Abstract

In an earlier issue of this journal, Pieter van den Toorn provides us with much to think about regarding Stravinsky analysis. Specifically, he argues that displacement is perhaps most important element of Stravinsky's rhythmic practice. As he puts it: Much of what is charac teristic of Igor Stravinsky's music may be defined rhythmically terms of displacement, shifts metrical alignment of repeated motives, themes, and chords.1 Van den Toorn refers here to Stravinsky's pench ant for presenting a motive a particular rhythmic setting, then repeat ing motive such that rhythmic setting is reinterpreted, or displaced, in relation to a steady metrical framework. In addition to this overriding emphasis on displacement, two additional points from van den Toorn's essay are of particular interest here. The first involves analytic tools he uses. To illustrate his points, he provides layered analyses showing how complex musical sur faces can be explained relation to simpler patterns. This is particularly clear a passage from opening of Symphonies of Wind Instruments, given here as Example 1. In Example la, van den Toorn presents Stravinsky's notation of opening clarinet tune, complete with alter nating 2/8 and 3/8 meter and an opening seven-beat gesture. He then rebars passage at level b to fit into 2/4.3 Finally, two levels of rhyth mic normalization (lc-d) highlight how seven-beat gesture derives from a more normative eight-beat gesture. As van den Toorn puts it, the displacement of motive may be heard and understood as a departure from an underlying stereotype, specifically Example Id.4 The second point of interest here involves context for van den Toorn's analytic assertions. One of his main objectives is to respond to criticism of Stravinsky's music found writings of Theodor Adorno, especially his Philosophy of Modern Music, Specifically, he notes how Adorno criticized the composer's rhythmic practices, frequent dis placement of accents, and disruptive effect of displacement on

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