marianne kielian-gilbert - correspondence and analogy in stravinsky's

8/13/2019 Marianne Kielian-Gilbert - Correspondence and Analogy in Stravinsky's

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Society for Music Theory

The Rhythms of Form: Correspondence and Analogy in Stravinsky's DesignsAuthor(s): Marianne Kielian-GilbertSource: Music Theory Spectrum, Vol. 9 (Spring, 1987), pp. 42-66Published by: University of California Presson behalf of the Society for Music TheoryStable URL: http://www.jstor.org/stable/746118.

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h e Rhythms o F o r m :orrespondencen d nalogy n Stravinsky sDesigns

Marianne ielian-Gilbert










Marianne ielian-GilbertShuttersshut and open so do queens. Shutters shut and shuttersandso shuttersshut andshuttersand so and so shutters and so shut-ters shutand so shutters hutand shuttersandso. And so shutters hutand so and also. And also and so and so and also.Exact resemblance o exactresemblance he exactresemblanceasexactasaresemblance,exactlyasresembling,exactly resembling,ex-actly n resemblance xactlyaresemblance,exactlyand resemblance.Forthisis so. Because.'

Stravinsky's designs, like those of Picasso's paintings andStein's texts, play with and focus on relationship itself. In theseworks, relationships are specifically rhythmic in that they dealwith patterns of grouping, duration, and shape or weight. Thediversity and distinctness of Stravinsky's musical ideas call at-tention to their broader rhythmic patterning, to their composi-tional treatment and presentation. The presentations of ideas,

These ideas were first presented in a lecture, "Another Look atStravinsky's dditiveDesigns,"at ColumbiaUniversity n Marchof 1986.I amindebted o JonathanKramer,RuthMorrow,and Pieter C. van den Toornfortheirthoughtful ommentson an earlierversion of thispaper.

Shuttersshut and open so do queens. Shutters shut and shuttersandso shuttersshut andshuttersand so and so shutters and so shut-ters shutand so shutters hutand shuttersandso. And so shutters hutand so and also. And also and so and so and also.Exact resemblance o exactresemblance he exactresemblanceasexactasaresemblance,exactlyasresembling,exactly resembling,ex-actly n resemblance xactlyaresemblance,exactlyand resemblance.Forthisis so. Because.'















'GertrudeStein, "If I Told Him: A CompletedPortraitof Picasso(1923),"Portraits ndPrayers New York:RandomHouse, 1934),21-25.'GertrudeStein, "If I Told Him: A CompletedPortraitof Picasso(1923),"Portraits ndPrayers New York:RandomHouse, 1934),21-25.'GertrudeStein, "If I Told Him: A CompletedPortraitof Picasso(1923),"Portraits ndPrayers New York:RandomHouse, 1934),21-25.'GertrudeStein, "If I Told Him: A CompletedPortraitof Picasso(1923),"Portraits ndPrayers New York:RandomHouse, 1934),21-25.'GertrudeStein, "If I Told Him: A CompletedPortraitof Picasso(1923),"Portraits ndPrayers New York:RandomHouse, 1934),21-25.'GertrudeStein, "If I Told Him: A CompletedPortraitof Picasso(1923),"Portraits ndPrayers New York:RandomHouse, 1934),21-25.

whether they be cyclic, additive, discontinuous or stratified, areoften analogous to those of other ideas. These interrelation-ships and analogies between ideas and groups of ideas in thedesigns express the larger rhythmic relationships of formalgrouping in Stravinsky's music. Such correspondences andanalogies-their material and proportional similarities andtheir modes of expression, in short, their "gestures"-are thesubject of this study.2The grouping, duration, and shape of musical patterns inStravinsky's music often have motivic implications: their ar-rangements may recur in expanded or contracted time-spans.Correspondence and analogy are terms that describe a rhyth-mic and organizational similarity between patterns. Moreover,patterns in comparison may be alike or, significantly, unlike intheir material components.

Repetition, juxtaposition, superposition, and recombina-tion-these are the compositional practices that stimulate the

2"Thegestureswhichmusic embodies are, afterall, invisiblegestures;onemayalmostdefine them as consistingof movementin the abstract,movementwhichexists in time but not in space, movement, in fact, whichgives time itsmeaningand significance or us." From Roger Sessions, The MusicalExperi-enceof Composer,Performer,Listener Princeton:PrincetonUniversityPress,1950;paperback d., 1958),20.
















