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The Rhythms of Form: Correspondence and Analogy in Stravinsky's Designs Author(s): Marianne Kielian-Gilbert Source: Music Theory Spectrum, Vol. 9 (Spring, 1987), pp. 42-66 Published by: University of California Press on behalf of the Society for Music Theory Stable URL: http://www.jstor.org/stable/746118 . Accessed: 06/12/2013 04:07
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The

Rhythms of Form: and Analogy Correspondence Designs

Marianne Kielian-Gilbert

in

Stravinsky's

Shuttersshut and open so do queens. Shuttersshut and shutters and so shuttersshut and shuttersand so and so shuttersand so shuttersshutandso shuttersshut and shuttersand so. And so shuttersshut and so and also. And also and so and so and also. Exact resemblanceto exact resemblancethe exact resemblanceas exact as a resemblance,exactlyas resembling,exactlyresembling,exactlyin resemblanceexactlya resemblance,exactlyand resemblance. For this is so. Because.'

Stravinsky's designs, like those of Picasso's paintings and Stein's texts, play with and focus on relationship itself. In these works, relationships are specifically rhythmic in that they deal with patterns of grouping, duration, and shape or weight. The diversity and distinctness of Stravinsky's musical ideas call attention to their broader rhythmic patterning, to their compositional treatment and presentation. The presentations of ideas,

whether they be cyclic, additive, discontinuous or stratified, are often analogous to those of other ideas. These interrelationships and analogies between ideas and groups of ideas in the designs express the larger rhythmic relationships of formal grouping in Stravinsky's music. Such correspondences and material and proportional similarities and analogies-their their modes of expression, in short, their "gestures"-are the subject of this study.2 The grouping, duration, and shape of musical patterns in Stravinsky's music often have motivic implications: their arrangements may recur in expanded or contracted time-spans. Correspondence and analogy are terms that describe a rhythmic and organizational similarity between patterns. Moreover, patterns in comparison may be alike or, significantly, unlike in their material components. Repetition, juxtaposition, superposition, and recombination-these are the compositional practices that stimulate the

These ideas were first presented in a lecture, "Another Look at AdditiveDesigns," at ColumbiaUniversityin Marchof 1986.I am Stravinsky's indebtedto JonathanKramer,Ruth Morrow,and Pieter C. van den Toorn for theirthoughtfulcommentson an earlierversion of this paper. 'GertrudeStein, "If I Told Him: A CompletedPortraitof Picasso(1923)," and Prayers(New York: RandomHouse, 1934), 21-25. Portraits

2"Thegestureswhich music embodies are, after all, invisiblegestures;one may almost define them as consistingof movement in the abstract,movement which exists in time but not in space, movement, in fact, which gives time its meaning and significancefor us." From Roger Sessions, The MusicalExperience of Composer,Performer,Listener(Princeton:PrincetonUniversityPress, 1950;paperbacked., 1958), 20.

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The Rhythms of Form: andAnalogyin Stravinsky's Correspondence Designs 43 comparison of sonorous images in Stravinsky'sdesigns and shape their broader rhythmic relationships.3 Stravinsky marked the following passage "important" in his copy of Asafiev's A Book About Stravinsky,the only passage in the book that he treatedin such a fashion:4 In instrumental arenotusedto compose music,pitchesandrhythms soundcomplexes thathaveprecise,emotional connotations. Nevermustbe made,andthatchoiceinevitatheless,thechoiceof material aninnerlogicof its ownanda precise sonorous blyproduces imageor, more exactly,a uniquecomplexof intonational by "gestures" which the character andpaceof a piecearedefined.5 That he identified stronglywith these statementsis unmistakable, for, according to Robert Craft, "if not Asaf'yev, only Stravinskyhimself could have writtenthe passageto which the word ["important"] refers."6Descriptionsof such "gestures," however, often focus narrowlyon material content (themes, motives and the like) and miss recurrentpatternsand relationships, their rhythmsof shaping. In viewing rhythmas patterns of succession, however, one should not downplaythe specific content of those patterns:they are both audible "things"and inseparablefrom the temporalwhole. To explore these issues and their dynamicmanifestationin music, the followingdiscussionfirstprovidessome Stravinsky's definitionsand an overviewof his designsand second considers his use of correspondenceand analogyin creatingrhythmicrelationships between formal groupings within the design. An analysisof the second of the ThreePiecesfor StringQuartetargues for the similarrhythmicpresentationandgroupingof units
3Fora history of the use of these terms and their relation to the octatonic structuringof Stravinsky'smusic, see Pieter C. van den Toorn, The Music of Igor Stravinsky(New Haven: Yale UniversityPress, 1983), 61-63. 4BorisAsafiev, A Book About Stravinsky,trans.RichardFrench(Ann Arbor: University MicrofilmsInternational, 1982). See the introductionby Robert Craft, p. ix. 5Asafiev,A Book About Stravinsky,237. 6Asafiev,A Book About Stravinsky,ix.

both alike and unlike in their musical materials.In the "Soldier'sMarch"from L'Histoiredu soldat, correspondences and analogiesbetween groupsof formalunitslink differentsections of the piece together and provide a way to understandits reand recombinationof musicalmaterials. structuring and Analogy in FormalDesign Correspondence To investigateformalunits and their relationships directlyis not to assertthe priorityof formal over other kindsof musical of organization,but ratherto question:Whatis the contribution formalorganization to musicalstructure? Whatarethe relationships between formal design and that of pitch and rhythm? Whatrole does formalorganizationplay in conveyingthese relationships?How mightone describethe gestureor shape-the presentation,layout, and functionof units-of a musicalgrouping, or determinethat one groupingrelatesto another? Edward T. Cone's dictum, "musical form is essentially rhythmic,"is apropos here.7 The rhythmicgroupings, duraof groupsof unitswithina tions, shapes, and interrelationships formal design are related to, but distinctfrom, the rhythmicmetricdefinitionof its musicalsurface.Formaldesignis generally regardedas the groupingof musicalevents "perceivedin termsof the proximityand the similarity of the elementsavailable to be grouped";8thus, paradoxically,it cannot be rigidly fromother aspectsof musicalorganization. Formal quarantined grouping is concerned with temporal segmentations"whose perceptualboundariesare largely determinedby the natureof the sounds and sound-configurations withinthem."9 occurring
7EdwardT. Cone, "Musical Form and Musical PerformanceReconsidered," Music TheorySpectrum7 (1985): 149; see also his MusicalForm and MusicalPerformance(New York: W. W. Norton, 1968),25. 8FredLerdahl and Ray Jackendoff, A GenerativeTheoryof Tonal Music The MIT Press, 1983), 41. (Cambridge: 9James Tenney and LarryPolansky, "TemporalGestaltPerceptionin Music," Journalof Music Theory24/2 (Fall 1980):205.

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44

Music Spectrum Theory

It rests not only on "local detail-patterns of attack, articulathatlead to perceptionof group tion, dynamics,andregistration boundaries,"but also on "more global considerationssuch as symmetryand motivic, thematic,rhythmic,or harmonicparallelism."10 Each segment of the design is "internallycohesive andexternallysegregatedfromcomparable time-spansimmediatelyprecedingand followingit."" The more diversifiedformalunits are in their materials,or discontinuous in theirconnection,the greaterwill be the prominence of the relationshipsamong those units. In other words, of muthe very diversification, juxtaposition,and stratification to their sicalmaterialsin Stravinsky's predesignscall attention sentationsand the relationships between those presentations. Two of these relationships now requiremore specificdefinition: a formal correspondence is the close and reasonablesimiof the materialcomponentsof comparedgroups, that is, larity of their pitch or thematicmaterialand surface musical attribof the grouping,shaping, utes;aformal analogyis the similarity durationaland proportionalfeaturesof the comparedgroups. The latter describes a similaritybetween formal groups that maybe basicallyunlikein substance(e.g., the analogybetween the computerand the humanbrainis suggestivehere; they are in theirmaterialmake-up). quite dissimilar fromformal andanalogydiffersignificantly Correspondence The latter like. the and partitions,groupings,divisions,units, are the componentsof a formalsegmentation;the former describe the association and relationshipof these components. The patternthatprovidesthe startingpoint for comparisonwill be called the model, and its compared, or analogouspattern, the profile. In correspondenceor analogy (or combinationof the two), the qualitativerelationshipsof a compared pattern profilethose of a model pattern.

