. Just as suddenly, the drum returns to the original pulse and all of the elements fall neatly into perspective.61 The texture in this music does not remain as thick as in the earlier example of Nigerian drum music; one does not experience three or four unrelenting, and conflicting patterns throughout. Instead, the texture shifts between many voices and few as the various instruments enter and leave the passage. The organizing element is the continuous, machine-like pulse by the bass and drum and the restatement of motives or motivic cells. Additionally, because of the sporadic, irregular timing of events, which are not predicted by any harmonic or even melodic statements, no large, consistent grouping is generated. The short, percussive blasts of sound by the trumpet and the sax, are similar to the short blasts of sound played by the brass, winds and other instrumental combinations in passages of the Rite such as the "Danse sacrale" and "Danse de la terre." These repeated, accented sounds suggest to the listener the existence of larger rhythmic groupings. However, the occurrences are always irregular, and like the free jazz, never create a regular rhythmic pattern. The result is the generation of tremendous tension and power. Similarly, during a passage in the "Danse sacrale," the listener experiences an equivalent sense of shock, like the “bottom falling out." At R174, the consistent rhythmic pattern is replaced by a seemingly chaotic62 passage where all of the instruments play in conflicting and unrelated melodic/rhythmic fragments. Instruments enter and leave the texture in sporadic gestures, playing short percussive motives and melodic fragments. when the ostinato rhythmic pattern returns, it is heard as a thetic gesture, decreasing the tension that had been generated in the previous passage. However the decrease in tension is momentary. As the music continues, the listener realizes that the tremendous tension and energy of the previous passages has been redirected toward the final culmination in the last section of the work. A most extraordinary rhythmic exercise is demonstrated in the Balinese "Music of the Ketjak."® of the works previously discussed, this piece is most similar to the Rite in rhythmic structure. one hundred to one hundred fifty men form the "monkey chorus," creating a powerfully exciting musical experience filled with strongly percussive and almost physically assaulting sounds. Amazingly, all of the music is performed vocally. 100 to 150 dancers sit in concentric circles, twist their bodies back and forth vhythmically, throw their hands into the air with breathtaking precision and utter fierce This recording is taken from the Music Bali, Philips 831210P4, Side 1: Band 1 "The Ketjak of Bona." Recorded by Joachim E. Berendt in Bona 1/1, 1962. Another recording of the ceremony is found in Bali, EMT co64-17858, Side 1: Band 1 "Tjak."63 cries, each single cry timed to a fraction of a second. Outside and inside these circles, a few girls are singing and dancing. They recount episodes from the ‘ramayana' tale, the holy Hindu epic of which traces can be found all over South and South East Asia...In the dance, the 150 men whose rhythmic shouts fill the air, symbolise the warriors of the two opposing armies of Rama and Rhawana.9 The piece is sectional, forming a broad AB. Part A is composed of many short sections each of which consists of rapid, disjunct, repeated syllables shouted in precise alternation by the two groups of men. At the end of each section, the returning phrase "ha!, ha acts as a marker or period. Part B consists of a melody in what we might call the mixolydian mode, sung in unison, occasionally interrupted by the return of a section from Part A. At the end, the melody ascends in a grand crescendo to a high, sustained pitch. Part A demonstrates rhythmic patterns valuable to this discussion. The two groups of men shout the syllable such as "ooh" or "ah" at nearly definite pitch. The groups alternate so rapidly that the result is a composite, rapid 16th-note pulse which can be written as 1-2-1-2-1-2-1-2. » Tepresenting the first and second groups of men. ‘Underlying this repetition is a slower two-note ostinato sung by one person at a rate of one note for every four syllables, thus grouping the 16th- — Ti foachin E. Berendt, Record notes from the Music From Bali, Philips 831210P4.64 notes into quarter notes. Further, the pitches of the slower ostinato are approximately a fourth apart creating @ larger upbeat, downbeat grouping. (See Example 3.6). Level 2 determines the strong and weak beats in Level 1, so that group 1 is accented. However, group 2 because of a slightly higher and sharper timbre is heard as the stronger, dominant beat. This sets up a conflict between the upbeat and downbeat which effectively sustains a high level of tension throughout the passage. After 6 measures, all of the voices come together in a triplet, its time value equal to one quarter note. This sth-note triplet replaces an eighth note in the ongoing rhythm, disturbing the 1éth-note motion. The motion slows down for a moment, because of the interruption causing the triplet to be perceived as an ending or cadential motive. Before the motion entirely stops, however, the voices resume their insistent chanting, this time on a different vowel. The underlying drone continues undisturbed. At the upbeat of the third measure, another voice interjects a high flute-like ooh! sound which descends smoothly in one uninterrupted fall. As it falls, the volume of men's voices decreases for a moment, then returns to its initial level. again the ending figure returns. Section a2 returns on the vowel "ah"! This time the section is only 4 measures long and pauses again at theaC 65 cadential figure. After this section, the leader (drone) begins alone, a new ostinato, this time based on a new text, "eli-a-mo-ra." The text generates the following rhythmic pattern which continues the same 4/4 metrical grouping. (See Example 3.7). The lead singer uses the pitches of the previous passage, "Bb" and "Eb." After singing this pattern four times, the leader is joined by the choruses, which resume the same 16th-note percussive pattern. The passage continues for a relatively short period, until the return of the closing ath-note triplet. Then the piece moves to Part B. Part B begins with the melody in unison by all of the singers. Occasionally, the melodic pattern is interrupted by a return of a segment of Part A. It provides both a strong contrast and a sense of continuity. Portions of Part A then act as a rittornello in Part B. The music of the Ketjak is sectional; as the music shifts abruptly from one section to another, all of the elements move together, Although the music of Part a is basically the same, it is divided into sections by the returning 8th-note triplet which becomes the closing figure, and by changes in syllables and ostinato at the beginning of new sections. At the smallest levels, tension is generated by the alternation between the opposing groups in pitch and66 timbre, by the reiteration of the léth-note pulse and by the shouting timbre of the voices. The underlying quarter-note ostinato adds further conflict to the texture. However, at the larger levels of half-note and whole-note or measure groupings, there is no conflict. In fact, it conforms to the Western metrical system at this point. The insistent 16th-note pulse creates a basic propulsion in the music, which is augmented and supported by broad crescendo and decrescendo by the choruses. These crescendoes play an important role in the piece by adding direction to the line, to the tremendous accumulation of energy. There is a sense that the music is moving forward to a specific point or event. The Rite shares several characteristics with this example. Both pieces are sectional, one section interrupted by a contrasting one. Both convey a forcefulness and power simply as a result of their timbre. Shouting-singing by 150 voices in such a rapid and precise manner is impressive and striking (the sensation is similar to that produced in several passages of the Rite). The interruptions by portions of Part A of the melodic Part B of the Ketjak music give a sense of cohesiveness to the entire piece. Use of recurrent motives as a means of cohesiveness and formal structure67 for the piece is another trait shared with Stravinsky's Rite. Usually, when this trait is employed in Western/tonal music, it is understood within the context of "tonal" form. In these cases, the repetition itself is form-creating. The Rite also contains passages based upon the fast, articulated pulse which is a vital part of this musical example. Specifically, this rapid pulse is the composite sound of individual units. In the case of the Balinese musical example, the pulse is created by individual shouts or syllables. In the Rite, the individual units are differentiated by timbre and range or pitch. Additionally, Stravinsky varies the combinations of units to create differing rhythmic cells, which are then combined to create still larger rhythmic complexes. (See Introduction R7, "Jeu du rapt" R40, "Jeux des cités" R59, for examples). Like the music of the Ketjak, tension is generated by the insistent, rapid pulse which supports the passage. Unlike the Balinese example, however, conflicts occur in the music of the Rite not only at the smallest levels but between all levels. Broad crescendes are also common in passages of the Rite. Usually the crescendo occurs in a tutti section. In some cases, the crescendo is built into the music by the gradual addition of more instruments and sometimes more melodic fragments to the texture. The use of thesea 68 broad crescendo is a common device in Stravinskys' music, indeed in Western 1éth- and 19th-century music. In this particular work, it has the effect of consolidating xhythmic energy into a concentrated and directed force.69 CHAPTER FOUR ‘The Configuration of Materials In Chapters Two and Three, certain aspects of and analytical approaches to the Rite have been discussed, contrasting the pitch and rhythmic profiles to those of “tonal" music. In addition, we have explored briefly a sampling of other works which seem to share certain traits with the Rite. After this examination, we have concluded that the generating structure of the work can best be understood through a rhythm-to-pitch approach. Before speculating further concerning the generating structures, however, it will be of value to review the formal layout and to describe more clearly the various components of the work. The Rite of Spring is divided into two parts or tableaux which are each subdivided into individual, titled dances. Within these tableaux, the same motives and patterns often return. Since the only "cadential” points in the entire work occur at the end of Parts I and II, the dances are not heard as separate movements but as sections of a larger movement. Therefore, Part I and Part II will be regarded as two large movements which are then subdivided into sections roughly corresponding to the titled dances.70 Part I consists of seven sections Introduction (R17? “Danses des adolescentes" (R13) "Jeu du rapt" (R37) “Rondes printaniéres" (R48) "Jeux des cités rivales" (R57) "Cortége du sage" (R67) "Danse de la terre" (R72) "Adoration de la terre" (R71), although designated as an independent dance in the score, is not considered a separate section in this study, since it is only four measures long and basically consists of two sonorities. Instead, it will be treated as a linking passage between du sage" and "Danse de la terre." entire Zirst movement is characterized by the overlapping of sections. The ending segment of one section usually contains both the final chords of the closing section and the introductory chords to the next. While there are smooth transitions between sections in some cases, the closing segments are never fully resolved before the new section begins. In other moments the change from one dance to the next is startling, as one Tthe French titles of the dances are retained for this study since these names are the ones most commonly recognized and used in discussions of the Rite of spring. 