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TheRhythms f Form:CorrespondencendAnalogynStravinsky's esigns 47heRhythms f Form:CorrespondencendAnalogynStravinsky's esigns 47heRhythms f Form:CorrespondencendAnalogynStravinsky's esigns 47heRhythms f Form:CorrespondencendAnalogynStravinsky's esigns 47heRhythms f Form:CorrespondencendAnalogynStravinsky's esigns 47heRhythms f Form:CorrespondencendAnalogynStravinsky's esigns 47

Recently, ChristopherHasty has arguedthat autonomousand discontinuous vents should be regardedaspartof a devel-oping "temporalwhole."20According o Hasty,if discontinuityis regardedas a "complete ack of connectionbetween succes-sive events," its relation to temporalphenomenais difficult ounderstand. nthe case of Stravinsky's ymphoniesof Wind n-strumentshis aimis to demonstrate hat it is possibleto relatediscontinuous ections and "thereby o sense a progressivede-velopmentwhich,while perhapsnot predictable,neverthelessexhibits coherence and direction."21He identifies recurringconstituentswithinthe A and B formalgroupingsand describesanalogous rhythmicaspects of the comparedgroupings.Hethus advocates"makingconnectionsusingall the means atourdisposal"22 ut does not considerthe extent to which surfacediscontinuitystimulates such connections and comparisonsnStravinsky'smusic. In thisstudysuch connectionsareregardedas motivicand activatedby Stravinsky'sdiscontinuities, atherthanaspartof a progressivedevelopment.How do Stravinsky'sdesignsthen lend themselvesto corre-spondenceandanalogy?Are particular inds of designsappro-priateto these relationships?The mostlikely designforprojec-tion of suchrelationshipsbetween groupingsof its units is onewhose ideas arediscontinuous,diversified,and occur n variedcombinations.Figure 1 summarizesa number of Stravinsky'smethodsof formalclosureandgrouping.Thedesignsgenerated

whose measurementsare meticulouslycalculatedfromwithout, and to whichsuchtendencies are madeto submit."See hisarticle,"Schoenberg,Stravinsky,and Neo-Classicism:The Issues Reexamined," MusicalQuarterly 8 (1982):541. A similarview is also impliedby B. M. Williams n "Timeand The Struc-tureof Stravinsky's ymphony n C,"(MusicalQuarterly 9/3[July1973]:355-369).20Christopher . Hasty, "On the Problemof SuccessionandContinuity nTwentieth-CenturyMusic,"MusicTheorySpectrum (1986):58-74.21Hasty,"SuccessionandContinuity,"63.22Hasty,"SuccessionandContinuity,"74.











Figure1. Stravinsky'smethods of formal closureandgroupingA. Contrast hroughextendedpitch, rhythmic,or textural ta-sis: Octet,"Finale";Symphonyof Psalms,III.B. Framing he beginningand end of adesignbya restatedmu-sical dea: Riteof Spring,Introduction;L'Histoiredusoldat,"Soldier's March"; Symphony of Psalms, III("Dominum");Agon.C. The repetition, addition, superimposition,restatement,orrecombinationof musical deas for:

a. a texturaleffect: Riteof Spring,Introduction.b. a synthesisof ideas:Symphonyof Psalms,I.c. a cyclic design: Three Pieces for StringQuartet,no. 1;Four RussianPeasantSongs,no. 1.d. formalanalogies:ThreePiecesfor StringQuartet,no. 2;L'Histoiredusoldat,"TheSoldier'sMarch."D. The contrastof a balancedvs. an archedor symmetrical e-sign: Symphony n C, I; Octet,I.E. Combinationsof the above.