The relationshipbetween model and profileis distinctfrom, dealthoughrelated to, the notion of a rhythmicGrundgestalt veloped by Epstein in his book, Beyond Orpheus.12He extends to the domainof rhythm, Schoenberg'sconcept of Grundgestalt but concentrateson foreground(surface) durationalpatterns. Even so, Epstein'sbasicrhythmicshapesfunctionas generative ideas. They are unifyingforces which are linked to the fundamentalconcept of a work and from which other ideas are reckoned. In contrast, the relationship between a model and its profile does not imply a causal or generative connection, nor does it require that other or subsequentevents be likewise related to that model. Formal analogs are in essence abstract"gestural"patterns that are evident only througha complex associationof musical featuresbetween model and profile. These include, but are not limitedto, similarprofilesof grouping,contour, texture, activity and shaping,proportion,and ordering.The analogor "gesture" that associatesthe profilewith its model is a similarityof presenting, ordering, and shaping or transformingmusical events over time. Similarmusicalshapingand weightingestablish the comparablefunctionof elements, their roles, position, and status within the comparedgroups. The analogyresides in the comparabledynamicorientationand presentationof events over time. between correspondenceand analogy,the By distinguishing is not to determine preciselythe shades of differencebepoint tween them, but rather to provide broad, yet flexible distinctions by which they might be recognizedand described.Correspondence concerns a concrete similarityin rhythmic-metric,
12DavidEpstein, Beyond Orpheus: Studies in Musical Structure(Cambridge, Mass.: MIT Press, 1979). See chap. 4, "Duration,"esp. pp. 71-75 (on rhythmicshape). "The 'ideas' in which the basicshape is reflectedhave for the mostpartbeen seen as thematic, that is, as pitchconfigurations, thoughthere is nothinginherentin the Grundgestalt concept that shouldrestrictits influenceto a particularmusicaldomain" (p. 17).

and Jackendoff,A Generative ?Lerdahl Theory,43. "Tenney and Polansky,"TemporalGestalt Perception,"205.

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of Form: andAnalogy inStravinsky's The Rhythms Correspondence Designs 45

textural, timbral, and pitch components or settings. Analogy concernsa similarityin patterningof comparedgroupsin musical ordering, contextual position and status, and proportional distributionof events. To return to an earlier question, how might one describe similaritiesin the materialor relationalaspects of formal segmentations?Lettersandsuperscripts typicallyused to label thematicmaterialsin conventionalformalanalysisoften depictthe surfaceattributesof musicalunitsbut do little to show relationships in their grouping and presentation. Frequentlyignored are the organizationand connectionof units, their associations with the presentationsof other units, and their function in the design as a whole. One can describeanalogyverballyor withrelationalsymbols for the differentvariablesof materialandpresentational aspects as in the following analyses. Obviously,such designationsrepresent in a simplifiedway the wealth of detail which motivates them: they may indicate the superficialcorrespondenceof attributes,as in, for example, the labelingof ABACA for the theof maticideas of a rondo design. Or they may implya similarity grouping, as in the example of similarpatternsof slurs-withinslurson a time-line diagram.They gatherand portrayan abundance of material and presentationalfeatures under a single symbol. In this sense, the symbolsemployedto show materialor thematic correspondence(e.g., ABACA) usually do not characterize the complexityof theirpresentational contexts, andthose show of a time-linedito the slurs employed presentation(e.g., not their material derivations agram) may adequatelyportray or their associationswith the presentationsof other units. By materialcomponentsandtheir combiningsymbolsrepresenting this presentationalcontexts, study attemptsto show the role of both variablesin creatingmotivic associationsbetween formal groups. These qualificationsare necessary reminders:they should not deter analystsfrom attendingto, describing,and labelling

the relationshipsbetween materialand presentational contexts in more detail than is normallydone in currentpracticesof formal analysis.The analyseswhichfollow focus on these material andpresentational variablesin the comparison of formalgroupings. Both aspectsmaybe similarin the comparedgroups;or, as of Stravinsky's characteristic music,one or the othermaydominate. Stravinsky's Designs:An Overview formaldesignshave been approached fromvarStravinsky's ious vantage points: Pieter van den Toorn'sattentionto pitch and rhythmicorganizationin relationto Stravinsky's use of the octatonicscale, RichardTaruskin's work on his Russianroots, Cone's studies of his models and methods, and JonathanKramer's investigationinto proportionalrelationshipsin StravinSeveral of these viewpoints are brieflysummasky's music.13 rized here to point up the significanceof discontinuity and two variables-musical units and time-spansthey occupy-within Stravinsky's designs. Cautioningagainst the tendency to view twentieth-century formaldesignsthroughthe lenses of nineteenth-century organic unity, Cone was among the firstto establishthe aestheticvalid13Van den Toorn, The Music of Igor Stravinsky; Richard Taruskin, "Chernomorto Kashchei:HarmonicSorcery;or, Stravinsky's 'Angle',"Journal of theAmericanMusicologicalSociety(January1985):72-142; EdwardT. The Progressof a Method," Perspectives Cone, "Stravinsky: of New Music 1 (Fall-Winter 1962): 18-26, reprinted in Benjamin Boretz and Edward T. Cone, eds., Perspectiveson Schoenbergand Stravinsky,rev. ed. (New York: W. W. Norton, 1972), 155-164, and "TheUses of Convention:Stravinsky and A His Models," MusicalQuarterly 48 (1962): 287-99, reprintedin Stravinsky: New Appraisalof His Work,ed. Paul Henry Lang(New York:W. W. Norton, 1963), 21-33; and Jonathan Kramer, "Moment Form in Twentieth-Century Music," Musical Quarterly64 (1978): 177-194 (especiallypp. 184-189), and "Discontinuityand Proportion in the Music of Stravinsky,"in Confronting Stravinsky,ed. Jann Pasler (Berkeley and Los Angeles: Universityof California Press, 1986), 174-194.