2 "RM" stands for the Rehearsal number as given in the score.cy section is abruptly interrupted at the point of climax by the beginning of the next. Part II consists of six sections, several of which are similar in form, tempo and character to sections in Part Introduction to PIT (R79) "cercles mysterieux" (R91) Glorification de l'elue" (R104) "Evocation des ancétres" (R121) Action rituelle des ancétres" (R129) Danse sacrale" (R142) “Cercles mysterieux" is initially problematical because although it is labeled as a separate dance, it sounds like a continuation of the Introduction of Part II. In both sections the same melodic fragments continue to return. On the other hand, further investigation reveals that "Cercles" introduces new ideas and themes and is of such length and magnitude that it could be considered independently. Therefore, it is classified as part of the Introduction to Part II but is examined as an independent section. The sections in Part II do not overlap from one dance/section to another as they do in Part I. In this tableau, each section stops before the next section begins. Although some of the sections are shorter than those of Part I, a degree of balance between the two72 movements is created by the final section, "Danse sacrale," the longest section in the work. The form and texture of the Rite is additive in two ways.? Music often extends by establishing an idea, then introducing a new, contrasting one, often by simple juxtaposition. Since the number of ideas which might be strung together successively is unlimited, the primary Process of temporal extension can be considered additive. In the second sense of the word we find highly differentiated materials given simultaneously, often introduced one at a time, combined to create a layered texture. Both additive techniques are used so commonly in the work, within the dances and between them, that they become central to the character of the work. Every dance/section in the work uses juxtaposed, successive ideas. The beginning of the Introduction to Part I, for example, is structured through the succession of contrasting melodic fragments, which are later combined in the layering technique. " eu du rapt " (R37) and "Cercles mysterieux" (R93) use successive melodic fragments throughout. 3 dhe term “additive” usually refers to a specific type of open-ended structure common to many West African musical forms (among others). (See Chapter 3). However, the term is used here to describe similar, open-ended techniques which are found in Stravinsky's music. Therefore, for purposes of this study, the term "additive" will mean in actuality, "additive-like" characteristics within the European form.73 In these juxtaposed passages, different types of contrasts may occur. For example, the primary motive of "Glorification de l'elue" consists of a composite rhythmic motive, the principle idea of which is played by the upper strings, horns and winds (R104). Preceding this idea is an introduction consisting of a repeated low dissonant chord, reiterated in continuing quarter notes by timpani, doublebass, contrabassoon and tuba. After several repetitions, the principle idea in the upper winds and strings is interrupted by the sounding of nine repeated pitches in undifferentiated quarter-note motion by timpani and bass strings, echoed by dissonant, alternating eighth-note chords in the horns, strings and eboes. This passage is heard as an expansion of the introductory idea. In addition to the contrast within the rhythmic pattern, there is a contrast in range between the high and low voices and between the complex, irregular pattern of the dominant motive and the simple, undifferentated iteration of the secondary or contrasting element. *Rondes printaniére: " differentiates its conflicting elements by range, timbre and texture. Contrasts in texture and timbre between the thick, chordal-like ostinato/motive in the low strings, bass clarinets and contrabassoons, and the linear fragment in the high oboes and clarinets (also supported by bassoons) are heightenedoy a 74 by marked differences in range of the two passages. (See R49). "Danse des adolescentes" creates a similar contrast between a thick, dark percussive chordal passage and the linear, light four-ostinato pattern. one dance, "Evocation des ancétres," is built almost completely upon the contrasts within timbre; the same passage (an alternation between two chords) is repeated by different groups of instruments. Although the finale, "Danse sacrale" incorporates timbral changes, the emphasis is rather on contrasts of loudness. The passage at R188 is repeated by the strings in a soft, dark, percussive manner. Immediately it is followed by a startlingly loud repetition of the same idea in tutti. Not only has the timbre changed but the volume and impact of the passage has also changed. An additive process also occurs, though not as frequently, by adding weight to a material by instrumental doubling or reorchestration. an idea stated in one part or instrument might later be joined by many other instruments as various timbres are imprinted on the same idea. In "Danse sacrale" at R158-159 we find a clear example. During the first three measures of R158, the strings continue the rhythmic chordal pattern that has dominated this passage. suddenly at R159 all of the winds, and horns join in the same idea, as if someone suddenly turned up the volume of a radio.78 However, the additive textural process, or superimposition, takes place most often in musical ideas rather than orchestration. In the additive texture contrasting and/or similar ideas are superimposed. Layered textures occur in every dance, but they are most Prominent at points of climax. “Cortége du sage" (R64), fox example is based upon a single ostinato which continues throughout the section. Other elements are continuously superimposed on the texture, building an intensity of monumental proportions. Likewise, the Introduction to Part I-incorporates a layered texture at its point of climax, R10 and R11. "action rituelle des ancétres" (R129), is another example of a passage based almost entirely on the layered texture. It begins with an articulated pulse in the percussion. First the horns join the pulse, then the English horn (EH) begins a melodic fragment. The alto flute later superimposes a complementary melodic fragment. After a certain amount of activity, the additive process begins again at R131, and this time builds to a tremendous climax at R134. The e is composed of various kinds of materials, including tunes and tune fragments, continuous moving patterns, ostinatos, repeated chordal patterns, artic sweeps, chordal "blasts", special effects such as glissandos, trills, orchestrated drum rolls, and invertedcy 76 orchestration. Tunes and tune fragments in the Rite occur in two forms, isolated and independent of the texture, or as part of a chordal statement which usually includes the entire orchestra. In the first case, the types of tunes range from melodies that are more or less self-sufficient, to truncated fragments of as few as two pitches, or chromatic successions of a few notes (R155). The opening melody, based on a Lithuanian folk tune, which returns at the end of the Introduction, is one of two occurrences of an isolated, completed melody in the work.4 (See Example 6.1). The first time the bassoon Plays this haunting tune, a horn joins the texture with pitches dissonant to the melody, in soft, sustained tones, presenting the first suggestion of a non-"tonal" work. The tune is modal and does not clearly define its tempo. Highly embellished, the melody establishes "A" as its primary pitch. When this tune returns, signifying the end of the Introduction, it is transposed one half step lower and repeated in its entirety. (See Example 6.1). The second instance of a completed melody occurs at the beginning and end of "Rondes printaniéres" (R48 and R56). Framing the section, it employs the same characteristics as the previous melody. Again the melody is isolated, accompanied by only a soft trill which helps The use of borrowed materials will be discussed in Chapter 5,7 to sustain a degree of tension. This time, two instruments play the melody, clarinet and piccolo clarinet. ‘he tune is again modal, moving from an upper tetrachord to a lower one and then back. This song is longer than the first, and again is complete within itself. Upon its return at the end of "Rondes printaniéres," the tune is repeated and raised one step higher midpoint in the phrase. The melody then continues with its original pitches to completion. Both melodies frame a section, occurring at its beginning and ending. Both use little or no accompaniment (the Lithuanian tune has none at its return). Additionally, both melodies are altered upon restatement by a subtle change in pitch. These melodies are played by winds and are most striking because they are in such strong contrast to the body of the work. The majority of the tunes in the Rite are fragmented, open, and incomplete, centonically repeating and reordering the sae ideas. These tune fragnents stand out in the texture as independent, bold objects. Highlighted (stated) in one or two particular parts, these short, rapid fragments frequently occur over a thick, chordal texture. Passages R19, R25, R46+1, R54, R61 and R81 demonstrate the most common types of fragments. (See Example 4.1).78 In R43, the tune fragment is played and accompanied by the entire orchestra, instead of a single instrument, demonstrating the second type of setting in which tune fragments occur. (See Example 4.2). In a chordal (nomophonic) setting like this, the focus moves away from the actual melody to the entire texture. Usually these "harmonized" passages occur at the climax of a particular section or dance. They often result from the restatement of a fragment which occurred previously in a single part. The same methods of tune manipulation are used in these examples as in the previous discussion. Passages at R43, R50, R53, R57 and R62 are good examples of this type. (See Example 4.2). Repetition occurs not only in the form of the permutations of tune fragments, but frequently in the form of continuous moving patterns--ostinatos. ostinatos are found in all of the dances, especially within the layered textures. The ostinatos may occur in either pitch er rhythm. In this work, however, the ostinato most commonly includes both the pitch and rhythm. Several dances use this basic form of the ostinato as the fundamental idea or foundation, over which other elements are placed. For example, "Rondes printaniéres" incorporates an ostinato in the doublebass and contra- bassoons which is combined with repeated chords in the lower strings. Together these ostinatos create a large-79 scale structure of tremendous conflict and tension. Although these ostinatos separately create little tension--a rest and three repeated quarter-note chords in the second violin and first viola; three ascending notes in the bass clarinet and second viola--the voicing is such that the listener hears not a 4/4 passage but a parsage alternating 3/8, 5/8. (See Example 4.3). Repeated chords are heard as upbeats rather than downbeats, since the downbeat is not usually stressed by an accompanying voice. The tremendous conflict generated by the ostinatos is thus a product of ambiguous downbeat signals. The conflict continues throughout the passage, ending with the transitional secton at R54. An ostinato sometimes occurs solely in the pitch pattern. At R47, for example, the same pitches are repeated: CF 6 cl BbG. The first time they occur they are grouped in triplets. When the pitches are repeated the second time, they are grouped in duplets, or 2 + 4. Repeated again, they are returned to triplet groupings. Another example of ostinatos based upon pitch is found in "Jeu du rapt," (R40). Here, the notes are all of the same duration, eighth notes. The dominant motive stated by the horns, forms a 9/8 