bytheproceduresof categoryCmaytend toward heanalogouspresentationof groupsof musicalunits.Although hefollowingexamplesdo not detail all of the differentcombinations f for-mal procedures n his music, they point up a few differencesfrom situationsof analogyand call attention o the importanceand the autonomyof materialcomponentsand the groupingoftheirtime-spans.Thedesigns nthe firstcategory A of Fig. 1)establish ormalgrouping hroughabruptcontrast ollowedbya continuous ep-etitionof a pitch,rhythmic,or textural dea, as, forexample, nthe coda section of the third movement of the SymphonyofPsalms(rehearsal22 to 29) where the statictreatmentof pitch,rhythm,and textureprecedesthe conclusionof the movement.The repetitionof a musical dea at the beginningandend of a


















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TheRhythms f Form:CorrespondencendAnalogynStravinsky'sesigns 49

Example1. FourRussianPeasantSongs (newversion,1954),no. 1, "On Saints'Daysin Chigisakh": lignmentbasedonrepeatedpitch patterns

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50 MusicTheorySpectrum0 MusicTheorySpectrum0 MusicTheorySpectrum0 MusicTheorySpectrum0 MusicTheorySpectrum0 MusicTheorySpectrum

Figure2. ThreePieces or StringQuartet, I:pairsof contrastingormalunits,eachfollowedby anotherunit whichcombines and/orextends hepairFigure2. ThreePieces or StringQuartet, I:pairsof contrastingormalunits,eachfollowedby anotherunit whichcombines and/orextends hepairFigure2. ThreePieces or StringQuartet, I:pairsof contrastingormalunits,eachfollowedby anotherunit whichcombines and/orextends hepairFigure2. ThreePieces or StringQuartet, I:pairsof contrastingormalunits,eachfollowedby anotherunit whichcombines and/orextends hepairFigure2. ThreePieces or StringQuartet, I:pairsof contrastingormalunits,eachfollowedby anotherunit whichcombines and/orextends hepairFigure2. ThreePieces or StringQuartet, I:pairsof contrastingormalunits,eachfollowedby anotherunit whichcombines and/orextends hepair

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therepetitionandstratificationf ideas, categoryC of Figure1(andvanden Toorn'srhythmic-metriconstructionypeI). Asnotedpreviously,a varietyof factorsmay shapeformalgroup-ingandclosure nthesedesigns,as, forexample,thecyclicpro-ceduresdiscussednthe firstof theFour RussianPeasantSongsor the "synthesis" f ideas observedby Cone at the end of thefirst movement of the Symphonyof Psalms.26The composi-tional proceduresof categoryC, however, particularlyendthemselves o analogiesnpatterning,asacompensationorthediscontinuity f events or perhapsbecausethe discontinuityt-self shifts the listener'sattention o the level of musicalpresen-tationandrelationship.






26Cone,"TheProgressof a Method,"161-163.6Cone,"TheProgressof a Method,"161-163.6Cone,"TheProgressof a Method,"161-163.6Cone,"TheProgressof a Method,"161-163.6Cone,"TheProgressof a Method,"161-163.6Cone,"TheProgressof a Method,"161-163.

ThreePiecesforStringQuartet,no. 2The formal unitsin the secondof the ThreePieces or StringQuartet1913)are shown in Figure2, and markedon the scoreof Example 2 to provide a framework for discussingtheseideas.27n thispiece, pairsof contrastingormalunitsare eachfollowed by anotherunit which combines and/orextends thepair.Althoughthisverbalsummaryof the prevailingrhythmic27For studyof pitchorganizationn thesepieces, see my"Relationships fSymmetricalPitch-ClassSetsandStravinsky'sMetaphorof Polarity,"Perspec-tivesof New Music 21 (1982-83): 210-221; and "Pitch-ClassFunction,Cen-tricity,andSymmetryasTranspositionRelations n Two Worksof Stravinsky"(Ph.D. dissertation,The Universityof Michigan, 1981).See also Allen Forte,"HarmonicSyntaxandVoice Leading n Stravinsky'sEarlyMusic," n Pasler(ed.), ConfrontingStravinsky,95-129.