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46

Music Theory Spectrum

ity of formal discontinuity in Stravinsky's music.14 At work, according to Cone, are significant methods of interruption, juxtaposition, stratification, interlock, and synthesis. He argues that because Stravinsky embraces an additive concept of formal design-hence his interruptions, juxtapositions, and superpositions-his methods call for a different approach to formal closure and grouping.15 Kramer follows a line of investigation implicit in Cone's early work and asks this question: if Stravinsky's works project a surface musical discontinuity, what aspects, if any, contribute strands of continuity? He focuses on aspects of moment form (discrete, self-contained formal units) in the music of Stravinsky and other composers.16 Kramer's work, however, concerns the proportional relationships of units in Stravinsky's music rather than, as in this study, the patterns of grouping or shaping those units. He demonstrates that proportions recur in Stravinsky's "moment form" music and function as structural elements. Comparable proportional relationships may hold between units made up of like or dissimilar musical components. Regarding the latter, he notes that a "balance of unequals" exists when sections contrasting in their components project an approximate

For Kraequality or consistent proportionalityof durations.17 mer the logic of proportionalrelationshipsis a consequenceof discontinuityin Stravinsky'smusic. Proportionalrelationships are also a primarymeans to substantiatean analogy between groupsof formalunits. In Stravinsky's Symphonyin C, Cone describesa relationbetween two ship contrastingbalancedmusicalgroupings:one based on the parallellayout of formalunits in which both thematic materialsand their time-spanscorrespond,and a different groupingbased on the symmetrical layout of time-spans,in whichonly the time-spanscorrespond,not the thematicmaterials withinthose spans.18 His analysisthus alludesto two different kinds of correspondenceat work in the relationshipof formal units: the similarityof musical materialswithin a formal groupingas distinctfrom the similarityof the lengths of their time-spans. His examples suggest, moreover, that Stravinsky actuallyconceives the time-spansof formalunits somewhatin19 dependentlyfrom their musicalmaterials.

The Progressof a Method." 14Cone, "Stravinsky: '5In an additive approach, the significanceof musical events is achieved throughthe changingposition of those events in their surroundingenvironment and the combination and recombinationwith different events, rather thanany particular relationshipthe partsmighthave to the musicalwhole or a "logical"orderingof units in which one unit relates functionallyto the next. Similarto a mosaic, the pictureof the whole is conveyedby the layout and relationshipsof the parts. Each componenthas its own integrity.The flow of ideas results from the succession, repetition and recombination of events, each seemingly"added"to the precedingevent. "MomentForm," pp. 181-182: "Momentsare defined as self'6Kramer, containedentities, capableof standingon their own yet in some sense belonging to the context of the composition . .. the natureof moment form suggests lengths of moments as the one remainingprincipleof formal coproportional herence."

17Kramer, "Discontinuityand Proportion";also see his treatmentof proportionsin Stravinsky's Symphonyof Windsin "MomentForm." "The Uses of Convention." See especiallypp. 27-28: "Thisparal18Cone, lelism between two passages that, in the usual sonata movement, would not correspond,points to a unique structure ... The balance of the movement, then, is not of the expositionagainstrecapitulation,but ratherof the exposition on the one side againstthe recapitulationplus coda on the other ... [But]Embedded within the more obvious parallel balance is a completely symmetrical layout. Such a symmetricalordering paradoxicallyappears to contradictthe previouslyoutlinedbalanceof parallelsections;yet the composerundoubtedly meantthis alternativeplan to be heard."In the parallelismbetween the exposition and the recapitulationand coda, both thematic materialsand their timespans correspond.In the symmetricallayout of time-spanswithin the exposition and on either side of the central development section, only time-spans correspond. 19AlanLessem also implies as much by his summaryof Stravinsky'sneoclassicism:"Tonaltendenciesinherentin the borrowedelements may certainly be given some scope for development or reinterpretation, but the large musical structureis determinedless by these tendencies than by imposed time frames,

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andAnalogy in Stravinsky's of Form: The Rhythms Correspondence Designs 47

Recently, ChristopherHasty has argued that autonomous and discontinuousevents shouldbe regardedas partof a developing "temporalwhole."20 Accordingto Hasty, if discontinuity is regardedas a "completelack of connection between successive events," its relation to temporalphenomena is difficultto understand.In the case of Stravinsky's Symphoniesof WindInstrumentshis aim is to demonstratethat it is possible to relate discontinuoussections and "therebyto sense a progressivedevelopment which, while perhapsnot predictable,nevertheless He identifies recurring exhibits coherence and direction."21 constituentswithinthe A and B formalgroupingsand describes analogous rhythmic aspects of the compared groupings. He thus advocates "makingconnectionsusing all the means at our but does not consider the extent to which surface disposal"22 discontinuitystimulatessuch connections and comparisonsin music. In this studysuch connectionsare regarded Stravinsky's as motivic and activatedby Stravinsky's discontinuities,rather than as part of a progressivedevelopment. How do Stravinsky's designsthen lend themselvesto correkindsof designsapprospondence and analogy?Are particular The most likely designfor projecpriateto these relationships? tion of such relationshipsbetween groupingsof its units is one whose ideas are discontinuous,diversified,and occur in varied combinations. Figure 1 summarizesa number of Stravinsky's methodsof formalclosureand grouping.The designsgenerated

methods of formalclosureand grouping Figure 1. Stravinsky's A. Contrastthroughextended pitch, rhythmic,or texturalstasis: Octet, "Finale";Symphonyof Psalms, III. B. Framingthe beginningand end of a designby a restatedmusicalidea: Riteof Spring,Introduction; L'Histoiredu soldat, "Soldier's March"; Symphony of Psalms, III ("Dominum");Agon. C. The repetition, addition, superimposition,restatement,or recombinationof musicalideas for: a. a texturaleffect: Rite of Spring,Introduction. b. a synthesisof ideas: Symphonyof Psalms, I. c. a cyclic design: Three Pieces for String Quartet,no. 1; Four RussianPeasantSongs, no. 1. d. formal analogies: ThreePiecesfor StringQuartet,no. 2; L'Histoiredu soldat, "The Soldier'sMarch." D. The contrastof a balancedvs. an archedor symmetrical dein I. sign: Symphony C, I; Octet, E. Combinationsof the above.

whose measurementsare meticulouslycalculatedfrom without, and to which such tendencies are made to submit."See his article, "Schoenberg,Stravinsky, and Neo-Classicism:The Issues Reexamined," Musical Quarterly68 (1982): 541. A similarview is also implied by B. M. Williamsin "Timeand The Struc59/3 [July1973]:355ture of Stravinsky's Symphonyin C," (MusicalQuarterly 369). F. Hasty, "On the Problemof Succession and Continuityin 20Christopher Twentieth-CenturyMusic," Music TheorySpectrum8 (1986): 58-74. 21Hasty,"Successionand Continuity,"63. 22Hasty,"Successionand Continuity,"74.

by the proceduresof categoryC maytend towardthe analogous presentationof groupsof musicalunits. Althoughthe following of forexamplesdo not detail all of the differentcombinations mal procedures in his music, they point up a few differences from situationsof analogyand call attentionto the importance and the autonomyof materialcomponentsand the groupingof theirtime-spans. The designsin the firstcategory(A of Fig. 1) establishformal groupingthroughabruptcontrastfollowedby a continuousrepetition of a pitch, rhythmic,or texturalidea, as, for example,in the coda section of the third movement of the Symphonyof Psalms (rehearsal22 to 29) where the statictreatmentof pitch, rhythm,and textureprecedesthe conclusionof the movement. The repetition of a musicalidea at the beginningand end of a

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48

Music Theory Spectrum cal coincidence, but effect a coincidence that is constantly
changing. "25

formalgroup may also frame that groupingand articulateformalclosure(categoryB of Fig. 1). Examplesare the transposed repetitionof the bassoon solo at the end of the introduction fromRiteof Springor that of the brassfanfareat the beginning and end of "The Soldier'sMarch"from L'Histoiredu soldat. Their formalrepetitioneffects closure apartfrom their difference in transposition. The designs of category C have stimulated many diverse ideas concerningthe relationships between rhythm,meter and formin Stravinsky's music. Closuremay be accomplishedsimtexturalefply by a buildupof activityto achieve a particular a of combination or fect, previouslyseparateideas, the cessation of a repeatedidea or activity(see a, b, c of C, Fig. 1). Van den Toorn summarizestwo separatetypes of rhythmic-metric in Stravinsky's constructions music that are noted in category C.23 The construction of type I is "quasi-cubist"; diverseblocks of materialare juxtaposed, lengthened, and reshuffled. This featuresverticallycoincidentpartswithina type of construction constantlychangingmetricframework:"construction proceeds in strict block formation:the horizontal fragments, lines, or in vertical partsproceed all together synchronizedunvaryingly coincidence."24 In contrastthe constructionof type II is circular; repeatingfragments are superimposedand repeated accordingto cycles whichvary independentlyfrom one another: "Thesesuperimposed cells' rhythmic-metric periods('rhythmic as Boulez callsthem) are not synchronized in vertiunvaryingly