meter. However, at the same time, the solo violins repeat a four-note pitch ostinato, accented at each new occurrence, thus superimposing a 4/8 meter onto the texture. While the80 pitch ostinatos are simple within themselves, together, they create a 4 against 3 conflict between their pitch/metric patterns which clearly exemplifies the type of "metric dissonance" common in the music. Rhythmic ostinatos without pitch repetition occur much less frequently in the work. The next example, "cortége du sage" (R70), uses all three types of ostinatos. The entire dance is a layered passage based upon a pitch and rhythmic ostinato which continues from beginning to end of the section. over this ostinato, other materials are gradually superimposed. At R70, the meter is 6/4 but no part clearly supports a 6/4 meter, The tuba ostinato, which is the dominant motive of this dance, creates a 4/4 meter by a simple dotted half and quarter-note measure, which is grouped into larger, four measure phrases. at R70 the 4/4 pattern continues although the music is written in 6/4. Over this four-beat motive, the piccolo clarinet plays another 4/4 figure but with a different, opposing rhythmic pattern of quarter note followed by dotted half. Because of its timbre and volume, it is striking upon occurrence. When first heard, it sounds like a repetition of the first rhythmic pattern which has been misplaced by one beat since the same note values are used, though misplaced. (See Example 4.4.) Meanwhile,81 the strings and bassoons play an undifferentiated eighth- note pulse which equally supports all of the groupings in the texture. : Flutes, oboes and Vin-I have related patterns. The flute and violin ostinato generates another 4/4 grouping, is conflicted by the alto flute, english horn and oboe which sound in duple groupings, shifted one quarter note from the meter. (See Example 4.4). Clarinets join the texture at R70 with a 4/4 8th-note ostinato. Although these instruments use a rhythmic ostinato the pitches seem to be centonic--shifted, reordered, repeated in a constantly changing pattern. Against the barrage of duple meters (2/4, 4/4 and 6/4) sounding in the strings, winds and brass, the timpani defiantly sounds a figure in triple or complex meter. Although written in 6/4, the repeated eighth notes are accented every third beat, forming in effect, 12/8. The timpani's conflicting 12/8 meter is supported by the bass drum and tam tam which occur only on the accented beat of the timpani, in other words, sounding at the strong beat of a 12/8 measure. Within this 12/8 meter, the guero subdivides the four bass drum pulses (dotted quarter notes) into two beats rather than three. Thus, the effect of the guero is to create a slower 4/4 pulse within a 6/4 measure. (See Example 4.4).ry 82 This passage demonstrates the ostinato in all forms, pitch and rhythm combined (tuba), pitch ostinato (horns), and rhythmic ostinato (oboes). Together, the elenents generate one of the most intense, hair-raising passages of the Rite. A special type of continuous moving pattern is found in the repeated rhythmic patterns of chords, which occur most often in the strings. Stravinsky achieves a percussive-like sound in these passages by placing the strings in low, closely spaced, dissonant chords which are repeated or reiterated. "Danses des adolescentes" is a famous example. The rhythmic pattern is highly, even physically assaultive in its irregular accents. Another example of the percussive-like chordal rhythmic pattern is found in "Danse sacrale," beginning at R149. This time, the timbre includes strings, horns and contrabassoons. By R159, the rhythmic pattern has been taken up by the entire orchestra. again, the same chords are repeated. This percussive nature extends to other chord structures--short, staccato chords, which alternate or change in the rhythmic pattern. such chords sound like "blasts" or short “explosions” of sound which are superimposed onto the musical texture, complicating the rhythmic/metric structure and intensifying the passage. (See for example, "Danse de la terre," R72).ry 83 The finale in Part I consists of broad chord blasts, played by most of the instruments at intervals which create a large, irregular rhythmic pattern. Under this iteration, the timpani sets up a 16th-note pulse, which creates a powerful thrust. At the same time, bass druns play a contrasting triplet pattern producing a complex three-against-four articulation in the percussion. Additionally, bassoons play a quarter-note ostinato consisting of three ascending pitches. The interrelation of these elements produces a combined statement that is one of the most intense, powerful, and exciting passages in our music. Lawrence Fredrickson describes a similar effect in the instrumentation of Stravinsky which he defines as "ictus scoring."® Ictus scoring is "the percussive attack of a chord by staccato doubling with an after- ringing affected by a sustaining of the chord in a lighter, more transparent scoring."© In the Rite, "ictus as defined by Fredrickson is not common, because the use of sustained, lighter chords which remain after the staccato doubling has ceased, is infrequent. However, the gesture of ictus scoring occurs in the use ® tawrence Frearicks: " i ' Lawrence Fredrickson. "Stravinsky's Instrumentation, a Study of His Orchestral Techniques," University of Illinois, Urbana, Illinois, 1960. © Predrickson. 123.a 84 of the staccato doubling of accented chords in a repeated, often irregular, rhythmic pattern. In the "Evocation des ancétres" (R121), for example, the brass and winds play a passage which consists of two alternating chords and rhythmic values (half and quarter notes). At the fourth measure, irregular accents are placed on the chords, forming a conflict with the meter. The accented chords are doubled by percussive, staccato chords in the strings. For purposes of this study, the term "ictus scoring" will be used to describe not only the percussive attack of a chord by staccato doubling in short, thick chords, but also to describe the frequent, percussive chord blasts which characterize the music. An important percussive technique/characteristic found in the Rite is the "artic sweep." Using the term "percussive sweep," Fredrickson defines it as "the upward rushing scales and glissandos in unison and octave doublings of lower strings, piano and occasionally horns, culminated by an ictus scoring of brass, upper strings and sustained woodwinds."7 In the Rite, artic sweeps are common. They add tremendous force to the phrases or chords which follow. The artic sweeps act as strong upbeats which create and support the downbeats which follow (even if those downbeats are in conflict with the 123.85 notated meter). Almost every dance in the Rite uses this gesture. In "Jeu du rapt," (R45) for example, the artic sweep occurs at the end and signals a movement to the broad descending passages which introduce a new event. "Jeux des cités," (R63+9), is another example of a broad artic sweep, followed not by an ictus chord but by a sustained sonority, using trills and a low, fast ostinato in the doublebass and contra-bassoon. In the finale of Part I a broad artic sweep occurs, followed by ictus scoring in strings over a rapid pulse articulated by timpani in both triple and quartal groupings. As the passage continues, vestiges of the artic sweep recur before the final ictus chords. "Glorification de l'elue" in Part II uses the artic sweeps in its dominant motive. Each sweep is followed by short, staccato and percussive-like chords-- chords which are also examples of ictus scoring--forming an irregular rhythmic pattern. an even broader artic sweep is created in the introduction to "Glorification de l'elue." At R103, the entire measure consists of chromatic, ascending, rapid pitches in the flutes, clarinets, oboes and upper strings. It ends in a single ictus chord, followed by the famous 11/4 measure of repeated percussive chords. Finally, the gesture occurs in the finale, "Danse sacrale" (R181), where the piccolo and flute introduce86 ictus scoring. In fact, the last measures of the Rite are an artic sweep in the flute ascending to a trill on the uppermost notes, and followed by the final chord. The shorter artic sweeps consist of glissandos, which are common special effects in the texture. another percussive technique used by Stravinsky is what Fredrickson terms an "orchestrated drum roll." at these passages, the music creates a tremendously sharp and powerful crescendo as the number of instruments increases until it reaches the climactic chord or passage. Passage R62 is a clear example of this effect. In the midst of "Jeux des cités" the double basses and contra-bassoons begin an ostinato which builds with the successive new additions of other instrumental parts to the sane rhythmic pattern. The climax culminates two measures later. Partly because of the grace notes which themselves act as miniature artic sweeps, each chord sounds as if it were a downbeat, creating a strong, undifferentiated, pulse-like figure at the larger rhythmic level. Another common technique is the use of the trill to maintain the level of energy that has been achieved in previous passages. It is most often a transitional device, allowing the music to move from one idea to the next and maintain a certain cohesiveness. The trill can also act as a dynamic agent, for not only does it87 maintain the energy level but it often generates tension and increases the intensity within the passage. The Rite creates a radically different musical sound from other works of its period. Much of this is the result of its orchestration. The work requires the large instrumentation we often associate with the last stages of the "Romantic" period, including in many cases a number of instruments within a single family. A total of 102 performers were required for the first performance of the Rite. The list of instrumentation for the work is as follows:® 2 Flute-Piccolos 3 Flutes (including Alto Flute) 4 Oboes (Oboe IV = EH-II) English Horn I Clarinet in D (piccolo clarinet) 3 Clarinets Bass clarinet in Bb 4 Bassoons Contrabassoon 8 French Horns Trumpet in D (piccolo trumpet) 3 Trumpets in c Bass Trumpet in Eb (F) ® "this list was taken from the first folio of Stravinsky's sketchbook, "The Rite of Spring, Le Sacre du Printemps; Sketchbook 1911-1913," Boosey & Hawkes, 1969.oy 88 3 Trombones 2 Tubas 4 Timpani Percussion: Bass Drum, Tam Tam, Guero Rape, Triangle, Tambour de basque, Antique Cymbals Ab and Bb 16 Violin r 14 violin II 12 Violas 10 Celli 8 Double Basses So many instruments are required for a complete, authentic performance that, to date, only a few theaters in the world can successfully produce the entire ballet. This may be one of the reasons why the work is best known as a concert performance rather than a ballet. Within this huge orchestration, Stravinsky is a master of subtle nuances and colorations. This subtlety is demonstrated in Stravinsky's use of inverted orchestration, where a normally low-pitched instrument is played higher than a correspondingiy high-pitched instrument. In the Introduction of Part I, for example, the bassoon plays a melody line above the clarinet, which would normally play in that range. The clarinet instead plays a lower accompanying line. In another instance, Introduction to Part II, Stravinsky scores a chordal passage for four solo-violas, creating an eerie soundN 89 which aptly supports the character and mood of the section. At the beginning and ending of "Action des rituelles des ancétres," a single alto flute sounds the motive in its lowest register over repeated eighth and quarter notes in timpani, bass drum, tambourine, strings and horns. In spite of the relatively heavy texture, the flute is clearly heard, and because of the timbre helps in generating the type of expectation and mood necessary for this penultimate section of the work. By making such manipulations, Stravinsky achieves a myriad of timbral colors which vividly bring to life the individual instruments as well as the music they