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Invariance and Analogy in Stravinsky-s -Musick to heare-

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Invariance and Analogy in Stravinsky-s -Musick to heare-

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-Invariance and Analogy in the Linear Design ofStravinsky's "Musick to heare"David Carson BerryCollege-Conservatory of Music. University of Cincinnati.

trace(aiutk.eduFollow this and additional works at: https://trace.tennessee edu/gamut Ò* Part of the Music CommonsRecommended CitationBerry, David Ca Invariance and Analogy in Stravinsky-s -Musick to heare-

rson (2008) "The Roles of Invariance and Analogy in the Linear Design of Stravinsky's "Musick to heare",' Gamut: Online Journal of the Music Theory So

Invariance and Analogy in Stravinsky-s -Musick to heare-

ciety of the MidAtlantic. Vol. 1 : Iss. 1 , Article 1.Available at: https://trace.tennessee.edU/gamut/vol1/iss1/1This article is brought to you freely

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-ty Libraries. This article has been accepted for inclusion in Gamut. Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized e

ditor. For more information, please visit https7/trace tennessee edu/gamut.The Roles of Invariance and Analogy in the Linear Design of Stravinsky's "M Invariance and Analogy in Stravinsky-s -Musick to heare-

usick to heare"'David Cai son BerryIn the 1950s and '60s. after Stravinsky had begun to integrate serial procedures into his compositional techniques,

Invariance and Analogy in Stravinsky-s -Musick to heare-

his approach evolved from piece to piece. Here I use the word “evolved" in a Darwinian sense. As the compositional environments changed (i.e.. as new

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-flourished were those best suited to the new artistic climates—those most amenable to the tasks at hand. As such, they should be appreciated in their

own terms. Yet there IS sometimes a tendency to look beyond the work under discussion, to subsequent, more “mature" works: and to describe the earlier Invariance and Analogy in Stravinsky-s -Musick to heare-

work in terms of how it allegedly prefigured those that followed.* 1 Setting Darwin aside, some writers seem to evoke the evolutionary views of Jean-

Invariance and Analogy in Stravinsky-s -Musick to heare-

Baptiste Lamarck, and view compositional changes as points along aThis essay traces its origins to a senes of papers presented in constantly evolving

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-and Analogy as Compositional Determinants in Stravinsky's Early Serial Music " (the former presented in February at the South-Central Society for Musi

c Theory [Baton Rouge. Louisiana], in March at Music Theory Southeast [Salisbury. North Carolina], and in April at the Rocky Mountain Society for Musi Invariance and Analogy in Stravinsky-s -Musick to heare-

c Theory [Provo. Utah]; and the latter presented in October at the New Music and Art Festival of the MidAmerican Center for Contemporary Music [Bowlin

Invariance and Analogy in Stravinsky-s -Musick to heare-

g Green. Ohio]). In its current form, the essay is dedicated to John Covach. who was both helpful with and encouraging of those earlier efforts.1 Cons

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-Press. 1990). Although Haimo's understanding and distillation of a large and complicated corpus of music is laudable, some reviewers have criticized h

is particular approach: "to trace the precedents for each [serial] technique and show how a 'mature style' defined by these techniques comes gradually Invariance and Analogy in Stravinsky-s -Musick to heare-

into being ” That is. "the compositional goal is defined before hand so that we can proceed to trace out the trajectory toward that goal" (Michael Ch

Invariance and Analogy in Stravinsky-s -Musick to heare-

erlin. review of Schoenberg '$ Serial Odyssey. Music Theory Spectrum 14/1 [1992], 109). Haimo begins with a consideration of Schoenberg’s late works a

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-"? In this way. one neglects the differences among works, in aesthetic effect and aspiration. "Chronology becomes a railroad track." leading resolutel

y toward late and “mature" works from earlier works that—by implication—arc immature or jejune (Martha Hyde, review of Schoenberg's Serial Odyssey. Jo Invariance and Analogy in Stravinsky-s -Musick to heare-