23Vanden Toorn, Stravinsky,138-139, 214-218 and 224-238. Each of has a "double-edge":a tendency towardcontradictionor these constructions or off-the-beat/on-the-beat reversalof the upbeat/downbeat positions of fragmentsin repetitionwhichis then offset by a samenessin repetition-"a contradictionor reversalin the accentualimplicationsof a reiteratingfragment,and then an element of counteractionwhichsubvertsthis displacementby pressing 'sameness'in fragmentalrepetition"(p. 227). for a rhythmic-metric den Toorn, Stravinsky,139. 24Van

As described by the second of these rhythmic-metric constructions,forms shaped by the continualrepetitionof a set of musicalmaterialsare cyclic:a repeatedpatternor groupof patterns continuallycycles back upon itself or its variant. Cyclic presentationsusuallyfeature a correspondencein the material in aspects of their pitch patterningbut a non-correspondence theirrhythmic-metric orientations. The first of the Four Russian Peasant Songs illustratesthis cyclictreatmentof repeatedpitch fragments.The sketchin Example 1 alignsthe repeatedmelodic fragmentsand at the same time preservestheir musicalnotation and orderedsuccessionin the song. The rhythmic-metric duplicationof the repeatedvocal line does not occuruntil the concludingpassageby the hornsin mm. 26ff. Moreover, the bracketedmelodicfragmentin m. 31, B-A-B-G, marksthe finalrepetitionof the openingfragment of the vocal line-of all the statementsof this fragmentby the horns, only this occurrencecoincideswith the repetitionof that fragment. The musicalpoint of such a design is the changingtextural, rhythmic-metric,and temporal surface contexts of a pattern and its variants.Patternscorrespondin their materialfeatures but not in their rhythmic-metric settings. As in this song, a corof respondence(i.e., replication) the patterns'originalsetting, the conclusionof the ordering,andproportion,often articulates the of 43 of ThreePieces in m. piece (cf. configuration patterns no. This Quartet, for String 1). correspondenceof materialaswith the of presentational setpects along non-correspondence contrasts with situation a in which tings noticeably analogy, presentationalsettingscorrespondbut materialaspectsdo not. The variablesof materialcomponentsand time-spanswhich in designsestablishedthrough they occupyinteractsignificantly
25Van den Toorn, Stravinsky,139.

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The Rhythms andAnalogyinStravinsky's of Form: Correspondence Designs 49

Example 1. Four RussianPeasantSongs (new version, 1954), no. 1, "On Saints'Days in Chigisakh": alignmentbasedon repeatedpitch patterns

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50

Music Theory Spectrum

Figure2. ThreePiecesfor StringQuartet,II: pairsof contrastingformalunits, each followed by anotherunit which combinesand/or extendsthe pair
mm. 6 13 17 20 25 31 36 40 42 45 48 IV. 53 56 60

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the repetitionand stratification of ideas, categoryC of Figure 1 van den Toorn'srhythmic-metric constructiontype I). As (and noted previously,a varietyof factorsmay shape formalgrouping and closurein these designs,as, for example, the cyclicproceduresdiscussedin the firstof the FourRussianPeasantSongs or the "synthesis"of ideas observedby Cone at the end of the first movement of the Symphonyof Psalms.26The compositional procedures of category C, however, particularlylend themselvesto analogiesin patterning,as a compensationfor the of events or perhapsbecause the discontinuityitdiscontinuity self shiftsthe listener'sattentionto the level of musicalpresentationand relationship.

Three Pieces for StringQuartet,no. 2 The formalunits in the second of the ThreePiecesfor String Quartet(1913) are shown in Figure2, and markedon the score of Example 2 to provide a framework for discussing these In this piece, pairsof contrastingformalunits are each ideas.27 followed by another unit which combines and/or extends the pair. Although this verbal summaryof the prevailingrhythmic
a studyof pitch organizationin these pieces, see my "Relationshipsof 27For Pitch-ClassSets and Stravinsky's Symmetrical Metaphorof Polarity,"Perspectives of New Music 21 (1982-83): 210-221; and "Pitch-ClassFunction, Centricity,and Symmetryas TranspositionRelationsin Two Worksof Stravinsky" (Ph.D. dissertation,The Universityof Michigan, 1981). See also Allen Forte, "HarmonicSyntax and Voice Leading in Stravinsky's Early Music," in Pasler (ed.), Confronting Stravinsky,95-129.

26Cone,"The Progressof a Method," 161-163.

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The Rhythms of Form:Correspondence and Analogy in Stravinsky'sDesigns

51

Example 2. Three Pieces for String Quartet, II: formal units and divisions

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I _

p^2

(arco) I

p ',poeo

tzmile

PP

-.
Qjcome sopra_

a^.Y;:

t 'I

rI

II

0'-

come jopra

10

i__'t:

__

__

____

j-h_~~. ~,,,,.
0

'.. - -,i. -_'' \

.. r . j

~ .t ,)

-r

p r , touche 3. 1

ri -

SL

f
OCOito

sur l.toue

J^-I

;? I-i

*---

rX rr 1= i 1 i j j

__ 1

'

r
11': *^

r -

-^

*..

_:

j A~~~~~~~~~~~~~~~~~~~~~~I

N-p

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tS)}

52

Music Spectrum Theory

Example 2 continued
15 Allegro (J. 7e)
fH^.j-^.r-1.dS ?J . f ^vJ p4

Tempo I (J :=76) -------.

.-p

,,.ni

sur la touche-.-,

--_^ ,-

...

poco rit:
a^

I-ci
4 "1

vjXcestsrement ' f :ourt et ser t

PP nZ9t(pil.?) P >

II

2-2

1 sua

touche

7'
(p'izz.

m f.

0 mOFt
a1co

- 4 4*

If

Sl' lajouche

plZZ. Blissez avec

sur La touche

!'0p ;_ sa.-

--

t^g^t

~-

sim.e
* AN

.
arco

,'0 v
_A__?f ,,.

.|ff

ub. come sopra

v--m- f1

...,,

pizz.
^

secco e p
i ie

.. .
I

pizz.

i z.^"
25 sl p (lti,-zz

(pizz

.)

t .

pp
-p v _-

f
,

"<y ys~
(J;112 116) .

~p p
l(arco )

'

II. F.

25..

1 JI

_,

1^.

mfr ~--.-ta

Wra m '. ns

e-te

iml

_______k

OR-

L tf ipccotnc7io

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The Rhythms of Form:Correspondence and Analogy in Stravinsky'sDesigns

53

Example 2 continued

40

** 2 tri Vt I s- ..........

(v?

v^':

)(V) -

O
?

1^^^?^r^T

-/

-. I~--,?

{ .i

:L lc.tL_~.. _ !'.:_I .G..

II,pos.'^t .-,
?

* Renversez

vite liJnstrument / I'arpegc

(tenez-lc nel-ers:B.-

conm;.e on tient . B. & H. 16313

un violoIocelle)

afln de pouvoir

executerce

pFzz ,qui equivaut

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54

Music Theory Spectrum

Example 2 continued
45 4. ?
4 (.)