play. Stravinsky's Rite is unique not simply because of the existence of the various rhythmic techniques, which can be found in his other orchestral works, but because of the combination and arrangement of these techniques-- various permutations of melodies, methods of extending and shortening phrases, changing textures, techniques of orchestration and types of rhythmic structures. The Rite is indeed an enigma which defies simple categorization and encompasses a multitude of ideas, as does any great musical work.90 CHAPTER FIVE The Russian Folk song and The Rite of spring The discussion of pitch-centered theories about the structure of the Rite has suggested that its pitch organization, although essential to the music, does not generate the musical structure. It has been suggested that the study of rhythmic patterns, textures and general rhythmic organization presents the most promising approach to understanding the generative elements of the work. As demonstrated in Chapter 3, the rhythmic structure of the Rite shares important characteristics with that of the music from certain cultures outside of the European tradition, some of which are noted for their rhythmic complexity. One further musical type merits more detailed investigation in relationship to the Rite - - the Russian folk song. I. Russian Folk Song A. Overview/Influence Although Stravinsky quoted many Russian folk songs in works prior to the Rite, and in fact arranged certain Russian songs for women's chorus, he denied any use of the folk material in the Rite. Indeed, only one folk tune, the Lithuanian folk tune, that begins the work, had been identified in the Rite until recently. In the lastA 91 few years, however, other folk tunes have been identified, which are embedded either in part or in full, and continuing research suggests that more exist.) Many descriptions of the Rite allude to the folk-like character of its melodies and melodic fragments, yet the questions remain about how extensive this influence is. How and to what extent are the characteristics of Russian folk song incorporated into Stravinsky's compositional style? How much do they contribute to the rhythmic structure of the music? Around the turn of the century, Russian scholars were transcribing literally hundreds of folk songs, encouraged both by an ongoing interest in folk culture by the Russian people and by a heightened interest in East. European and "exotic" cultures in the West. As a result, Russian-slavic songs greatly influenced the music of most of the Russian composers, including Stravinsky.? Although many of the surviving transcriptions consist solely of text, several scholars/musicians transcribed the music of these songs. Among the most accurate transcriptions are those done by Rimsky-Korsakov, Stravinsky's teacher. Richard Taruskin, "Russian Folk Melodies in the Rite of Spring," Journal of American Musicological Soc: 33 (1980): 501-43. 2 The tern "Slavic" represents Eastern, Southern and Western Slavic countries including Lithuania, Russia, Poland and the Ukraine.92 Several factors must be considered when using transcriptions for analytical study and comparison -- not only the accuracy of the transcriptions, but their authenticity, any performance practices which might alter (or otherwise affect) the written score, and the accessibility of the transcriptions (or live performances) to the composer. In his collection of folk songs, Rimsky-Korsakov immediately resolves the first two concerns. First, the melodies are painstakingly transcribed from performance. According to Eugeniia Eduardovna Lineva, who notes that many researchers would alter the melodic lines to make them fit traditional Western tonality (raising the 7th degree of the scale, for example), Rimsky-Korsakov and a few others accurately transcribed the melodies as they were actually sung.? In addition, Rimsky-Korsakov's attendance at various activities related to his transcription of the wusic as it was actually performed is well documented. Furthermore, Lineva notes that although the peasants sometines included slight variations in pitch or text, they usually did not employ a great deal of improvisation during performance. Therefore the transcriptions would ee Eugeniia Eduardovna Lineva. ‘The Peasant Songs of Great Russia. St. Petersburg: Imperial Acadeny of Science, 1905. [This entry contains text only.] 4 Rimsky-Korsakov, My Musical Life, trans. Judah A. Joffe (New York: Tudor,'1936) 140-41.93 provide a reasonably accurate guide for repeated performances. As a long-time student of Rimsky-Korsakov, Stravinsky had ample opportunity to become acquainted with the collection. Indeed, if the amount of exposure to a particular form is any indication of the degree to which it influences a composer, then Stravinsky was influenced by Russian folk tunes to a far greater extent than usually acknowledged. For in addition to being familiar with Rimsky-Korsakov's collection of folk songs, he was solidly versed in the music of the “Russian school" as developed by Glinka and later Balakirev, which attributed its origin and structure to the Russian folk- music tradition.> additionally, Stravinsky himself writes about hearing folk songs while in his boyhood country home.© Richard Taruskin underscores these facts by including a picture of Stravinsky transcribing a melody by a blind moujik in his article on Russian Folk Songs in the Rite of Spring.” For a discussion of the origin and influence of the Russian school, see Richard Taruskin's, "How the Acorn took Root, a Tale of Russia," Nineteenth Century Music 6 (1983): 189-212. © stravinsky reminisces about listening to the women singing in a country village in Russia. For further information, see Stravinsky: An Autobiograpy, New York: Simon & Schuster, 1936 4. 7 varuskin, "Russian Folk Songs..." 507.94 Satisfying the basic needs for analysis and recognized as a good reference on the Russian folk song, Rimsky-Korsakov's collection, 100 Russian Folk Songs, is used as the model for this study. Although Rimsky- Korsakov added his own accompaniment in arranging the songs for voice and piano, the folk songs will be examined in this study without accompaniment. B. Structure/Analysis In folk tunes, the text most frequently generates the structure of the music. This case is no exception; the nature of the Russian language is an extremely important factor in understanding the music. In fact Stravinsky wrote, "what fascinated me in this [Russian] verse was not so much the stories, which were often crude or the pictures and metaphors, always so deliciously unexpected, as the sequence of the words and syllables, and the cadence they create, which produces an effect on one's sensibilities very closely akin to that of msic."? Stravinsky was referring both to the irregular line lengths of the verses and to the movable accents in Russian verse. The word "gory", for example might appear with an accent over the first (gdry) or the second (gory) syllable within the same work. Placement of the accent corsakev, 100 Russian Folk Songs, Moscow, 1951. ® stravinsky 83.95 is determined both by the context and by the position of the word in the particular line of verse. Therefore in a Russian folk song the textual accent is "logical" -- it can move from one syllable to another in the same word and from one word to another in the same line, depending on the context of the poem, and the placement of the word. Linéva says, “owing to that mobility and changeability of the logical accent of the song, it is very difficult to bring it in accordance with the metrical (time) accent of modern [Western] music, the tendency of which is to attain mechanical reqularity in dividing the time. "10 Another contributing factor to irregular phrase lengths in these songs is the use of nonsense syllables. Usually tagged onto the end of the textual phrase and repeated several tines, these syllables extend the line and form irregular, complementary phrases. This use of nonsense syllables is a clear example of the method by which length and meter are manipulated. These syllables become small units, often of unequal length, which are added to or subtracted from a line, subsequently forming irregular lines, phrases, sections and changing metric patterns. Such manipulation is fundamental to the musical process in the Rite.?) T0Tineva win Lineva xv: 11 Manipulating, particularly reordering, cells or units within a larger passage was a procedure being exploredE ¢ 96 The music of the Russian folk song exhibits all of the characteristics observed in the text and more. Like the text, the music consists of movable or shifting and changing accents, reflected by frequently changing neter, shifting groupings within the metric units and open- ended, often asymmetrical form. Also like the text, the phrases are irregular in length, and as they are repeated, they are often altered -- extended or shortened -- or reordered. Smaller units or cells within the phrase are manipulated as well, by addition and deletion of single beats/pitches and smaller cells. As these cells are repeated in a reordered and altered form, they create new phrases which are similar yet fresh and different. Such a process of generating or unfolding new ideas can be compared to the mathematical process in which an unending quotient continues to generate different numbers. The following examples demonstrate certain characteristics of the folk songs, characteristics which will later be recognized as an integral part of the Rite. not only by Stravinsky but by many of his contemporary Russian poets and writers as well. Around the turn of the century, several scholars experimented with creating Russian verse by using nonsense syllables (sometimes altering familiar words to create nonsense syllables), thus suggesting new and different meanings to the subsequent words and verses. For further information read about stylistic innovations by Russian synbolist poet/writer Andrei Bely in Marc Slonim's Modern Russian Literature (London: oxford University, 1953) 194.=~ (mal 97 At the smallest, foreground level, frequently shifting meters and irregular accents often result from the addition of a single beat to the final measure. Example 5.1 is such a case. often the single beat is added to the half cadence, in an AB phrase for example, at the end of a.!2_ In the following examples, an abrupt metric shift is created in the middle of the songs as the ending measure of the first phrase is extended in one case from 3/4 to 4/4 and in the other from 4/4 to 5/4. (See Example 5.2). At the phrase level, the extension process continues by the addition of a cell or unit consisting of a group of notes, a measure or several measures, instead of a single beat. In Example 5.3, Song #4, another measure is added to the second phrase (Phrase B) in the AB structure, extending the cadence and expanding the structure from a two-measure phrase in part A to a three- measure phrase in part B. (See also Song #36 in Example 5.3). Song #55 extends the structure process by simply repeating the second phrase. (See Example 5.3). In the next example, groups of measures, or smaller phrases are added to the first phrase. The resulting form in Song #51 is "APA" where A = 6 measures, b = 2 measures. Song T2"The terms “A” and "B" as well as "a, b, c..." are arbitrary labels used to differentiate various phrases, segments or cells within a passage or section for purposes of analysis.A 98 #15 consists of two phrases in which phrase 1 = A:ab/Bicde and phrase 2 = A:ab/B:cd. (See Example 5.4). Shortening of a line by the deletion of a beat, though seemingly not as important a procedure as those discussed above, is still a factor in some of the songs. Whether a phrase is considered extended or its complement is considered shortened depends to a large extent on judgments made by the listener as to which version is the model. Deletion then, seems to work as the negation or opposition to addition of cells to the phrase. since Western listeners look for metrical regularity with groupings of two (four) or three beats as the foundation