Space Simultaneity in Stravinsky's Music: Theoretical Issues and New Examples
According to Straus (2014), much of Stravinsky’s music elaborates two structural fifths separated by some interval. Lerdahl (2001) suggests a kind of tonal hierarchy that can be modeled by a multidimensional space in which space distance corresponds to cognitive distance. Conciliating concepts by Le...
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| Format: | Article |
| Language: | Portuguese |
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Associação Nacional de Pesquisa e Pós-Graduação em Música
2019-04-01
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| Series: | Opus |
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| Online Access: | https://www.anppom.com.br/revista/index.php/opus/article/view/663 |
| Summary: | According to Straus (2014), much of Stravinsky’s music elaborates two structural fifths separated by some interval. Lerdahl (2001) suggests a kind of tonal hierarchy that can be modeled by a multidimensional space in which space distance corresponds to cognitive distance. Conciliating concepts by Lerdahl (2001) and Straus (2014), this paper aims to investigate qualitative aspects of multi-spatial simultaneity in Stravinsky's music, supported by new analytical examples from Ragtime for Eleven Instruments (1918), Preludium for Jazz Ensemble (1937), Tango (1940) and Ebony Concerto (1945). This paper focuses on the developments of the simultaneity issue in Stravinsky's compositional processes, especially through simultaneous multicentric prolongations. This paper seeks to expand this discussion through a theoretical perspective primarily based on the neo-Schenkerian structural prolongation idea. |
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| ISSN: | 0103-7412 1517-7017 |