IV.

I*
^
_

ra .1 -3 3
l~paosif

I~_ :

Io o
?

(b)

< ~ ! T-I-h^
_ _
arco

sim/e, ccme sopra

r--,a-~?I vra
-

r-- r

-1 5i---i

sul Do tres court du talon

o'

.--n

I P 6Of siide, ccme i | Vt---?

soFra -

lP51

I surlDo
J '

t .

OUCh ..

jsmle, comn sopra

) I edonnez -u son i/ratntfe'' 51 sur la touchePOC-

_ ^-

37,.:7

PS

s imtl,ccome

sopra

allarg
-

-A

)Aro

sour

sur la touche

- .

? ,.

~,- PPt ,
v,2) 9pocof f

, I

pizz.

2c-2 in

oizz.

surla

touche

poco sf
piL

sur la touche
areo -

56^ ==tepoco vv
ll 56 atcinorl .
,. _.-=
.__
cGmne

fAllegro (J. 6)

. ~.L.~,71 y9'
e sopra o aU.

V t
4

|arcotbf ,T

arco

-_ Vf-1"r-1 1r-'
_ '

-com

cS'pija

<
f sub.

3
PPPp

3 i t.

I-{ 'ccmesj/-

^--^r r -h^
f -come sopra

__
,

'

__ '_

J su b.

n^j-]-r^i-B. & HI. 16313

^ .K^ f sub.

pizz.

K^

Copyright 1922, Edition Russe de Musique. Copyright assigned to Boosey & Hawkes, Inc. Used by permission.

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The Rhythms of Form: andAnalogyinStravinsky's Correspondence Designs 55

analogyis admittedlysketchy, the analogyitself is richin detail and applies consistentlyto the groupingsof formalunits within below the diagram the piece. In Figure 2 the slurs-within-slurs in the the of formal units; the letters groupings analogy signify indicate the formal segmentation and its units (these are also shown on the score of Ex. 2). Figure2 representsthe slow and fast rhythmic strata of the piece, , = 152 and , = 228; the numberof measuresof each groupingand their length in quarter notes shown beneath the diagramof Figure2, althoughsuggestive, must be regardedin the contextof theirrelativestrata.28 The first large division of the piece, mm. 1-24, divides into formal segmentations, mm. 1-12 and 13-24, which are rhythmically similarin their orderingand treatmentof units. In the first, musical idea a precedes a contrastingidea b, and both ideas combinein the followingunit (a + b); actuallythe unit durationallyextends a, and b occursover a. Similarly,as shown by the slursin Figure2, in the second groupingmusicalidea c prefaces contrastingidea d, and the subsequentgroup durationally extendsthese units (c andd) by usingd as partof an overlapping group in which d alternateswith e. The model and its profile thus feature a similarpresentation,layout, and internalgrouping of a contrastingpair of ideas: they constitutea formalanalogy. The analogy active between model (mm. 1-12) and profile (mm. 13-24) withindivisionI subsequentlyappliesto a profile betweendivisionsII and III, and in effect, links these two latter divisions (see the brackets above Fig. 2). Here, mm. 31-45 functionas an expandedprofile. They are analogousin presentation, layout, and internalgroupingto the model and its profile in divisionI: In G (mm. 31-35) of divisionII, melodicpatternx
28Anaccount of the pulsationspeeds of the piece is found in Robert Cogan and Pozzi Escot, Sonic Design (Englewood Cliffs, N.J.: Prentice-Hall, 1976), of the two pulse stratabut do not 276-83. They note the generalcharacteristics correlatetheir accountwith the pitch organizationof the piece. For this correlation see my "Pitch-ClassFunction, Centricity,and Symmetry,"147ff.

precedestwo contrasting"cadentialgestures"(y andz); the following group H (mm. 36-45) extends and repeatsthis melodic pattern (xi) over an ostinato-like accompanimentand concludeswith the cadentialunits in reverseorder(z1 andy). The completeprofile, mm. 31-45, relatesby analogyto both mm. 1-12 and mm. 13-24 taken as models, andsuggestsa particularsimilarityto the patterningand durational layout of the ideas, a melody previousprofile, CDE. GH has two contrasting andits cadentialconclusionwhichoccursuccessively in a longer secondgroup (H) ratherthan simultaneously as in AB. GH has an allegianceto AB, however, in that its secondgroupdoes not feature a completelynew idea. Mm. 31-45 thus profileaspects of both the model and its analogyin divisionI. As an analogous grouping,they serve to link divisionsII andIII. The functionof the analogyin divisionIV is somewhatmore patcomplex because its internalgroupschangethe durational tern of previousprofiles, short-long,to long-short.Moreover, the groupingof the units in division IV features and connects ideas fromthe previouslydistinctsubsectionsof divisionI-the model (alb) and its analogousgroup(c/d)-into a singleprofile that spans the entire division (see Fig. 2). Here units a and c2, the initialunits of the two subsectionsof divisionI, are the successive, contrasting ideas. Similar to CDE, the overlapping groupof c2with e and c3shapes the longergroupingof mm. 4856; the shortergroup follows and links a, a componentof the previousgroup, with the final unit of the piece, d. The restructuringof the formalanalogywithindivisionIV profilesthe two groupings,AB and CDE of divisionI, as a singleanalog.In the sense thatthe profileof divisionIV combineswhatwere distinct groups in division I, it internalizesthe linkingfunction of the previousprofileGH; by recallingand joiningthe separateunits of divisionI, it serves as a summaryand conclusion. The secondof ThreePiecesfor StringQuartet thusarticulates formalgroupingswhich are analogousin their patternedclusteringof musicalunits. The time-spanandmaterialcomponents of analogousgroupseither duplicatethe model as in divisionI,

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56

Music Spectrum Theory

or extend the model as between divisionsII and III or within division IV. The analogy thus occurs doubly in division I, bridgesdivisionsII and III, and occurssinglyin divisionIV. by the repetition of diverse and disDesigns characterized tinctmusicalideas call attentionto the rhythmsof presentation of differenttime-spansandthe possibilityof analogousrelationships. As illustratedin ThreePieces, no. 2, such recurrentgesturesmay applyto musicalspansthat are similaror differentin length and/orto spans that are similaror differentin material components.Thusthey embraceunitsof differentmusicalidenbetitiesandtime-spans.Moreover,rhythmic correspondences or variatween patternedgroupsmay undergotransformation tion as well (see the above discussionof the variation of the model in division I and its transformationin division IV). Profiles duplicate, expand or contract, vary or transform a model. In Stravinsky's music a substantialcorrespondencein one area, either in material or presentationalaspects, often in the other. Morecompensatesfor the lackof correspondence be over, multipleanalogiesmay conspicuous.In "The Soldier's March,"the duplicationof proportional relationshipsis one of his primaryresourcesfor fashioningpairsof analogousgroupings.