for rhythmic phrases, as Lineva has stated, Western listeners would regard one measure of 5/4 in a song of 4/4 such as Song #14 (Example 5.2) as the altered measure, wherever it might occur in the music. However, if we assumed that the first statement of a phrase is the "correct" form, which is a possible non-Western perspective, then in the same example, the first 5/4 measure would be understood as normative and its corresponding 4/4 measure would be considered the shortened, altered form. The process of overlap also creates the same effect. (See Example 5.5). Unlike previous examples which contain static, unbending phrases which generate shifting, unstable meters, the song(s) of this example (5.5) can be99 considered as shifting, nebulous melodic fragments which are superimposed upon an abstract, stable grid or metrical pattern. Such a concept results because the same phrases often recur at different points within the metric grid creating a change in perception of the melody. Thus those phrases seem to be superimposed on the meter which remains constant. In Song #14 the same rhythmic pattern occurs at the end of the phrasi however, upon its repetition, the pattern is shifted by one beat, creating a new, different sound. (See Example 5.2, Song #14). Within the pitch and rhythmic patterns of the songs, units are repeated or varied, then are reordered, creating a different pattern and an irregularity or asymmetry between phrases and between measures (even though the meter might remain the same). Immediately the listener notes a contrast between variable and fixed cells, a technique which we will find Stravinsky exploiting. “Fixed cells" are repeated verbatim, whereas variable cells continue to be altered in some variation of original. Song #55 is in form ABB, however, the rhythmic pattern within its sections alternates between two cells in the following pattern. (See Example 5.6). Rhythmic pattern: abb, bab, baa.a 100 Song #52 alters cells in both rhythmic and pitch patterns creating, in addition to variation and reordering of cells, conflict between pitch and rhythmic patterns is seen. Rhythmic Pattern: aajb ayb cd Pitch pattern: aab —ayby_ co (See Example 5.7). The relationship of text to music adds a new dimension to the works, broadening the scope of variations. In Song #4, for example, the text in the second measure consists of one two-syllable word which is repeated three times, thus creating duple groupings. conversely, the pitches in the same measure move in three-note sequence, forming triple groupings. In Song #29, the text forms the structure "ABB "while the music creates another form, "AABB." (See Example 5.8). In addition, Song #29, like the second phrase of Songs #54 and #121, is made up of two identical condensed cells, each half as long as the first phrase. The first phrase "A," then, is a twomeasure phrase which is followed by a one-measure phrase "B", which in turn is repeated. Condensing the length of the phrase from two measures to one in effect increases the rate of motion at the end of the song. (See Example 5.9, Song #54 and Example 5.8, Song #29).101 Because of the conflict or ambiguity between the accents created by the text, meter, pitch groupings and/or durational values, and the frequent pairing of unequal or irregular phrases, each beat or pulse in the music tends to become accented in some manner. There is seldom the consistent, alternating, clearly differentiated strong and weak beat so common in Western music. Since use of irregular accents and phrases does not support the metrical hierarchy or redundancy that is such a fundamental part of Western structure, hypermeasures cannot be easily discerned and attention is focused on the constantly changing and shifting pulse at the foreground level. Song #72 is an example of this type of irregular, sporadic pattern of pulses, a style which is important to the process of generating and building energy in the Rite. (See Example 5.10). II. The Rite of Spring A. Comparison/Analysis The Rite of Spring uses all the techniques we have observed in the Russian folk songs, frequently expanding them to create even more complex structures. Shown below are examples of these structures, whose procedures range from simple deletions and additions of cells within a single phrase to complex combinations of various types of conflicts within and between entire movements,102 In the first example a returning phrase is lengthened by the addition of a single beat [R91] then by the addition of a small cell [R92]. This type of activity, i.e., shortening, lengthening and reordering of phrases, commonly occurs at the foreground level, especially between the individual beats or pitches. (see Example 5.11). In the next example [R53+2-6, R63+3] a phrase is lengthened by the repetition of the first or second part of the passage, like form ABB in the folk song Example 5.3 or its reverse, AAB. (See Example 5.12). Both the addition and deletion of cells within the phrase occur in the next example. Like the folk songs in Example 5.4, the following musical line begins with an extended statement which is shortened upon its return by the deletion of a smaller cell. The cells are then repeated, expanded, shortened and deleted.103 Tllustration No. 4 RS50+2, R53 - First and Second Phrases Phrase a shortened to ay. Phrase b subdivided into by and by R5O+2 ab ab albl ab alb albl RS3 ab albl abl aa atbl a+bibl = alb1/2? Stravinsky expands the process of reordering material to include melodic phrases. In passage R9 of the Introduction to Part I, the ordering of the two primary melodic phrases is reversed; fragments A-B are restated B-A. (See Example 6.9). At passage R34, the same procedure becones more complex, for not only are the individual rhythmic and pitch patterns reordered upon their repetition, but the differently ordered patterns are sounded simultanesouly, creating a continuous conflict at the larger level. (See Example 5.13). Illustration No. 5 Reordering of Cells (R34 ist Phrase 2nd Phrase rhythmic pattern a, b, b= b,c, ba pitch pattern a,b,c,d = be, by © is-ute Sede TeEEEE a, : after letter such as "a+" signifies changes in pitch, usually transposition of pattern.ron oN 104 This conflict between levels extends to the pitch and metric levels as well. In R40, a 4/8 pitch pattern is superimposed upon a conflicting 9/8 metrical structure. (See Example 5.14). Not only do the melodic fragments use characteristics found in Russian folk song, but the rhythmic (durational) patterns do so as well. For example, the variations and repetitions of the opening eight~measure rhythmic pattern in "Danses des adolescentes" (R13), are generated by both deletion and addition of smaller cells, cells in this case composed of accented groups within the phrase. At the first repetition of the passage, measures 1, 6, 7, and 8 are deleted. However, the complete passage returns at R18. As the percussive chords continue relentlessly, a new melody soars over the texture. When the melody pauses, a fragment of the accented rhythmic pattern returns: measures 3 and 4. The melodic fragment returns for two measures followed by a restatement of measures 5 and 6. After another statement of the melodic fragment, measures 3, 4, and 7 return followed by an extended measure 8. (See Example 7.1). The similarities to folk song structure can be applied not only to the local levels of the Rite but to the largest levels as well. Passages in the Rite are frequently interrupted by violently contrasting passagesmm 105 which together help to create the impression of massive, independent, alternating blocks of sound. These passages or blocks are manipulated or varied using the same process of shortening, lengthening and/or reordering. 3 n_No. R60 "Jeux ales' Location Phrase Length Meter Within Measure REO - A 4 Measures 4/4) 4/4, 4/4 R6OH4 - B 3 Measures 5/4, 4/4, 4/4 Rel -A 3 Measures 4/4, 4/4, 6/4 Re1+3 - as/l4 4 Measures 4/4, 6/4, 4/4, 4/4 Not only do passages within the sections seem to generate from this process of variation, but the sections themselves can be understood as being based upon certain aspects of structure in Russian folk songs. As noted, the verses of Russian folk tunes are composed of two half lines often varying in length and/or accent pattern. Whole lines too are grouped in pairs to create larger textual phrases. There is always the sense of duality, of two ideas being constantly paired, alternated or opposed. The lines create a binary (AB) form, which is inherently open-ended. The sections/dances of the Rite are similarly based upon the alternation or opposition of two ideas, and create an open, rather than closed form. T*"strong contrast in texture, timbre and tonal center.106 In the Rite, these ideas/motives occur both simultaneously and successively. Most of the dances contain two basic motives or ideas (A and B in the next example), which contrast in texture, timbre, rhythmic complexity, and/or pitch center. One idea (A) begins as the dominant motive, the contrasting one is subordinate. In conflict with one another, these ideas alternate suggesting an AB type of structure where ideas are constantly being shifted, interrupted and changed. Specifically in Part I, the form of the dances is usually AB or A...B. Often in these dances the contrasting idea (B) which was initially perceived as subordinate, becomes the new dominant idea by the end of a section. For example, in “Danses des adolescentes" (R13), the dominant passage is a chordal, irregular rhythmic idea played by the strings, A. By the end of the section, the subordinate motive B, a contrasting, linear, lightly scored four-note fragment has become dominant as A shifts to a subordinate role. Illustration No centes' Part 2 A BL, A B2, B, B /C-Al-c+.“sy a 107 The Introduction to Part II and "Cercles nysterieux" use the same procedure. This type of open-ended structure also occurs when new ideas are superimposed on old ones, instead of following them, as in "Cortége du sage," (R64) where the primary motive A is joined by the new motive B which is clearly subordinate in nature. However, after both fragments have continued simultaneously, in conflict for many measures, the battle of ideas is finally won by the new motive--motive A ceases and motive B becomes the primary idea for the next dance, Additionally, the basic conflict becomes more complex when one motive, consisting of two opposing ideas, is simultaneously contrasted to another motive. This type of duelling process operates at all levels. Although the same type of duality takes place throughout the work, the dances of Part II are slightly different in structure from those in Part I. Instead of AB or ABAB structure, these dances suggest an ABA, ternary structure. By the finale, the process of alternating of ideas is pushed to the extreme as two motives dramatically compete for final dominance. The structure of "Danse sacrale" is ABABACADA” (See Chapter 9, Illustration of “Danse sacrale"). The relationship between individual dances illustrates the use of opposing and contrasting ideas onlat 108 a larger level. Within Part I and Part II, each section or dance is followed by one which is contrasting in texture, tempo, timbre, meter and/or other areas already mentioned. More specifically, each dance has a distinct character or mood which differentiates it according to its method of generating or releasing energy and the intensity or degree of tension produced. The differences are so distinct that each section can be labeled according to its primary function--artic, thetic or thetic-artic, acknowledging that both functions are included in every dance. Title Intro to Part T Danses des adolescentes Jeu du rapt Rondes printaniéres Jeux des cites cortége du sage Danse de 1a terre Part II: Intro and Cercles Glorification Evocation des ancétres Action rituelles Danse sacrale Primary Function - arsis thesis/arsis - arsis ~ thesis/arsis - arsis - arsis/(higher intensity) - thesis > arsis - thesis/arsis - arsis/thesis arsis thesis109 Although each dance contrasts the one which it immediately follows or precedes through its unique combination of elements, the rhythmic styles of all the dances have been broadly grouped into two categories. Labeled here Rhythmic Types A and B, the terms are adopted, with some modifications, from the work of Pieter van den Toorn in his analysis Music of stravinsky.15 Van den Toorn identifies two "usefully distinguishable kinds of rhythmic-metric construction" in the Rite, which he calls "Type 1 and Type 2." These general distinctions are incorporated into this study, called Type A and B, respectively. Van den Toorn, however, introduces added dimensions and distinctions to these structures that are not included in this stv a . For example, he discusses the conflict between the expected regular rhythmic/netric patterns which are assumed by the listener and the heard, irregular patterns. (The music would not be heard as irregular unless there was an underlying expectation as to what was regular.) 