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The Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 51

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











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52 MusicTheorySpectrumExample 2 continued52 MusicTheorySpectrumExample 2 continued52 MusicTheorySpectrumExample 2 continued52 MusicTheorySpectrumExample 2 continued52 MusicTheorySpectrumExample 2 continued52 MusicTheorySpectrumExample 2 continued

15 Allegro (J. 7e)5 Allegro (J. 7e)5 Allegro (J. 7e)5 Allegro (J. 7e)5 Allegro (J. 7e)5 Allegro (J. 7e) Tempo I (J :=76).-p -------. sur la touche-.-, ...,,.ni ,-_^ poco rit:Tempo I (J :=76).-p -------. sur la touche-.-, ...,,.ni ,-_^ poco rit:Tempo I (J :=76).-p -------. sur la touche-.-, ...,,.ni ,-_^ poco rit:Tempo I (J :=76).-p -------. sur la touche-.-, ...,,.ni ,-_^ poco rit:Tempo I (J :=76).-p -------. sur la touche-.-, ...,,.ni ,-_^ poco rit:Tempo I (J :=76).-p -------. sur la touche-.-, ...,,.ni ,-_^ poco rit:fH^.j-^.r-1.dS f i I-ci?J . ^vJ p4 2-2 1 4 1 a^vjXcestsrement I I:ourt et ser f sua touche

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The Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 53he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 53he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 53he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 53he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 53he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 53

Example2 continuedxample2 continuedxample2 continuedxample2 continuedxample2 continuedxample2 continued

VtV *I - *- (v? v Ov^ (2 tri s .......... . ': -)(V) ?tV *I - *- (v? v Ov^ (2 tri s .......... . ': -)(V) ?tV *I - *- (v? v Ov^ (2 tri s .......... . ': -)(V) ?tV *I - *- (v? v Ov^ (2 tri s .......... . ': -)(V) ?tV *I - *- (v? v Ov^ (2 tri s .......... . ': -)(V) ?tV *I - *- (v? v Ov^ (2 tri s .......... . ': -)(V) ?

* Renversez vite liJnstrument (tenez-lc conm;.e on tient un violoIocelle) afln de pouvoir executercepFzz ,qui equivaut / I'arpegc nel-ers:B. .B. & H. 16313* Renversez vite liJnstrument (tenez-lc conm;.e on tient un violoIocelle) afln de pouvoir executercepFzz ,qui equivaut / I'arpegc nel-ers:B. .B. & H. 16313* Renversez vite liJnstrument (tenez-lc conm;.e on tient un violoIocelle) afln de pouvoir executercepFzz ,qui equivaut / I'arpegc nel-ers:B. .B. & H. 16313* Renversez vite liJnstrument (tenez-lc conm;.e on tient un violoIocelle) afln de pouvoir executercepFzz ,qui equivaut / I'arpegc nel-ers:B. .B. & H. 16313* Renversez vite liJnstrument (tenez-lc conm;.e on tient un violoIocelle) afln de pouvoir executercepFzz ,qui equivaut / I'arpegc nel-ers:B. .B. & H. 16313* Renversez vite liJnstrument (tenez-lc conm;.e on tient un violoIocelle) afln de pouvoir executercepFzz ,qui equivaut / I'arpegc nel-ers:B. .B. & H. 16313

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Example 2 continuedxample 2 continuedxample 2 continuedxample 2 continuedxample 2 continuedxample 2 continued

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.__ cGmne sopra to aU.| rcotbf 4 3arco -com cS'pija f sub. PPPp

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,T _ Vf-1"r-1 1r-' --I-{ 'ccmesj/- _ ' __ ' * __ '_ J su b.- 3 i ,. pizz.^--^r-h^ n^j-]-r^i-- ^ .K^ K^f -come sopra f sub.

B. & HI. 16313Copyright1922,Edition Russe de Musique. Copyrightassignedto Boosey & Hawkes, Inc. Used by permission.

f -come sopra f sub.B. & HI. 16313

Copyright1922,Edition Russe de Musique. Copyrightassignedto Boosey & Hawkes, Inc. Used by permission.f -come sopra f sub.



Copyright1922,Edition Russe de Musique. Copyrightassignedto Boosey & Hawkes, Inc. Used by permission.f -come sopra f sub.



Copyright1922,Edition Russe de Musique. Copyrightassignedto Boosey & Hawkes, Inc. Used by permission.

445 .?

445 .?

445 .?

445 .?

445 .?

