Learning from Stravinsky’s Ethos-

Learning from Stravinsky’s Ethos-

A Musical Collage as a Learning Tool

Yi-Ting Huang The Pennsylvania State University

yeh102@psu.edu

Abstract Concepts
Concepts
 
The artistry of Igor Stravinsky’s (1882 Three
ThreePhases
Phases
–1971) music has been viewed as diverse 1.An
1.Anintroduction
introduction(before
(beforeNeo-
Neo-
and controversial. After his triumph with the Classicism):
Classicism):
debut of the Rite of Spring in 1913, Pertrushka,
Pertrushka,Firebird,
Firebird,Persephone,
Persephone,and
andLes
Les
Stravinsky continued to be influenced by Noces..
Noces
the artists whom he encountered in Paris. 2.Transition
2.Transitionto
tothe
theNeo-classical
Neo-classicalpath:
path:
His music in turn influenced the works of Firebird,
Firebird,Madrid,
Madrid,the
theRite
RiteofofSpring,
Spring,Three
Three
his contemporaries in various ways such as Pieces
Piecesfor
forString,
String,Histoire
Histoiredudusoldat,
soldat,Etude
EtudePour
Pour
Pianola
Pianolaand
andPulcinella.
Pulcinella.
drama, dance, and visual arts. Stravinsky’s Logic Express’ Arrange Window
music impressed people with its diversity
3.The
3.Theembodiment
embodimentof ofStravinsky’s
Stravinsky’s
and innovation, and can be appreciated from
maturity
maturityinincomposing
composingmusic
musicwith
withhis
his
the perspective of its equivalency in the
distinctive
distinctivepersonal
personalstyle:
style:
Concertino,
Concertino,Ragtime,
Ragtime,Octet,
Octet,Symphonies
SymphoniesofofWind
Wind
visual arts. Instruments,
The purpose of this project is to help Instruments,and
andfinally
finallyStravinsky’s
Stravinsky’svoice
voice
addressing
addressinghow
howheheviews
viewsmusic.
music.
learners develop a practical understanding
of the abstract nature of Stravinsky’s Visual
VisualMetaphors
Metaphors
compositional characteristics through an
integrated arts design--a digital musical Montage
Montage
collage. This project epitomizes
Stravinsky’s compositional development in
his path to Neoclassicism (1914-1926). Final view of the whole musical collage
Rather than explaining his compositional
techniques from a theoretical point of view,
this musical collage examines Stravinsky’s Conclusion
Neoclassicism through the juxtaposition of Primitivism
Primitivism My collage is not a “fixed order” work.
musical excerpts in a way that resembles
The audience is welcome to examine it from
Stravinsky’s compositional process. The
different viewpoints and might generate various
collage integrates techniques from visual
reflections. My role in creating this collage is
arts that influenced Stravinsky’s musical
not only a collector, but also an innovator. I
aesthetics. This project is composed of three
created a new work through my intuitive
phases: an introduction, the transition to
interpretation of Stravinsky’s music, and by
Stravinsky’s Neo-classical path, and the Block
embodiment of Stravinsky’s maturity in BlockForm
Form incorporating my own musical and digital
ideas. Taking advantage of the collage narrative
composing music with his distinctive
as the resource and bridge to create dialogue
personal style. Learners will experience his
with students as well as to provide insights for
music in Neoclassicism through a re-mixed
educators themselves is necessary in art and
musical collage that will hopefully promote
music education.
their creativity in compositions and in
thinking.
Layering
Layering Tiling
Tiling
Application References
I collected several recordings of Boulez, Pierre. (1986). Stravinsky: Style or Idea? In Praise of
Amnesia. Boston: Fabor and Foabor.
Stravinsky’s works that represent his path Carr, M. A. (2007). The two faces of Stravinsky’s Piano-Rag-
to Neoclassicism, followed by searching Music: Portrait or Collage? IMS Presentation paper. The
Pennsylvania State University.
video clips to record Stravinsky’s voices Cross, J. (1998).The Stravinsky Legacy. Cambridge: Cambridge
when he was interviewed. Then I created a University Press.
musical collage by using the software – Lawson, R. (1993). Etude pour Pianola by Igor Stravinsky. The
Pianola Journal. 5(4).
Logic Express to rearrange those music Pianola
PianolaEffect
Effect Losada, C. (2008). The Process of Modulation in Musical Collage.
clips I had collected. This collage ends Music Analysis, 27 (2), 295-336.
Losada, C. (2009). Between Modernism and Postmodernism:
with Stravinsky’s voice addressing his Strands of Continuity in Collage Compositions by Rochberg,
viewpoint of music, which brings me Berio, and Zimmermann. Music Theory Spectrum - The
closer to an understanding of Stravinsky’s Journal of the Society for Music Theory, 31(1), 57-100.
Nelson, M. C. (1986). Approaching the “layer’ as a formal
ethos in music aesthetics. element and a significant metaphor in artmaking. Leonardo, 19
I used different computer techniques to (3), 223-229.
Watkins, G. (1994). Pyramids at the Louvre. Cambridge, Mass.:
create special effects for my project. Some Harvard University Press.
sound clips were arranged in ways to
respond to visual metaphors, such as Cubism
Cubism
Montage, Primitivism, Block Form,
Layering and Tiling. For example, I “ A musical collage not only calls into
question traditional notions of unity, but also
created “pan” effect in the piece of incorporates new modes of continuity that
Pulcinella in order to make it sounds more give a distinctive expressive force to music of
its kind” (Losada , 2008).
stereo, corresponding to the cubism.
Boulez (1986) described Stravinsky: “He had an almost childlike
curiosity in taking any toy to pieces- and that toy might be a musical
masterpiece- and then showed an almost unsophisticated delight in
putting it together again ‘differently’, giving it an individual significance.”
(p. 356)