26 Type A consists of "a changing meter in which the fragments, lines or parts, fixed registrally and instrumentally in repetition, share the same irregular rhythmic-metric periods as defined by the changing meter, T?"Van den Toorn 138-40, 216-18. 26 In his upcoming text on the Rite of Spring, van den Toorn develops these ideas in greater detail.110 and are hence synchronized unvaryingly in vertical 17 coincidence. Type A, then, which occurs most frequently, consists of an irregular rhythmic pattern which is stated by the instrumental ensemble, and is usually followed by or follows a contrasting passage. The Balinese music example from Chapter 3 demonstrates this type. Rhythmic Type A is characteristically the predominant idea of a section or dance followed by a section of contrasting timbre. Usually having a lighter and thinner texture, the subordinate section often consists of a less complex metric structure in which all rhythmic levels are in agreement. In that respect, the passage in Type A acts as an arsis movement, while the intervening, contrasting section acts as a type of thesis. It is a short thesis though, really more of a respite, which never fully resolves the tension generated by the dominating idea. For purposes of this study, Rhythmic Type A can be further divided into two classes. Class 1 consists of those passages in which the primary rhythmic pattern, for the most part, is played within a single instrument or single instrumental section. The examples of dances which use this rhythmic type are: "Danse des adolescentes" and "Rondes printaniéres" in Part I and 17 van den Toorn 138.ul "Glorification de l'elue" in Part II. In class 2, the rhythmic pattern is a composite sound made up of short cells or single notes played by different instruments. This adds more timbral complexity to the music. The music of the Ketjak is a simplified example. Instead of one group singing every syllable, the two groups alternate. Each successive syllable then is shouted/sung by a different group. In the Rite several dances are marked by single 8th- and 16th-note cells, which are combined with others in different timbres and octaves to create the overall rhythmic pattern and structure. Since this occurs to some extent in the entire work, class 2 of Rhythmic Type A is marked by extremely small values placed on the individual cells or notes which are then combined to create the dominating rhythmic pattern. The finales, "Danse de 1a terre" and "Danse sacrale," are examples of a predominant theme in Class 2 of Rhythmic Type A. Type B consists of several different rhythmic patterns played simultaneously. These "superimposed rhythmic-metric periods" says van den Toorn, “are not synchronized unvaryingly in vertical coincidence, but effect a coincidence that is constantly changing."18 van den Toorn makes further distinctions not incorporated in this study, distinguishing within such passages the i8-Van den Toorn 13! Van den Toorn 139.rs 12 individual layers or fragments which continue to vary in meter from layers that are frozen into an unvarying ostinato. In Rhythmic Type B, although each layer presents no significant conflict within itself, their combination creates a highly complex texture. The West African selection in Chapter 3 is a good example of this type. In the Rite, Type B occurs lees frequently than does Type A, but it is found at points of climax or is used to build-up tension. Rhythmic Type B can be considered polyphonic in contrast to Type A which would be considered monophonic, although like other works of this period, it lacks the unifying tonality normally associated with the term. Further, the meters defined by the various materials clash strongly, resulting in composite sound of increasing tension or urgency. When it occurs in the Rite it is often marked by a gradual crescendo which becomes a culmination to passages heard earlier. In the Introduction of PI for example, at R8-9 and R10-11, melodic fragments previously stated in independent passages, are combined. Though deceptively tonal in character, the melodies never "resolve" as such and continue to repeat either in ostinato form or in a centonic (process-like) manner. At these points, the music seens to be static at the background level, as focus moves to the activity and conflict in the foreground. Continued listening, however, teaches the13 listener that these passages are not static but create powerful, large-scale artic statements in preparation for a new event. At the largest levels, Part I and II compose the two halves of the work. The dances of Part I and Part II are similar, not only in their ordering but in their function, their timbre and their use of rhythmic patterns. It is significant that Stravinsky meant for Part I and Part II to signify day and night, creating similar but not equivalent mirror-like images, perhaps comparable to positive and negative photographic images. The process of day and night is in itself a rhythmic function, using Langer's terms, because the passage of the day results in the occurrence night and vice versa. So at the largest level, the rhythmic structure of the work could be called A-B. The use of duple groupings, then, extends to the largest levels where Part I and Part II are paired to create the whole, Like the half-lines and phrases in the Russian text of the folk songs, the two halves are irregular in length, the first being seven sections, the second being five. Part I: 1, 2, 3, [4, 5], 6, 77 Part II: 1, 2,3, 4,5of 4a The bracketing of sections 4 and 5 is intended to show their similarities to sections 2 and 3, particularly the timbre and motivic relationships between 3 and 5. The same process of extending the phrase by addition of cells, a common process in both Russian folk songs and motives in sections of the Rite, occurs at the largest level of the work, between Parts I and II. If Parts I and II were to be portrayed abstractly as if they were two lines of text containing basically the same elements, the general structure would be: Part I: A, B, C, By, Cy, D, E Part II: A, B, C, D, E Because Parts I and II are so similar in function, ordering and structure, the dances of each part can be placed into categories based upon their general nature and ordering in the movement. B, Categories Illustration w categories of Dances category 1 Introduction to Part I Introduction to Part IT Cercles mysterieux Part IT category 2 Danses des adolescentes Part I Rondes printaniéres Part I Glorification de l'elue Part II 2 2 tegory 3 Jeu du rapt Part I11s Jeux des cités Part I vocation des ancétres Part IT category 4 cortége du sage Part I Action rituelle des ancétres Part II category 5 Danse de la terre Part I Danse sacrale Part II category 1 The first of the five categories consists of the introductions to the two movements, Part 1 and Part 2. Both introductions are characterized by slow tempos, frequently shifting timbres and meters, generally low dynamic levels (particularly at the beginnings), frequent use of string harmonics, and an absence of the driving, percussive, rhythmic motives that animate much of the body of the work. In these sections, a steady increase in overall tension not only pushes the listener into the following sections but thrusts him forward, thus initiating the sequence of events which collectively create the work. The Introduction to Part II, for purposes of this study, includes two sections, the "Introduction" and "Cercles mysterieux" which follows it. Although there are marked differences in tempo, orchestration, and texture, the sections are unified by repetition of the same primary motive. Rhythmic Type B is used throughout most of the Introduction to Part I and parts of the Introduction to Part II. However, the116 remainder of the Introduction to Part II and "Cercles mysterieux which follows, incorporate rhythmic Type A. Category 2 Danses des adolescentes" and "Rondes printaniéres" in Part I, and the "Glorification de 1'elue" in Part I are classified as dances of category two. All three of these sections are marked by a strikingly dissonant, abrasive, and unique primary motive which dominates not only the particular dance but the entire tableau up to the subsequent finale. Within these dances there is the sense of a completed event. For example, the continued alternation between two contrasting motives in both "Danses des adolescente: "and "Glorification de 1'elue" is resolved by the predominance of one of the motives at the end; in "Rondes printaniéres" the ostinato motive is framed by a simple folk tune. Thus these sections come closest in form to what we traditionally think of as a "dance. Occurring after the Introductions and before the dances in category three, "Danses des adolescentes" and "Glorification de l'elue" are even more similar --with driving, irregular rhythms, often densely orchestrated passages, frequent and extreme contrasts in range, texture and timbre. Both incorporate full orchestra for the first time in their respective movements and both introduce a rapid, articulated pulse. With the exception7 of the finales these two dances are the most powerful statenents in the work, for in addition to having such discordant motives, they anticipate the subsequent finales through form, tempo, chordal combinations, and motivic style. In contrast, "Rondes printaniéres" seens more like an interlude, a temporary diversion from the Primary process of the work. It does not look forward so much as look back: back to the opening theme because of its similar use of the framing folk tune; back to the frozen, self-perpetuating ostinato first suggested in the unending percussive chords of "Danses des adolescentes"; and back to the transitional passage of "Jeu du rapt" (R47) which is repeated at the end of the main theme in this dance. In addition, it is set apart from the other dances because it precedes and follows the same returning sical fragment sounded by the dances in category 3. Nevertheless it does allow the continuous buildup of energy, characteristic of all of the sections. category 3 Prominent brass sections, extremely rapid tempos, rapidly articulated figures, and frequent shifts in both tempo and timbre characterize these sections. "Jeu du rapt" and "Jeux des cités rivales," dances #3 and #5 in Part I, are heard as continuations of the same idea, not only because they contain the same elements, timbre and orchestration, but because they end and begin on the sameus folk-like motive, interrupted by "Rondes printaniéres." “Evocation des ancétres" (Part II), although simpler in structure, still contains the same brassy sound and alternating chords. The three dances are highly volatile, almost explosive in nature for not only do they resume and maintain the tremendous momentum that has been generated, but they push all activity and motion toward the finales of the movements. Because of this instability, demonstrated in Part I by the lack of a single, dominating motive or rather, inclusion of several contrasting motives, rapidly descending and ascending chromatic figures and frequently shifting blocks of sound, these dances seem to operate (on one level) as passageways