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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Main Author: Alexy Viegas
Format: Article
Language:Portuguese
Published: Associação Nacional de Pesquisa e Pós-Graduação em Música 2019-04-01
Series:Opus
Subjects:
Online Access:https://www.anppom.com.br/revista/index.php/opus/article/view/663
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author Alexy Viegas
author_facet Alexy Viegas
author_sort Alexy Viegas
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description 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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spelling doaj.art-55d069a75f2d4eab88836afb8318c27f2022-12-21T17:14:19ZporAssociação Nacional de Pesquisa e Pós-Graduação em MúsicaOpus0103-74121517-70172019-04-0125114918210.20504/opus2019a2507495Space Simultaneity in Stravinsky's Music: Theoretical Issues and New ExamplesAlexy ViegasAccording 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.https://www.anppom.com.br/revista/index.php/opus/article/view/663Music spaceStravinskyModernismsimultaneitymusic analysis.
spellingShingle Alexy Viegas
Space Simultaneity in Stravinsky's Music: Theoretical Issues and New Examples
Opus
Music space
Stravinsky
Modernism
simultaneity
music analysis.
title Space Simultaneity in Stravinsky's Music: Theoretical Issues and New Examples
title_full Space Simultaneity in Stravinsky's Music: Theoretical Issues and New Examples
title_fullStr Space Simultaneity in Stravinsky's Music: Theoretical Issues and New Examples
title_full_unstemmed Space Simultaneity in Stravinsky's Music: Theoretical Issues and New Examples
title_short Space Simultaneity in Stravinsky's Music: Theoretical Issues and New Examples
title_sort space simultaneity in stravinsky s music theoretical issues and new examples
topic Music space
Stravinsky
Modernism
simultaneity
music analysis.
url https://www.anppom.com.br/revista/index.php/opus/article/view/663
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