"TheSoldier'sMarch" from L'Histoiredu soldat "The Soldier's March" differs significantly from Three Pieces, no. 2, in that its motives are audibly related through diatonicor chrocommonpitchandrhythmic aspects:recurring matic motives which span small intervals, dotted-eighth/ to the ongoing ostisixteenthfigures,and texturalrelationships nato bass. Their relationshipto one another and to the fragments that intercuttheir successions,however, cannot be accounted for solely by labelling and describing their motivic content, derivation,and succession. Example3 alignsthese motives and their repetitions(small theirpossiblederivations and associationsin letters)to illustrate

sections markedA, B, and C (capitalletters). The groupingof unitsrests on the permutationsof motivicideas a, b, and c, and accompanying fragmentsx, y, and z. These motives are distinct in their pitch patterns, althoughrelated in their rhythmicpatterning:a and its variantsare diatonic scalarideas that span a perfect fourth or fifth, whereas motive b and its variants are chromaticand emphasize minor thirds (e.g., b: A-F#-D?), and motive c and its variantsfeature a reiteratedneighbor-note figure. The latter are the only motives that occur above the pulse-markingbass D rather than the bass ostinato D-E/G. Shortmotivicfragmentsconcludeor interruptthe successionof motives: x is a reiterated single-note figure (see mm. 18-20, section A); y, a triadic-shaped pattern(see mm. 20-21, section of and a melodic z, pattern A); perfectfourthsand fifths(see m. section 30, C). Example4 shows these motives and their lengthsin relation to the duration of the ostinato bass (see the brackets for the ostinato pattern;half note = 1); Figure3 summarizesthese relationships.Numbers in parentheseson the score indicate the durationbetween the motives (half note = 1); a plus sign (+) after a number indicates that the end of one motive overlaps with the beginning of the next. The material similaritiesof these units are shown by the uppercase and lowercase letters above the score (Ex. 4) and time-line (Fig. 3); their relational similaritiesare signified by the patterns of letters below the score and time-line. A short opening and closing fanfare frames the piece. The selective use of the percussionbatteryin mm. 50ff. divides the piece in half and articulatesthe beginning of the second part which features an expanded and climacticreturn of motives a and b. Each part thus has three sections, A, B, and C, which presentthe motivic materialsderived from a, b, and c, respectively. PartII is a varied restatementand culminationof part I: it presentsa ideas frommm. 4ff. in mm. 50ff., b ideas frommm. 22ff. in mm. 64ff., and a reference to c from mm. 30ff. in mm. 84ff. A short bridge section, Al, precedes part II and features melodic fragmentsfrom A.

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The Rhythms of Form: andAnalogy inStravinsky's Correspondence Designs 57

Example 3. "The Soldier'sMarch"from L'Histoiredu soldat: motives a, b, and c; motivicfragmentsx, y, and z; framef
A

1221 nb .__..,

m ~ ~~~'s_ ~ ~ W Mj^-CTTmi^jTfBP
J_ .11

I_

_u

do,

do

bl

12] a_u_,,_ .

BI al fS1]. 8a l I b

81'e

Al
a2

6
|71

-'
bla

L ;'[Z i ' I~

i-

it',

[ l41 1>

,"Uwr,* .i> _,'~>f r '>

bla

,
1[2

'~

i,

575

>i p

i>f

[E

x L

y
i _a

b Ia

-9,,
[30]X

,.- , ~:
V- J ,~~~~~~~~ 14-

,
d

,
9
X)

1 88] fi

7-7 1

~ilimw-IIF- I
1 1
J 1s11

F8i4 .1I

Cl

9W

F[1 ^
I
i I !1

_
725

I ,

I
I

_ r-!!!!

Il

*X:*--

Used by kind permissionof the publisherand copyrightownerJ. & W. Chester/EditionWilhelmHansen London Ltd.

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58

Music Spectrum Theory

Example4. "The Soldier'sMarch":Above the score:formalunits and divisions;below the score: formalcorrespondencesand
analogies

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The Rhythms of Form:Correspondence and Analogy in Stravinsky'sDesigns

59

Example 4 continued
n-.-----^-_____ 7 5+

I 85o-, -.5i fI I

45+ 147---'' +8]5o|h I

-----

*'' 55

''+

I2.5+ F]'-5.

xy

7.5+

^ I I ,J

|5

5
60

Itsub

of.I

(5 25)

, I p/u

_____ ___
I I I I

LL
II I I I

Li
I I

JJ
I

LJ
i I

JV
I I

LiJ

LV

.,

,_1. M1~2I

117 5 1J.75

6.25 bla

80
_j _

bla bla
F 2.75

..

.F

13

C +

C15 85

E14 t"?t 1r~ .

'

' I "fl

Frame?" j. e

.,

Jp,di

.Jp~

.f pp{=jpp^iff, sub

/ib{4

'

'

f [15 F2.5A - ?
ad I/b ,- - -......_ p --

n .

7
I $
p

6:

. . M 1I,, 'I

;y j

Used by kind permissionof the publisherand copyrightowner J. & W. Chester/EditionWilhelmHansen LondonLtd.

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60

Music Theory Spectrum

Figure3. "The Soldier'sMarch":Above the time-line:formalunits and divisions;below the time-line:formalcorrespondencesand analogies
F A 18.25 3+ 7.5 7 3.75 3.5 b I jI 8.5 1.5 3.5 7 C 13.5 6.5 Al 7.5 7.5

H H

al I I

JK JK

H I-I

KyxJ KJ

zL L

zd M

e N

zdz M j

N N

La2 M

y L (S)

a M

(P)

(Q)

(R)

A2 7.5 2.5 5

Bl 5.5 1.5 6.75 6.25

C1 4+

F? 3 f2

al

la

bla H JK?

bla L

la M? R)

a N?

bl

(Q

Thislabellingand groupingof units, however, does not capand recomture the sense or the qualityof the transformations binationsof musicalideas in partsI and II, or the relationships of the ideas withinthe spansin which they occur. Study of the relational similaritiesof formal groups suggests, moreover, in their materialcomponents have comthat groupsdissimilar parablepresentations. SectionsA (mm. 4-21) and B (mm. 22-30), althoughthey contrastin their musicalmaterials,are similarin their broader rhythmicpresentationand treatmentof ideas. The relational

pattern of section A is designated as (HIJK): melodic idea H precedes a longer variantof that idea, I, and a motivic "tail," fragmentsJ and K, overlapswith and concludes I (see Fig. 3). Figure4 summarizesthose aspectsof section B that profilesection A taken as a model. B contractsand reverses the internal orderingof A: here the longer variant, I, precedes the shorter H-note its similarityin contour to H of the model-and the "tail" fragment, K, precedes a fragment of J. In both model and profile a 8 measure concludes the longer motive, I, and each ends with a reiteratedpitch(es) (see mm. 16-18 of al in

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The Rhythms of Form: andAnalogy inStravinsky's Correspondence Designs 61 Figure 4. "The Soldier's March":formal analogs. Section = component (event, length relativeto bass ostinato)
Analog within sections: HIJK Model: A (A B)

section A and mm. 23-24 of b in section B). Moreover, the proportionof the length of the initial motive with that of the remainingideas in the model is maintainedin the profile:in section A, H is to IJK (7.5/10.75 = 70%) as, in section B, I is to
HKJ (3.5/5 = 70%).