or moving corridors to the final point of resolution. Carrying the listener from one rhythmic stage to the next, the dances appear open-ended and transitional, adding a type of intensity which remains unique. Van den Toorn categorizes the majority of the music of these sections in rnythnic Type A. category 4 Category four consists of the penultimate dances, "cortége du sage" (Part I) and "Action rituelle des ancétres" (Part II). In Part I, Cortége du sage is followed by a short but vital passage, "Adoration de la terre," which through contrasting a sustained soft chord heightens the suspense and level of intensity before theos iis start of the finale in Part I. “Action rituelle des ancétres," like "Cortége du sage" in Part I, reaches one of the highest points of rhythmic intensification in the movement, superseded only by the finale. Like "Rondes printaniéres" and the Introduction to Part I, it is framed by a beginning and ending passage. So although both of the dances in this category use rhythmic Type B, the layered approach, in the majority of their music, their individual procedures differ. Each dance is a large uninterrupted arsis based upon a single idea, creating the impression of a huge, static block of sound. In a classical sonata, the music often moves to a doninant extension te prepare for the return of the tonic at recapitulation. Similarly, this work moves to these dances which heighten the suspense and focus all energy on the impending change, thus preparing for the finales. Category 5 category five is composed of the finales, "Danse de la terre" and "Danse sacrale", the climaxes, the highest points in the work. Both finales are characterized by driving, explosive, incessant ictus scoring, frequent glissandos, extremes - contrasts in range and timbre and full orchestra. Incessant and almost violently assertive primary rhythmic patterns mark these passages. The rhythmic pattern of the primary motive is a composite one, based upon the combination of several short units or120 cells, therefore forming Rhythmic Type A, class 1. The simultaneous culmination and release of all of the energy which has accumulated throughout the movement, these dances are characterized by extremely rapid tempos (in fact the fastest tempos of the work), frenzied, rapidly ascending and descending figures, and frequently contrasting passages (in timbre, range, and meter for example). Indeed, many of these characteristics have occurred in dances of the previous categories, they simply occur here with greater intensity. “Danse de la terre", though a culmination of Part I, is interrupted before completion. "Danse sacrale" then, containing materials from sections throughout the work, functions as the culmination not only of Part II but of the finale of Part I, and thus of the work as a whole. As such it is simultaneously a condensation and summary of the entire work. OBSERVATIONS/DISCUSSION It is this author's contention that the structure of the Rite is closely related to the structure of the Russian folk song which generates from Russian verse. When applied to the Rite, the method of comparison extends from the smallest to the largest levels of the work. Phrases are sudivided into smaller units or cells which are manipulated by being reordered, deleted or added, and recombined. Subsequently, the phrases areoN 121 shortened or lengthened creating the characteristic irregular phrases. The procedure of pairing lines in the Russian folk songs occurs here most clearly through the pairing of rhythmic and melodic phrases in the Rite, forming AB, open-ended structures. Moreover, the sense of paired phrases or patterns extends from the smaller cells or units to the largest level, Parts I and II. The Rite then, is based upon the AB form and, because of the similarity between dances, can be divided into five categories based upon the texture, timbre and function. Observing the patterns of composition, several points can be made concerning the structure. The musical phrase in these examples, is a collection of smaller, loosely connected units. These units are seemingly freely deleted, repeated, reordered and reintegrated into the structure. However, though the placement of specific types of rhythmic and pitch variation seems arbitrary and sporadic, certain rules of procedure -- repetition and variation -- remain constant. First, repetition of melodic phrases or folk-like tunes is usually accompanied by a change in tonal center and a shift in timbre. Secondly and more importantly, if a fragment or cell is repeated immediately without the insertion of contrasting material between the two occurrences, but is not an ostinato, then the restatement will be varied by thers “~ 122 addition or deletion of a cell, and/or other reordering of the material. This method of reordering encompasses not only a changing of pitch patterns or rhythmic patterns, but the shifting of accents and metric patterns. An example of this procedure can be found in almost every dance. Illustration No. 10 Passages Using Techniques of Reordering and Contrast Title Location Instrument (s) Intro to Part I - Re, S+1 Bol "Danses des adolescentes" - R28+4 "Jeu du rapt" - R37+2 winds R43 tutti R47 strings (shifting of accents) "Rondes printaniéres" - R48 ci-> R51 str, fl "Jeux des cités rivales" - —_R63+11 winds "cortege du sage" - R69 tuba-extended/ shortened phrase "Danse de la terre - R76 horn R78 fl, ob, shift in metric placement Intro to Part II - Re6 “cercles mysterieux" - R94 "Evocation des ancétres" - — R121+3, 134 horn 1 Significantly, in "Glorification de 1'elue" and “Danse sacrale," Stravinsky does not reorder or alter the123 melodic material as much as he alters the meter, the number of pulses within and between the fragments. By the end of the Rite, the manipulation has almost completely focused on the metric/rhythmic aspects. In fact, by that point, metrical shifting has become the predominant process of variation. Further study of the relationship between Russian folk songs in general and the music of the Rite contains many implications for possible analytic approaches to the work, After acknowledging the influence of the rhythmic structure of the folk songs on the Rite, one then must question how profound an influence it might be. Is there a pattern of accents (strong and weak) which are common or basic to Russian verse? If so, such a pattern or group of patterns could be compared to rhythmic patterns in the various motives/figures in the Rite to determine the degree of correspondence. The possibility that Russian verse might generate the actual rhythmic patterns in Stravinsky's work raises crucial questions. However, at this point according to Russian expert Dr. James Bailey, Russian verse is still tremendously complex to us, and its study must include considerations of performance practice and of other issues which prevent clear and simple classifications of the text.19 in other 78 Information concerning present study of Russian verse based upon telephone conversation on May 8, 1986 with Professor James Bailey, University of Wisconsin, specialist in Russian literature.we “nN 124 words, the relationship between the rhythms of the texts, of the folk songs themselves, and of the Rite may in fact be generative, but caution is required as well as much more research concerning the Russian sources before answers can finally be determined.125 PART IT As was stressed in chapter three, any tonal work can be treated as a rhythmic form. In such an analysis, pitch is seen as an agent of the rhythmic structure and the analysis would most likely confirm or extend the results of a pitch analysis. The Rite is obviously a different kind of structure. Its pitches while no less important to its overall structure than those in a "tonal" form do not, for the most part, produce an inherent rhythmic structure themselves. They becone components of either independent textural strata or successive juxtaposed materials with no obvious causal implications. If anything, the most important function of the pitch organization is that it guarantees the independence of conflicting elements denying the interaction that would create the kind of dominating harmonic motion characteristic of "tonal" music. Thus no matter how elegant a pitch analysis might be it will only, finally, describe the various collections that make up units or stages of a rhythmic process that can be imagined as being more or less independent of the particular pitches or even the specific melodic fragments. If we simply separate the structure of the work into its component units, realizing the extent to which eachny 126 is static in pitch organization and dependant on levels of rhythmic repetition, two questions arise. The first is how our attention is captured and maintained by sections with so little pitch movement, and the second is how such a collection of "blocks" of sound can result in any sense of overall structure. Both questions can be answered by recognizing that Stravinsky has created a structure of units that are almost entirely artic in rhythmic projection. We are suspended at each stage of the rhythmic process by the continual and incessant generation of tension that almost physically forces us to attend its continuation. Sections that might seem to retreat or lessen the artic surge are better heard as digressions or units that delay the inevitable reinstatement of what Salzman called "arbitrary notionless elemental power."1 the few thetic gestures are overwhelmed by the artic tension and we are carried through the form in search of a resolution that is never fully realized. The following discussions will attempt to demonstrate and clarify the nature of this extraordinary rhythmic structure. Before moving to the work, however, we must point out the extent to which the work depends upon what the listener brings to it. Each of us comes to a performance with particular expectations, expectations conditioned by T See Chapter 1,ome 127 the history of our experience as perceivers of music. The Rite makes particular use of our familiarity with isth- and loth-century music and it is in the conflicts between its structure and our expectations that much of the artic tension is created. It will be discovered that we are led into a special kind of nterplay" between the auditory structure we are given and the specific kinds of expectations that are encouraged by certain of the "artifactual" elements that are so important to the work. In the following chapters we will look in detail at certain of the movements in the various rhythmic and textural categories defined at the end of Chapter Four. If our analysis is successful, basic principles will be articulated that can be applied to sections of the work not treated in detail. We will consider the particular configurations of materials of various sections in terms of what is specifically given in sound and how we are led to relate the resulting structures to our more general expectations.