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DEBUSSY: THE ORIGINS OF A METHOD

DEBUSSY: THE ORIGINS OF A METHOD Example 1. Stravinsky, Petrushka, formal diagram of “The Shrove-Tide Fair” fies the connection between cinematic montage and traditional form that Walsh hears in this music, for this brief passage clearly exhibits both formal stratification and interlock. Cone defines these terms as follows: By stratification I mean the separation in musical space of ideas—or better, of musical areas—juxtaposed in time; the interruption is the mark of this separation . . . Since the musical ideas thus presented are usually incomplete and often apparently fragmentary, stratification sets up a tension between successive time segments. When the action in one area is suspended, the listener looks forward to its eventual resumption and completion; meanwhile action in another has begun, which in turn will demand fulfillment after is own suspension. The delayed satisfaction of these expectations occasions the second phase of the technique: the interlock. (1962, 19) Example 1 demonstrates these two principles at work in this music; each of the musical figures is stratified through its abrupt juxtaposition with another,5 and all but the second dancer’s music is continued through interlock.6 The formal construction of Petrushka’s opening scene leads us toward the main topic of this study in two ways. Petrushka http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

DEBUSSY: THE ORIGINS OF A METHOD

McFarland, Mark
Journal of Music Theory , Volume 48 (2) – Jan 1, 2004
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References (11)

Publisher
Duke University Press
Copyright
Copyright 2004 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-48-2-295
Publisher site
See Article on Publisher Site

Abstract

Example 1. Stravinsky, Petrushka, formal diagram of “The Shrove-Tide Fair” fies the connection between cinematic montage and traditional form that Walsh hears in this music, for this brief passage clearly exhibits both formal stratification and interlock. Cone defines these terms as follows: By stratification I mean the separation in musical space of ideas—or better, of musical areas—juxtaposed in time; the interruption is the mark of this separation . . . Since the musical ideas thus presented are usually incomplete and often apparently fragmentary, stratification sets up a tension between successive time segments. When the action in one area is suspended, the listener looks forward to its eventual resumption and completion; meanwhile action in another has begun, which in turn will demand fulfillment after is own suspension. The delayed satisfaction of these expectations occasions the second phase of the technique: the interlock. (1962, 19) Example 1 demonstrates these two principles at work in this music; each of the musical figures is stratified through its abrupt juxtaposition with another,5 and all but the second dancer’s music is continued through interlock.6 The formal construction of Petrushka’s opening scene leads us toward the main topic of this study in two ways. Petrushka

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2004

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