The Rite of Spring. Messiaen also explores whole tone (mode 1) at fig 4. Stravinsky the rite of spring part 1 study guide by all3yyy includes 8 questions covering vocabulary, terms and more. I am puzzled about what van den Toorn is trying to say here. Scalic ideas - partly his own devising - used as basis of melodic and harmonic structures, One is the octatonic mode - popular w/ comps like Rimsky-Korsakov - and one way they broke away from tradit maj/min tonality of Classical and Romantic. The Rite of Spring transformed ideas of rhythmic structure Nijinsky was the choreographer, renowned for his controversial choreography. But spring rounds begins on a completely different note, a delicate, legato opening theme. The first two bars are mixolydian of each respective key, i.e. ( Log Out /  ( Log Out /  New diatonic Mixolydian melody in woodwind. Rite of Spring isn't atonal, but what Stravinsky did use a lot in his work is polytonality, where you stack multiple harmonies on top of each other to create a dissonant sound. It’s impossible, and pointless to write an overview on this exciting piece of work so I’ve chosen the fourth section or “Spring rounds” to comment on in a more detailed way. Cross-rhythms, syncope and unpredictable accents also feature for programmatic effect, Rhythm important; tempo used expressively; always sense of pulse; syncope important - many e.gs of sync rhythms and off-beat emphasis; cross-rhythms e.g. Although the ostinato is so captivating, this movement exists in two halves, without the stark contrast neither aspect would be so appealing. With a quick, high register phrase from the flutes, the A section is repeated. Dissonance also key in much of 'dev' section. Bitonality heard just before fig 25 - lower strings and 2nd violins outline an F6 chord under implied Eb7 in 1st violins. This rhythmic drive change of accent and energy has parallels to barbarism found in RofS. Like Stravinsky, rhythm is hugely important - it adds drive, energy and excitement... Tempo used for expressive purposes - opening has absence of pulse and v slow tempo creates effect of travelling back in time, of sth becoming ever clearer + makes increasing polyphony stand out as if coming from nowhere, Metric modulation (change of metre) in dev section - results in controlled acceleration of tempo - creates energy and drama and reinforces brutal ritualistic nature of progamme, Explores changes of metre and interesting rhythmic groupings for further exploration of programme. https://www.ttxunhuan.Com/home.Php?mod=space&uid=1809117&do=profile, Composition Website – Study Materials and Tasks, International Music Score Library Project. Please log in using one of these methods to post your comment: You are commenting using your WordPress.com account. music; 0 Answers +1 vote. The Rite of Spring transformed ideas of rhythmic structure Nijinsky was the choreographer, renowned for his controversial choreography. This overlaying of many chants is used to symbolise the people of Scotland. a 0 votes. As in RofS there are melodic ideas but these are fragmentary + are gradually developed and extended over time. The Rite of Spring transformed ideas of rhythmic structure, Nijinsky was the choreographer, renowned for his controversial choreography. Here is the relevant passage from Bernstein’s book (pp. Horn hunting idea returns at fig 44, interrupted by loud, dissonant chords at fig 45, Quaver idea from start returns just after fig 46 a 3rd lower again interrupted by loud chords. 341–342): Solo trombone joins at fig 20 and continues until surprising sudden stop just before fig 22 (false ending), Fig 22 - 4-note ostinato returns led by woodwind and brass and cor anglais a bar later - followed by main melody of movement (theme 2) at fig 25 in 1st horn: simple, diatonic folk melody, answered by flute later, Theme 2 continues to be repeated and theme 3 is introduced in trumpets shortly after fig 28, Fig 30 brief quieter section and new ost figs. Number of key melodic ideas... New high-pitched, piercing idea in Clarinet in D just after fig 9, Opening bassoon melody - high register - meandering, chant-like, Oboe melody fig 5 - rising 5ths - interval increases as movement progresses, Cor anglais melody fig 2 - distinctive rising 4th, Opening bassoon melody reappears at fig 12, Bar 69 - 4-note ostinato that will appear in next movement, The whole piece is through-composed - each movement has distinctive features, Opens with iconic bitonal stamping quaver chords reinforced and accented by horn chords which create sound picture of tribe's pagan dancing, 4-note ost reappears at fig 14 in cor anglais + continues throughout movement, Stamping chords return at fig 18 followed by new conjunct, diatonic melodic idea (theme 1) at fig 19. Note C feels like home but much of piece is based on Lydian mode (#4) --> also feature of Latin chant. C mixolydian and F mixolydian while the final 3 bars of the opening theme are in D aeolian and G aeolian), played against a delicate high pitched trill from 3 flutes. Unique approach to harm and ton - modes of limited transposition. Polyrhythmic effect at fig 41, gradual cresc begins at 42 reaching tutti ff at fig 43 - new conjunct homorhythmic quaver idea. Audience of premiere of R of S were shocked by Nijinsky's choreography: "the ugly earthbound lurching and stomping", monophonic solo bassoon opening very high in register of bassoon - sounds like ancient chant and is answered by the cor anglais solo, 3 flutes, piccolo, alto flute; 4 oboes and cor anglais; 3 clarinets, clarinet in D, bass clarinet; 4 bassoons, double bassoon; 8 horns, 5 trumpets, 3 trombones, 2 tubas; 2 timpanists, tuned cymbals, tam-tam, guiro etc; standard strings, String techniques inc repeated down bow and double-stopped chords e.g. Introduced in this mov: statue - fig 9 ostinato which is quite but... 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