Invariance and Analogy in Stravinsky-s -Musick to heare-

y in Stravinsky's "Musick to heart” "march of progress" toward better or more perfect works. For example, ail implicitly teleological view of Stravins

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-which the serial unit has been reduced in pilch content, pilch duplication has been eliminated, and the serial unit has been made to supply every pitc

h element of rhe work, rhe next composition, the Canticttm Sacrum 119551, is, in large part, a twelve lone composition.’I lere rhe presumed compositio Invariance and Analogy in Stravinsky-s -Musick to heare-

nal aspiration was to work toward rising a twelve-rone series, from wliich all pc materials could be derived; and Stravinsky, il seems, had found hims

Invariance and Analogy in Stravinsky-s -Musick to heare-

elf al the borders of this serial Promised Land after just two years of wandering in a non dodecaphonic desertIndeed, if one canvasses writings about

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare-avinsky passed along Ills route. For example. In Memoriam Dylan Thomas (1954) has been called his "initial endeavor in total pitch serialization.”* *

Canticum Sacrum (1955) has been designated his "first completed work to make use of twelve-tone procedures.”5 Threni (1958) has been called "his first Invariance and Analogy in Stravinsky-s -Musick to heare-

completely twelve tone work" Movements for Piano and Orchestra (1959) has been cited as the work in which "the technique of hexachordal rotation ...:

Invariance and Analogy in Stravinsky-s -Musick to heare-

l-amarck (1744 1829) held that successive organisms become ever more complex and ascend to higher levels of existence. Thus. evolution is driven not

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare- detail ill “Stravinsky’s Serialism and Musical Evolution: Tinkering. Preadaptation, and Nou-Teleological Change." a paper presented June 2007 al the

conference on "Music and Evolutionary Thought" (Durham University, United Kingdom).■ Millon Babbitt. "Remarks OU the Recent Stravinsky.” Perspectives Invariance and Analogy in Stravinsky-s -Musick to heare-

of New Music 2Z2 (1964). 45. Here and throughout, composition dales reflect the year a work was completed.*Robert Gauldin and Warren Benson. "Structur

Invariance and Analogy in Stravinsky-s -Musick to heare-

e and Numerology in Stravinsky's /n Memoriam Dylan Thomas," Perspectives of New Music 23/2 (1985), 166.' Charles Paul Wollerink. “Harmonic Structure a

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare- has cited die second movement of Canticum Sacrum (“Surge, aquilo") as "the first twelve rone movement written by Stravinsky,” Ĩ.C., one in which "all

of rhe parts .. . are twelve tone determined" (Babbitt. "Remarks on the Recent Stravinsky47).•Babbitt. "Remarks on the Recent Stravinsky.” 50.Gamut H Invariance and Analogy in Stravinsky-s -Musick to heare-

i QOOSiBerry: Invariance and Analogy in Stravinsky s "Musick to heart ”first appears.”7 And the narrative continues to unfold similarly for the remain

Invariance and Analogy in Stravinsky-s -Musick to heare-

ing major works. Ill what Joseph Straus has summarized as “a succession of compositional firsts.’* * * 4 As for the earliest serial works, writers hav

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I

Invariance and Analogy in Stravinsky-s -Musick to heare- these works in this way. writers have implicitly depicted them as having "not yet arrived" at some a priori level of compositional "maturity,’’ and i

t is difficult not to interpret such a suggestion negatively."Musick to heare," the first movement of Three Songs from William Shakespeare (1953). mig Invariance and Analogy in Stravinsky-s -Musick to heare-

ht be described in a manner akin to the prior comments. If one were interested ill plugging the work into a preset teleological narrative, one might w

Invariance and Analogy in Stravinsky-s -Musick to heare-

rite the following:

Him UNIVF.RSITV OF TENNESSEE KNOXVIlltGamut: Online Journal of the Music TheorySociety of the Mid-AtlanticVolume 1 Issue 1Article 139448The Roles of I