~ 128 CHAPTER SIX The Introduction The Introductions to Part I and Part II comprise the first of five categories. The function of these sections is to generate the energy necessary to initiate the series of events or episodes, the collection of which constitutes the work. Additionally, the introduction of Part I must set the parameters in terms of structure upon which the listener must base his method of listening to the work as a whole. Characterized by their slow tempos, low dynamic levels, constantly shifting meters, solo melodic figures, string harmonics, and transparent instrumentation, these introductions generate an ethereal, even mystical atmosphere which is somewhat xemoved from the driving, abrasive, percussive nature of subsequent dances. The Introduction in Part I is somewhat analogous to a "tonal" structure in that it begins and ends with a Lithuanian tune (borrowed from the Anton Juszkiewicz collection 157, "Litauische Volks-Weisen"), which has a thematic function and is for many the "signature" material for the work. However, the perception of the form as "traditional" changes as the movement progresses. The body of the music consists of eleven subsections which, through abrupt contrasts in melodic figures,129 motives, textures, and volume, are heard as large, successive, and ultimatly static blocks or textural complexes. These units alternate between simpler, thinner textured units and the more intense, rhythmically complex, more thickly textured units to form a progression of stages of increasing tension. Most of the passages use layering techniques, the superimposition of the motives and ideas of this section, demonstrating the texture referred to above as Rhythmic Type B (See Chapter 5, Part II). The artic passages increase in intensity to the unit of maximum density, at R10-11, then the opening theme abruptly returns. The Introduction to Part IZ in many ways fulfills a more complicated function than that of Part I, for it must rebuild much of the tremendous energy which was released after the finale of Part I. Divided into two sections, an Introduction (Part A) and "Cercles nysterieux" (Part B), this Introduction to Part II is unified by the repetition of the primary motive. Nonetheless, there are marked differences in tempo, orchestration, texture and contrasting patterns between these two parts. One of the most important differences is related to non-musical concerns: the piece was Tthe numbering used i this study is adoptea tron Forte's study of the Rite of Spring. "R", referring to the rehearsal number of the subsection under discussion, is followed by the added measure numbez. For example, Ri = R1+0 which refers to rehearsal number i, measure one. R1+2 then, refers to rehearsal number 1, third measure.130 originally intended as a ballet, thus "Cercles mysterieux" signals the opening of the curtain to reveal the beginning of the second tableau. Since both parts of this introduction have significant characteristics, they will be discussed separately, then analyzed as one larger section -- the way we are most likely to respond to them in a concert performance. Introduction to Part I lustration No. 11 Introdu: tT, LOCATION: RO-12 FORM: a Bal DIVISION: a= 3M B= 62M al = 10M 75 meas. lento quarter = 55, quarter = 66, quarter = 55 METER 2/4, 3/4 RHY TYPE Type B The structure consists of a sequence of rhythmic stages, each increasing in complexity, density and tension. Within this structure there are two stages having thinner, more simplified textures, which delay theoa 13 sense of forward motion. However, this delay or holding back results in even more tension as the process resumes. First we will consider the stages (designated by rehearsal units) that create the pattern of progressive intensification. After the opening theme, these would be Rehearsal units 1-5, 7-8, and 10-11. We will then consider the units which digress in tension, units 6, 9, and the final unit, 12. None of these stages releases or resolves tension: each passage is artic. Instead there are variations in intensity. Each stage or segment is basically static or has strong static elements. There is no true sense of progression from one tonal center to another within any stage for several reasons. First, the material is layered. Different tonal centers of various melodic figures are juxtaposed and often superimposed as independent elements having little effect on one another. Secondly, the melodic figures are heard as separate entities because of differences in rhythmic patterns, pitch intervals, shapes, speeds, and timbres. The figures co-exist but do not interact with each other. The ease with which the figures can be differentiated and the extent to which they refuse to become integrated into unified local harmonic entities lead us to hear them as separate and independent objects.132 There are three kinds of recurring melodic figures in this section: (1) figures that maintain the same material and same kind of rhythmic idea (for example motive [2.0], returning at Ré and R10+1, Example 6.3); (2) figures that maintain reference to the original but change in pitch and rhythm (See figure [1.1] at R4, 7, 8, lo) etc., Example 6.2), and (3) materials that seem to be new, generated out of a previous idea, such as the accompanying bassoon passage in fourths at R3+1 which is based upon the opening melodic figure in the piccolo clarinet (Cl-D) at R1+I or the oboe motive at [9.0] which is an outgrowth of the interval of a fifth first sounded by strings (pizz) at R4.? (See Example 6.4). The "Introduction" is not heard initially as an introduction but as the first movement of the work. only after "Danses des adolescentes" has begun does the listener realize through hindsight that the first section has an introductory function. ‘The following is a step- by-step or stage-by-stage discussion of the way in which the materials combine to create the larger units, and the way we perceive the collection of units as resulting in a unique formal statement. aentified by the measure number of its initial entry. To differentiate these locations from rehearsal and measure numbers, these labels will be in brackets. For example R2+0 refers to the first measure of rehearsal number 2, [2.0] refers to a motive introduced in that measure.133 RO R: RO Opening Lithuanian theme in bassoon (Theme A) RO+1 Horn enters accompanying on pitches "c#-p". Horn ends. Rl Theme altered, outlines tritone, "c-F#." Cl-1 and bass clarinet (BC1) join, accompanying melody in triplet, chromatic passage descending in parallel fourths~ from "C#/G#" to the octave below. R1+1 Cl-D joins in melodic figure outlining "F#-B" precursors of pitches in R3 bassoon passage. R1+2 Opening melody restated R2 New motive in English Horn (EH) [2.0] outlines fourth, "C3-F3", R3-Return of a portion of opening melody (cell b) The bassoon introduces the vague, static theme which contains little sense of direction. It is composed of four cells, A, Al, B, A2. (See Example 6.1.) Partly because of a repeated pitch pattern over changing rhythmic values, it is heard as lacking a unifying metrical substructure. The theme creates a polarity between pitches "A" and "c. It then dissolves at R1, departing here from the Lithuanian source into a short, chromatically descending motive [1.0] (Example 6.2), which outlines the tritone "C-F#," creating a conflict which remains unresolved throughout the passage. This small phrase also introduces a degree of conflict into the melodic structure by dissolving the "C-A" polarity. It opens the form to some extent although it is not part of the recurrence of the theme at R12. This motive returns in several versions (See Example 6.2). This short disruptive bassoon phrase elicits a response, the C1-D echo-like motive of descending minor thirds [1.1],“~ 134 outlining the pitches "F#-B" (Example 6.4). Both of these stylized descents, motives [1.0] and [1.1] will return later in the Introduction in several forms. The accompanying clarinets descend in what can be (metaphorically) considered a slow "glissando" from the fourth c#/G#" to the same pitches an octave lower. The opening theme is restated at R1+3 deleting unit A, and sustains its ending pitch over the introduction of a motive contrasting both in rhythm and pitch. This texture effectively creates two independent levels, the primary theme and a subordinate, contrasting motive [2.0]. Unit y of the theme begins again at R3, giving the impression that the subordinate motive was just a fleeting gesture. Joining the texture near the beginning, the horn sounds pitch "c#" (with neighbor note "D") which forms a dissonance against the bassoon. Aithough the horn can be considered as accompaniment because the horn "C#"s coincide with the melodic points of rest/cadence and because the chromatic neighbor "D" might reinforce the bassoon's diatonic neighbor, the dissonance later leads us to perceive the horn as a separate layer. The pitches "G#-c#" in the Cls create an air of expectancy, of course in great conflict to the polar pitches "c" and "A" in the bassoon.135 ‘The diatonic character of the bassoon melody makes the dissonances between it and the surrounding voices incomprehensible as one unified pitch configuration. Thus given the orchestration and welding of the Cl-A to parallel fourths, we hear the texture as being made up of separate layers that co-exist but have little obvious effect on one another. This sense of layering is slowly unfolded before the listener as the line at Rl seens to split apart; the bassoon itself recalls the initial "c" while the D-clarinet takes over the descending and chromatic process the basson had initiated while under the "influence" of the other 2 clarinets. Subsequently, other lines seem to join the texture while maintaining a sense of separateness, independence. Overall, this slow first unit has the vagueness associated with long initial pedal point sections in certain loth century works.? RB R3 Return of a portion of opening melody (cell b) R3+1 Restatement of (2.0) accompanied by continuation of triplet, chromatic passage of fourths in bassoons. At R3 unit b of the bassoon theme is followed by the static, subordinate motive [2.0] this time extended through isolation and reordering of its cells. By its extension and prominence, it has become the new primary material of the moment. (See Example 6.3). 3See Wagner's Sieg? ee Wagner's Siegfried's Rhine Journey, and Mahler's Symphony #1, first movement, for example.136 The tension begins to increase as the bassoons, continuing the clarinet fourths of the previous unit, move chromatically in triplets, creating a consistent pulse for the first time. The irregularity of the groupings of the extended motive [2.0] is in conflict with the measured triplets of the bassoons. ‘The second, faster tempo used in the Introduction is introduced. It will be maintained through the body of the movement with the first, slower tempo re-emerging only at R12 when the bassoon melody returns. It will be found to be significant that the various rhythmic manipulations in the faster units are heard against the same tactus-like conducted pulse throughout the B section of the form. The two lines are heard as being separate, almost independent. ‘The primary pitches in the bassoon triplets begin on pitches "B/F#", which had been introduced by the el-D in the opening statement. More importantly, not only the pitches but the motive of descending thirds from the cl-D [1.1] is repeated in the lower voice, extended chromatically. (See Example 6.4). Stravinsky has now begun a process in which successive formal units will increase in textural complexity with a progressive increase in the number of strata given. Against the frozen pitches of the EH, the bassoons (Bsns) suggest a kind of harmonic change. But137 like the EH, any expectation of necessary resolution or extension is denied as the next unit interrupt. The static melodic figure [2.0] speeds up its number of rapid repetitions at the end of the unit, forming a rhythmic compression. In a tonal piece the energy of rhythmic compression, formed by the speeding up and increased repetition of materials, is a method of leading to pitch change, change in harmony and/or modulation. In this case, however, the compression primarily effects the rhythmic pattern and does not lead to harmonic movement. The tensions causéd by conflicting local rhythms and the pitch movement of the bassoons against the frozen EH line, particularly with its rhythmic compression create a strong artic impulse. This inconclusiveness combined with the sense of measured time and consistent, steady patterning (bassoons) pushes into the next section. The following unit, however, is in no way a resolution of the tension but rather the next stage in the process of intensification. R4.0 R4 Composite rhythmic pattern in three parts: upward sweep in fifths by pizzicato strings to rapid, repeated pitches in the oboe followed by alternating pitches in bass clarinet triplet [4.1]. New statement of motive [1.0] at the end of measure by the Cl-D [4.0]. R42 Composite rhythmic pattern recurs in 2/4 meter R4+3 Composite pattern returns at end of measure, change to 3/4 meter.