445 .? IV. ra 3.1 -3 IV. ra 3.1 -3 IV. ra 3.1 -3 IV. ra 3.1 -3 IV. ra 3.1 -3 IV. ra 3.1 -3 I



15/26


16/26


17/26

TheRhythmsfForm:CorrespondencendAnalogynStravinsky's esigns 57heRhythmsfForm:CorrespondencendAnalogynStravinsky's esigns 57heRhythmsfForm:CorrespondencendAnalogynStravinsky's esigns 57heRhythmsfForm:CorrespondencendAnalogynStravinsky's esigns 57heRhythmsfForm:CorrespondencendAnalogynStravinsky's esigns 57heRhythmsfForm:CorrespondencendAnalogynStravinsky's esigns 57

Example3. "TheSoldier'sMarch" rom L'Histoiredusoldat:motivesa, b, andc;motivicfragments , y, andz; framefA

fS1].l

Ala2

1> l41

575 pi i>fA

[E L [ y

-9,, ~:.- , - ,[30]X d 9~~~~~~~~- V- J14-

d X)


fS1].l

Ala2

1> l41

575 pi i>fA

[E L [ y

-9,, ~:.- , - ,[30]X d 9~~~~~~~~- V- J14-

d X)


fS1].l

Ala2

1> l41

575 pi i>fA

[E L [ y

-9,, ~:.- , - ,[30]X d 9~~~~~~~~- V- J14-

d X)


fS1].l

Ala2

1> l41

575 pi i>fA

[E L [ y

-9,, ~:.- , - ,[30]X d 9~~~~~~~~- V- J14-

d X)


fS1].l

Ala2

1> l41

575 pi i>fA

[E L [ y

-9,, ~:.- , - ,[30]X d 9~~~~~~~~- V- J14-

d X)


fS1].l

Ala2

1> l41

575 pi i>fA

[E L [ y

-9,, ~:.- , - ,[30]X d 9~~~~~~~~- V- J14-

d X)

B1221 nbB1221 nbB1221 nbB1221 nbB1221 nbB1221 nb

bl 12]BI 81'e a_u_,,_ .

b Ia e

6 -' i ''[ZI~ i-|71 bla it',

.i> _,'~>f >U w r , *

bl 12]BI 81'e a_u_,,_ .

b Ia e

6 -' i ''[ZI~ i-|71 bla it',

.i> _,'~>f >U w r , *

bl 12]BI 81'e a_u_,,_ .

b Ia e

6 -' i ''[ZI~ i-|71 bla it',

.i> _,'~>f >U w r , *

bl 12]BI 81'e a_u_,,_ .

b Ia e

6 -' i ''[ZI~ i-|71 bla it',

.i> _,'~>f >U w r , *

bl 12]BI 81'e a_u_,,_ .

b Ia e

6 -' i ''[ZI~ i-|71 bla it',

.i> _,'~>f >U w r , *

bl 12]BI 81'e a_u_,,_ .

b Ia e

6 -' i ''[ZI~ i-|71 bla it',

.i> _,'~>f >U w r , *bla 1[2

i_a

bIa _ _

bla 1[2

i_a

bIa _ _

bla 1[2

i_a

bIa _ _

bla 1[2

i_a

bIa _ _

bla 1[2

i_a

bIa _ _

bla 1[2

i_a

bIa _ _

1 88]fi88]fi88]fi88]fi88]fi88]fi

ClF8i4.1I9WClF8i4.1I9WClF8i4.1I9WClF8i4.1I9WClF8i4.1I9WClF8i4.1I9W F[1 ^[1 ^[1 ^[1 ^[1 ^[1 ^

Used by kindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansenLondon Ltd.sed by kindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansenLondon Ltd.sed by kindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansenLondon Ltd.sed by kindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansenLondon Ltd.sed by kindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansenLondon Ltd.sed by kindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansenLondon Ltd.