= H (a, 2.5/2/3) I (al, 7) ( = longer variant of H, concluding 3/8 bar) JK (xy, 1.75/2) (= "tail," fragments)

Profile: Process-Contraction and Reversal B = I (b, 3.5) (= longer variant of H, concluding 3/8 bars) H (b , 1.5) KJ (yx, 2.5/1) (= "tail," fragments) Diagram: A -7.5 B 7 3.75

A= a 2.5/2/3 H

aly 2.5/2.5/2 I 3/8 + 1.75/2 JK 21%) = 59%

%of 18.25: 41% (38%

3.5

1.5

3.5

B=b 3.5 I 3/8 %of8.5: 41% (18% + 1.5 H

yx 3.5 KJ 41%) = 59%

Proportions: A (mm. 4-21): a (7.5) / alxy (10.75) = 70% B (mm. 22-30) b (3.5) / blyx (5)

Similarly, section C (mm. 30-42) functions as a model, LMNM, for section Al which follows (mm. 43-50): Figures3 and5 summarizetheir analogousaspects.Althoughtheirmaterial identities differ, and units discretein the model overlapin the profile, they share a similarityin presentation, ordering, and proportionaldistributionof their components. The analogy between sections C and Al consists in their similarrhythmic alternationof ideas. Section C features two balanced groupings:LM, mm. 3036, and NM, mm. 37-42. The firstcomprisesa pairof overlapping motivicideas (L = fragmentz + c) followedby a concluding pair (M = fragmentz + d). NM balancesLM but reverses its components:a shortermotive (N = e) similarto c precedes the concludingpair of ideas extended (M = dzdz). This alternationof ideas, LMNM, recurswith variation(contraction,reversal, and fusion) in section Al as NMLM. Here, motives x = N, the shorterfragment,andy = L alternatewith a2 = M. The roles and proportionsof the motivic ideas and "inserted" fragmentsin C thus exchange in its profileAl (see the proportions in Fig. 5). In summary, two distinct formal analogies apply between successivesections A and B, and C and Al, of partI, to articulate a strongerdivision at mm. 30ff., section C. Although both pairsfeature differentmotivicmaterials,each pairconsistsof a model and its contracted"rhythmic" profile. In the firstsection of partII, A2 mm. 50-63, previouslydistinct melodic ideas derived from al and a join together (their motivic similaritieswere shown in Ex. 3). What factors, however, might explain the expansionof Bl in mm. 64-83 and the considerableshorteningof C1 (or the referenceto c) in mm. 84ff. and its elision with the closingframefl in mm. 88ff.?

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62

Music Theory Spectrum

The B1 section of part II is analogous to some of the formal rhythms (patterns of grouping, duration, and shape) of part I: it profiles sections B and C of part I, that is, it combines the rhythmic patterning of sections B and C within a single grouping. Many aspects support this hypothesis. Figures 3 and 6 visually illustrate the analogy, which extends beyond a similar pattern Figure 5. "The Soldier's March": formal analogs. Section = component (event, length relative to bass ostinato)
Analog within sections: LMNM (C Model: C = L M N M (zc, 3.5) (zd, 3.5) (e, 2) (dzdz, 4.5) Al)

(shorter motive than L) (extension of M)

Profile: Process-Contraction, Reversal,and Fusion Al = NM (xa2, 1/1.75) (N = shorter motive than L) LM (ya2, 2.25/2.5) (M = extension of M) Diagram: C 7 Al 6.5

of grouping in the compared spans. In addition, proportional, textural, timbral, registral, and shaping factors all contribute to the comparison of B 1 with B + C. B + C of part I is 22 half-note spans of the ostinato, while the B1 section of part II is 20 half-note spans (the diagram of Fig. 6 aligns section B of part I with Bl of part II). The first portion of B1 presents a sequential repetition of bla in mm. 6469 and an intervening "tail," a registrally distinct fragment, bl, in mm. 69-70, thus profiling the entire B section of part I, mm. 22-26. In B1, as in B, the second repetition is a transposition and shorter version of the first occurrence (see also the motivic similarities of Ex. 3). The shaping function of the bl unit, m. 70, of section B 1, however, compares with the yx unit of section B of part I: both are inserted "tails" in their musical contexts. The abrupt change of register of bl in m. 70, its presentation by the bassoon and its position between the recurring statements Figure 6. "The Soldier's March": formal analogs. Section = component (event, length relative to bass ostinato)
Analog between part I and part II: IHKJLMNM(B + C Model: B + C = IHKJ LMNM I =(b, 3.5) H=(bl, 1.5) KJ = (yx, 2.5/1) L=(zc, 3.5) M =(zd, 3.5) N =(e, 2) M =(dzdz, 2/2.5) =22 = 5 = 3.5 = 7 = 6.5 (shorter motive than L) (extension of M) (concluding 3/8 bars = *) (shorter variant of I*) ("tail," fragments) B1)

C= (
3.5 L %of 13.5: 26%

d
3.5 M 26% 7.5 2 N 15%

dz dzz
2 2.5 M 33%

A1

x 1 N

a2 1.75+ M 23.5%

y 2.25+ L 30%

a2 2.5 M 33%

%of 7.5

13.5%

Profile: Process-Redistribution and Fusion B 1 = IHJKLMNM = 20 I=(bla, 3) = 5.5 H=(bla, 2.5) = 1.5 JK?= (bl, 1.5) L=(bla, 4) = 6.75 M=(bla, 2.75) N=(bla. 1.75) M=(bla-bla, 1.75/2.75) = 6.25

(concluding 3/8 bar*) (shorter variant of I*) ("tail," fragment*) (3/8 bar) (3/8 bar begins = * *) (shorter motive than L * *) (extension of M * *)

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The Rhythms of Form:Correspondence and Analogy in Stravinsky'sDesigns

63

Figure6 continued.
Diagram: B + C -B1

3.5 C=

7 zczddzdz 3.5 L 16% (39%) (32%) 3.5 M 16% 2 N

6.5

3.5 I %of22: 16%

1.5 H 7%

2.5/1 KJ 16%

2/2.25 M

9.5% 19.5% (29%)

5.5

1.5

6.75

6.25

B1 =

bla 3 I

b 2.5 H 12.5%

b 1.5 JK? 7.5% (35%)

bla 4 L 20%

Ybla 2.75 M? 14% (34%)

Ybla 1.75 N? 8.5%

bla 1.75 M

bla 2.75 22.5%

%of 20: 15%

(31%)

A. Proportions: Part I: B (8.5) / A (18.25) B. Proportions: Part I: C (13.5) / A (18.25) A (18.25) / B+C (22) 74% 83% = = 47%

Part II: bla, bla, bl (7) / A2 (15)

Part II: A2 (15) / B1 (20) Al +A2 (22.5) / B1 + C1 (27)

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64

Music Spectrum Theory

of bla, all contributeto its interruptive yet concludingfunction whichis analogousto its counterpart yx in section B of part I. Until m. 70 the analogybetween B + C in part I and B1 in part II had some correspondencein motivic material,namely, the presence of b and bl in the comparedgroups. Beginning with mm. 70ff., however, the correspondencein materialcombeponentsends, andthe analogyinternalizesthe relationships tween formalunits ratherthan featuringtheir actual contents (the factorssupportingthe analogyare listed at the top of Fig. of the seconddivisionof B1 is compa6). Thatis, the patterning rableto thatof section C in partI. The proportional of units to their surrounding relationships units and the qualitativeconnectionsbetween those units are the principalfactors which support the continuation of this analogy.One has firstof all the sense that the bla of mm. 71ff., althoughnoticeablylonger than that of mm. 64ff., replaysthe same melodic sequence which descends by half-step from EEb-D with a much differentrhythmicprofile (comparethe 3 measuresof mm. 66, 68, and 70 with those of mm. 73 & 75, 77, and79). At some pointwithinthe lattersection of B1 (mm. 7183) the function of the 3 measure changes from concludinga groupto beginninga group. This changein orientationis clearest at m. 77, the firstchange in the pitch level of the repeated sequence (see Ex. 3); this changedividesthe second portionof B1 into somewhat balanced segments of 6.75 and 6.25. This balanced division is analogous to that of section C into segmentsof 7 and 6.5. The expandedB1 section of partII thus abof the successionswithin sorbsthe broaderrhythmic patterning the B and C sectionsof partI. This analogyof B1 in part II to B + C in part I clarifiesthe abruptlytruncatedC1 section as well as the proportionalrelarelationshipsof B1 with tionshipof B 1 to A2. The proportional its precedingand followingsectionsin part II, A2 and Cl, suggest that the relationshipbetween A and B in part I is maintained in part II, while that between A and C in part I is rebetween A2 and B 1 in partII. versedin the relationship

