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A Level Music > Stravinsky 1913 > Flashcards

Stravinsky 1913 Flashcards

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1
Q

Context

A

20th century was a period of exploration and experimentation
Impressionism, Debussy, Ravel
Later, Aleatoric music, Cage, Saariaho
Earlier, Stravinsky, Nationalistic music
About pagan rituals of ancient Slavic tribes, at beginning of spring, young girls sacrificed themselves by dancing themselves to death

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2
Q

Melody

A

Tends to be derived from Russian and Easter European folksongs
Repetitive fragmentary nature
Detaches short motifs from longer melodies and reorders the notes
Ostinati
Pentatonicism

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3
Q

Tends to be derived from Russian Eastern European folksongs

A

Opening bassoon melody based on Lithuanian folk song
With acciaccaturas, desc minor triad V ornamented and modal, Nationalistic music often used folk songs
(Just before, Petrushka, first theme of Russian Dance based on Russian folk tunes)

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4
Q

Repetitive fragmentary nature

A

LAP, chromatic, desc solo trumpet fragment repeated in 1st vln
(Before, Firebird, Stravinsky)
Developing short melodic fragments

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5
Q

Detaches short motif from longer melodies and reorders the notes

A

LAP, alto flute plays diatonic melody, repeats last 2 notes with acciaccatura,
Most melodic fragments tend to be angular, leads onto the next part of the story

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6
Q

Ostinati

A

LAP, cor anglais quaver ostinato, limited notes driving force for the music
(After, Ravel, Bolero)

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7
Q

Pentatonicism

A

JDR, Flute pentatonic melody, folk influence (Before, Bartok, String quartet)

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8
Q

Harmony

A

Constant use of harsh dissonance

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9
Q

Constant use of harsh dissonance

A

LAP, C maj against E min chords in bassoons EP tonal confusion, breaking the tonal boundaries, exploration
Achieved by bitonality, atonality
(Just before, Petrushka, Stravinsky, dissonance created from bitonality)

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10
Q

Tonality

A

Did not reject tonality completely like Schoenberg, never a clear sense of key
Bitonality
Atonality
Folk music elements, modal style melodies

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11
Q

Bitonality

A

LAP, Eb7 chord in upper strings against Fbmaj chord in lower strings, primitive, unorganized chaos
(After, Ravel, Bolero, melody doubled in different keys)

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12
Q

Atonality

A

I, broken C7 chords in violas against E min, Emaj harmonies in bassoon, chromatic scales in woodwind, atonality achieved by tonal means, pushing the boundaries, moving towards atonal music
(Just before, Schoenburg, Peripetie, atonal due to use of hexachords)

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13
Q

Folk music elements, modal style melodies

A

Diatonic aeolian folk song, Nationalistic influences

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14
Q

Texture

A

Polyphony
Constantly evolving texture to climax
Abrupt change from homophonic stamping chords followed by mel dom hom
Homorhythmic texture

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15
Q

Polyphony

A

I, climax, frequent use of simultaneous fragmentary melodies
LAP, multiple ostinato fragments as well as a countermelody in trumpets, cellos, chaos of spring, chaotic changes towards Nationalism (Just before, Schoenburg, Peripetie)

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16
Q

Constantly evolving texture to climax

A

Monophonic bassoon, 2 part texture duet with french horn, 4 part texture, awakening of spring (Before, Stravinsky, Firebird)

17
Q

Abrupt change to homophonic stamping chords chords, followed by mel dom how

A

LAP, stamping string downbows suddenly changes with trumpet solo, EP transition in storyline

18
Q

Homorhythmic texture

A

JDR, in climax

After, Holst, Mars

19
Q

Structure

A

Mixture of through composed and a mosaic of short contrasting fragments

20
Q

Mixture of through composed and a mosaic of short contrasting fragments

A

I, throughcomposed musical representation of the gradual awakening of the earth after a long Russian winter
(Before, Stravinsky, Firebird)

LAP, through composed contrasting short fragments, create antipodal contrasts

JDR, through composed

21
Q

Sonority

A

Largest orchestra ever assembled
Huge wind sections
Standard sized string section, avoid emotional Romantic sound
Percussion

22
Q

Huge wind section

A 
Quintuple woodwind (3F, P, AF, 4O, CA, 3C, BC, 4B, CB)
Huge brass (8H, 5T, 4T, 2T), larger range of timbres, reflect story
Use of transposing instruments, can handle a larger range of keys
Intro, solo bassoon, octave above MC in tenor, sounds like O/C, shows how far Stravinsky was prepared to go, breaking the boundaries 
(Just before, Schoenburg, Peripetie, muted horns blast out loud notes)

I, upper woodwind flutter tongue, bird song

23
Q

Standard sized string section, extended techniques to avoid emotional Romantic sound

A

LAP, repeated down bows and stopped chords, rough, primitive sound, relentless sense of movement
(Before, Tchaikovsky, 2nd Symph, similar)

Cello harmonics, unease, pizz, sense of anticipation before LAP, antipodal change
I, viola col legno, woody rustic sound, pagan story
(Before, Stravinsky, Firebird)

24
Q

Percussion

A

2 timpani, tuned cymbals, gong, larger range of sonorities

25
Q

Rhythm, tempo and metre

A 
Rhythm, most important feature
Free rhythm and rubato
Polyrhythms
Cross rhythms, syncopation
Ostinati
Polymetres
Metre constantly changing
26
Q

Free rhythm

A

Begins like this to show how the new plants in spring are just starting to grow

27
Q

Polyrhythms

A

Pace increases with triplets, quintuplets, straight quavers and septuplets, obscure pulse, nature does not stick to fixed pulse, unusual as dancers rely on a strong sense of pulse.
(Just before, Sim to earlier Stravinsky’s Petrushka)

28
Q

Cross rhythms, syncopation

A

LAP, solo trumpet triplets against straight quavers in strings, obscures metre, hard to dance to
(At a similar time, Holst, 2/4, 6/8 ostinatos, Mercury)

29
Q

Ostinati

A

LAP, cor anglais ostinato, appear at irregular moments, obscures metre
(At a similar time, Holst, Mars, ostinati drive piece)

30
Q

Polymetre

A

JDR, strings in 9/8, double basses in 4/8, 5/8 (Before, Stravinsky, Firebird)
Unusual meters used

31
Q

Metre almost constantly changing

A

I, 4/4, 3/4, 2/4 alternate, obscures metre

A Level Music (13 decks)

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