Mj^-CTTmi^jTfBP11 W m~~~'s_~ ~ -J_ I_ _u dodo,j^-CTTmi^jTfBP11 W m~~~'s_~ ~ -J_ I_ _u dodo,j^-CTTmi^jTfBP11 W m~~~'s_~ ~ -J_ I_ _u dodo,j^-CTTmi^jTfBP11 W m~~~'s_~ ~ -J_ I_ _u dodo,j^-CTTmi^jTfBP11 W m~~~'s_~ ~ -J_ I_ _u dodo,j^-CTTmi^jTfBP11 W m~~~'s_~ ~ -J_ I_ _u dodo,

7 17 ~i imw-IF I17 ~i imw-IF I17 ~i imw-IF I17 ~i imw-IF I17 ~i imw-IF I17 ~i imw-IF II I _ . I I _I _ . I I _I _ . I I _I _ . I I _I _ . I I _I _ . I I _ Il I U 1 1 J 1s11Il I U 1 1 J 1s11Il I U 1 1 J 1s11Il I U 1 1 J 1s11Il I U 1 1 J 1s11Il I U 1 1 J 1s11

.__..,__..,__..,__..,__..,__..,

*X:*--i I 1 725 ,

-I r-

*X:*--i I 1 725 ,

-I r-

*X:*--i I 1 725 ,

-I r-

*X:*--i I 1 725 ,

-I r-

*X:*--i I 1 725 ,

-I r-

*X:*--i I 1 725 ,

-I r-



18/26

58 MusicTheorySpectrum

Example4. "The Soldier'sMarch":Above the score:formalunitsanddivisions;below the score:formalcorrespondencesandanalogies













19/26

The Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 59he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 59he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 59he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 59he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 59he Rhythmsof Form:Correspondence and Analogy inStravinsky'sDesigns 59

Example 4 continuedn-.-----^-_____ 7.5+7 5+ I2.5+ xy 5

+8]5o|h----- *'' ''+147---'' 55 F]'-5. ^ |5 6085o-, 45+-.5i

fI I I JI I i.Itsub of i (5 25)

_______ J JLi LJ LiJ 1L J V LVI p/u I I I I I I I I I I I i I I I I .,


+8]5o|h----- *'' ''+147---'' 55 F]'-5. ^ |5 6085o-, 45+-.5i




+8]5o|h----- *'' ''+147---'' 55 F]'-5. ^ |5 6085o-, 45+-.5i




+8]5o|h----- *'' ''+147---'' 55 F]'-5. ^ |5 6085o-, 45+-.5i




+8]5o|h----- *'' ''+147---'' 55 F]'-5. ^ |5 6085o-, 45+-.5i




+8]5o|h----- *'' ''+147---'' 55 F]'-5. ^ |5 6085o-, 45+-.5i



bla .. . C15F 2.75 bla .F 13 : + C 85la .. . C15F 2.75 bla .F 13 : + C 85la .. . C15F 2.75 bla .F 13 : + C 85la .. . C15F 2.75 bla .F 13 : + C 85la .. . C15F 2.75 bla .F 13 : + C 85la .. . C15F 2.75 bla .F 13 : + C 85 E14t"-

'I"fl Frame?"?tr~ j. eE14

t"-'I"fl Frame?"

?tr~ j. eE14t"-


t"-'I"fl Frame?"

?tr~ j. eE14t"-


t"-'I"fl Frame?"

?tr~ j. e_j _ pp{=jpp^, Jp,di .Jp~ .f iff, /ib{4 .ub ''

' M I

_j _ pp{=jpp^, Jp,di .Jp~ .f iff, /ib{4 .ub ''

' M I


' M I


' M I


' M I


' M I

[15 F .5-f

[15 F .5-f

[15 F .5-f

[15 F .5-f

[15 F .5-f

[15 F .5-f

ad I/b ,- - -......- _d I/b ,- - -......- _d I/b ,- - -......- _d I/b ,- - -......- _d I/b ,- - -......- _d I/b ,- - -......- _

7p -- p. ,, kp -- p. ,, kp -- p. ,, kp -- p. ,, kp -- p. ,, kp -- p. ,, k

Used bykindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansen LondonLtd.sed bykindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansen LondonLtd.sed bykindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansen LondonLtd.sed bykindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansen LondonLtd.sed bykindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansen LondonLtd.sed bykindpermissionof the publisherandcopyrightownerJ. &W. Chester/EditionWilhelmHansen LondonLtd.