The lower part of Figure 6 summarizes these correspondences: in part I, section B is to A (see Fig. 6, letter A: 8.5/ 18.25 = 47%), as, in part II, the analogous first part of B1 (bla, bla, bl) is to A2 (7/15 = 47%). Similarly,in part I the length of section C is 74% of A (see Fig. 6, letter B: 13.5/ 18.25 = 74%), and part II reverses this relationship:section A2 is 75% of B1 (15/20 = 75%), the section whichincorporates the relationalgroupingof section C of part I. Finally, anotherconsequenceof the analogybetween B + C of partI and B1 of partII is the proportionalsimilaritybetween A-B-C and A1-A2-B1-C1 shown at the very bottom of Figure 6. In partI, the length of section A is 83% of B and C combined (18.25/22 = 83%); this proportional relationship also holds between sections Al + A2 and B1 + C1 to bridgepartII (22.5/27 = 83%). Is there, then, a sense in which sections Al and A2 profile section A of part I, as section Bl of part II profiled sections B and C of part I? This studyraisesas many questionsas it attemptsto answer. How far can one develop analogies between a model and its profiles? How might one substantiatea comparisonbetween sectionsof differentlevels? Whataboutthe analogousfeatures, for example, of section A in the combinedsectionsC + A, or of section C in the combined sections A + B in part I? What are the implicationsof such formal associations for the organization and patterningof other dimensionssuch as pitch?29 A pre-

29Van den Toorn invites a similarquestionfrom a differentperspective:"In other words, we may perceive the interactionas such, that to speak of symmetricallydefined conditionsof equilibrium,equal weight and independence,polarity, opposition, or deadlock-and hence conditions of contradictionand ambiguity-in pitch organization,is to suggest or imply that such conditions exist, or may be defined, with respect to other realmsor dimensionsof musical thought"(Stravinsky,219). See also Allen Forte's article, "Aspects of Rhythm in Webern's Atonal Music," Music TheorySpectrum2 (1980): 90-109, in which he proposes that "relationsamongpitch-classsets in termsof intersections,unions, andcomple-

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inStravinsky's of Form: andAnalogy The Rhythms Correspondence Designs

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liminaryinvestigation of pitch organizationin "The Soldier's March"suggests that the associationsof formalgroupingsthat have been describedare corroborated and reinforcedby factors of pitch organizationas well.30 The analogies discussed here have deliberatelyfocused on comparisonsbetween successiveformalgroupingsor spansthat level in the overall appearto functionon the same hierarchical design. But, as Kramerand van den Toorn have noted, deterlevels is no small or easy issue in miningcomparablestructural music. Although one runsthe risk of invokingthe Stravinsky's or "dimensional"fallacy in dealing with these "hierarchical" such intuitionsand speculations,althoughbeyond questions,31 the limits of this study, are worth harboringand pursuing.

Formin music is no abstractscheme into whichmaterialsare poured like wine into a crater. Form is the end resultof the complicatedprocess by which associationsof sound elements crystalizethemselvesinto our consciousness.32

ments have structuralanaloguesin the relationsamongrhythmicformationsin terms of combinationsand partitionsof durations"(p. 109); and Robert Morin the Tristan Prelude,"deliveredat the 1984 gan'spaper, "FormalCircularity meeting of the AmericanMusicologicalSociety and the Society for MusicTheory in Philadelphia.Morgandevelops the idea, firststated in an earlierarticle, "DissonantProlongations:Theoreticaland CompositionalPrecedents,"Journal of Music Theory20 (Spring 1976): 72, of a parallelbetween circularpitch structuresand the circularityof formalorganizationin Wagner'smusic. Zur arguesfor the "circleof fifthsas a background 30Menachem plan for the development of pitches" in "The Soldier'sMarch."See his "Tonal Ambiguities as a ConstructiveForce in the Languageof Stravinsky," MusicalQuarterly 68 (1982): 516-526. He develops and substantiatesthis premiseas a linearprogressionand successionof fifthsin the piece. His argument,however, does not between foradequatelyconsiderthe specificorderof fifthsor the relationships mal units for the motivic "insert"y, the expandedB1 section of partII, and the neighbor-note pattern (c, mm. 84ff.) before the conclusion of the march. A more accurateintuition of pitch patterningis of constantlyshiftingpairingsof pitch-intervalpatterns within fixed diatonic collections. These pitch patterns compriseperfect fourthsand fifthsrelated by majorseconds and minorthirds. For example, in section A the interval A-E is primaryabove the G-E/D ostinato-A is reinforcedby its upperfifthE; in section B, the intervalshiftsto A- Fp above the G-E/D ostinato-A now reinforcesits lower fifthD. 31The was pointedout by LeonardMeyer "fallacyof hierarchicuniformity" in Music, The Arts, and Ideas: Patternsand Predictionsin Twentieth-Century Culture(Chicago:The University of ChicagoPress, 1967): "the tacit and usu-

music emphasizesthese remarksby Asafiev;in Stravinsky's highlightingthe relationshipbetween musical events and the time-spanswhich they occupy, his musicresidesin the mind as well as the ear. He cajoles the perceiverinto makingrhythmic correspondencesbetween differentgroupingsof formalunits. His individualtreatmentof time-spansegmentsas autonomous durational unitsgives him a primarymeansof projectinganalogies between groupings that differ in their material components. Indeed, the interplaybetween the materialand presentational features of formal units is an essential aspect of the largerrhythmsof form in his music. The associations of patterns of succession-whether patterns of grouping, proportion and duration,or shaping-give his designsrhythmicvitality. The rhythmsof formin his music are these interrelationships amongformalgroupings.They are removedfrom, yet relatedto, the rhythmic-metric organization of the musicalsurface. They applyto time-spansin their material as well as their relationalmakeup. Durationaland proportional relationshipsare only one facet of this perspective:unsuch rhythmsrequiresthe consideration of musical derstanding content, relationalpatterning,andtheirsymbioticinterconnections.
ally unconsciousassumption that the same forces and processes which order and articulateone hierarchiclevel are operative, are equally effective, and functionin the same fashion in the structuring of all levels" (p. 96). Meyer regardspitch and time as "primary,pattern-forming" parameters and maintainsBoulez' designationof dynamics,timbre,andtouch as "secondary parameters"-"dependent variables relative to each other as well as to pitch and duration." His discussion of relationshipsbetween musicaldimensions is formulatedin the context of the serializationof parametersother than pitch (see pp. 247-248, 284-285, and 304-308). A Book About Stravinsky,11. 32Asafiev,

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Music Spectrum Theory autonomy. It is thus no accident that similaritiesbetween disparategroups arise. The essence of Stravinsky'sdesigns, like those of Picasso's paintingsand Stein's texts, lies in their relational patterning. Their larger continuities originate in the interconnectionand associationof successionsof individual,seeminglyindependent events. Through the "rhythmic"relationshipsof such discontinuous and often dissimilarevents, these twentieth-century artistsevoke not only our powerfuland painfulisolation as humans but also our fundamentalinterrelatednessand interdependence as well.

In functionaltonal musicthe expansion,contraction,or variation of a formal unit within a phrase or section, are usually expressed by similarmaterialfeatures, for example, themes, motives, and the like. In contrast, by assigningproportional and presentationalrelations a new and independent status, music adds another dimension to our perception Stravinsky's of musicalform. Unusualandindividual rhythmsof association are created:in his music the similarityof the organizationand presentationof time spans may substitutefor a motivic likeness. His larger formal rhythmspoint up the mutual interdependence of "form and content" and, at the same time, their

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