A - ? . $n I- ? . $n I- ? . $n I- ? . $n I- ? . $n I- ? . $n I

6: . M 'I1 ;y j: . M 'I1

;y j: . M 'I1

;y j: . M 'I1

;y j: . M 'I1

;y j: . M 'I1

;y j

6.25,_1. 1175 blaM1~2I 1J.75 80

6.25,_1. 1175 blaM1~2I 1J.75 80

6.25,_1. 1175 blaM1~2I 1J.75 80

6.25,_1. 1175 blaM1~2I 1J.75 80

6.25,_1. 1175 blaM1~2I 1J.75 80

6.25,_1. 1175 blaM1~2I 1J.75 80



20/26


Figure3. "TheSoldier'sMarch":Above the time-line: ormalunits anddivisions;below the time-line: ormalcorrespondencesandanalogiesFigure3. "TheSoldier'sMarch":Above the time-line: ormalunits anddivisions;below the time-line: ormalcorrespondencesandanalogiesFigure3. "TheSoldier'sMarch":Above the time-line: ormalunits anddivisions;below the time-line: ormalcorrespondencesandanalogiesFigure3. "TheSoldier'sMarch":Above the time-line: ormalunits anddivisions;below the time-line: ormalcorrespondencesandanalogiesFigure3. "TheSoldier'sMarch":Above the time-line: ormalunits anddivisions;below the time-line: ormalcorrespondencesandanalogiesFigure3. "TheSoldier'sMarch":Above the time-line: ormalunits anddivisions;below the time-line: ormalcorrespondencesandanalogies

F AAAAAA18.258.258.258.258.258.25

C8.5.5.5.5.5.5

Allllll13.53.53.53.53.53.5 7.5.5.5.5.5.5

3+ 7.5 7 3.75 3.5 1.5 3.5 7 6.5 7.5

alH I JK bI H KyxJ zL zd e zdz N La2 y aH I JK jI I-I KJ L M N M j N M L M

3+ 7.5 7 3.75 3.5 1.5 3.5 7 6.5 7.5


3+ 7.5 7 3.75 3.5 1.5 3.5 7 6.5 7.5


3+ 7.5 7 3.75 3.5 1.5 3.5 7 6.5 7.5


3+ 7.5 7 3.75 3.5 1.5 3.5 7 6.5 7.5


3+ 7.5 7 3.75 3.5 1.5 3.5 7 6.5 7.5


(P)P)P)P)P)P)

A222222

(Q)Q)Q)Q)Q)Q) (R)R)R)R)R)R)

Bllllll

(S)S)S)S)S)S)

C1 F?1 F?1 F?1 F?1 F?1 F?7.5 2.5 5 5.5 1.5 6.75 6.25 4+ 3

al l la bla bla la a bl f2

7.5 2.5 5 5.5 1.5 6.75 6.25 4+ 3


7.5 2.5 5 5.5 1.5 6.75 6.25 4+ 3


7.5 2.5 5 5.5 1.5 6.75 6.25 4+ 3


7.5 2.5 5 5.5 1.5 6.75 6.25 4+ 3


7.5 2.5 5 5.5 1.5 6.75 6.25 4+ 3

al l la bla bla la a bl f2I H JK? LH JK? LH JK? LH JK? LH JK? LH JK? L

(QQQQQQ

This abellingandgroupingofunits,however,doesnot cap-turethe sense or the qualityof the transformations ndrecom-binationsof musical deas inpartsI andII, or the relationshipsof the ideaswithinthe spans n whichthey occur.Studyof therelationalsimilaritiesof formal groups suggests, moreover,thatgroupsdissimilar n their materialcomponentshavecom-parablepresentations.SectionsA (mm.4-21) and B (mm. 22-30), although heycontrast n their musicalmaterials,are similar n theirbroaderrhythmicpresentationand treatmentof ideas. The relational





This abellingandgroupingofunits,however,doesnot cap-turethe sense or the qualityof the transformations ndrecom-binationsof musical deas inpartsI andII, or the relationshipsof the ideaswithinthe spans n whichthey occur.Studyof therelationalsimilaritiesof

marianne kielian-gilbert - correspondence and analogy in stravinsky's

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