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Building BlocksRepetition and Continuity in the Music of Stravinsky$
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Gretchen Horlacher

Print publication date: 2011

Print ISBN-13: 9780195370867

Published to Oxford Scholarship Online: May 2011

DOI: 10.1093/acprof:oso/9780195370867.001.0001

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Connecting the Blocks

Connecting the Blocks

Chapter:
(p.25) 2 Connecting the Blocks
Source:
Building Blocks
Author(s):

Gretchen G. Horlacher (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195370867.003.0002

This chapter formalizes an approach through which sectional and continuous impulses interrelate and shows that Stravinsky's compositional style is especially well suited for this dual perspective. When a work is easily grouped into segments (such as Stravinsky's juxtaposed blocks), those segments also define a succession of events, since the partitioning of elements into groups also necessarily arranges those groups into order. Similarly, when fragments are highly fixed (as are Stravinsky's frequent repetitions), their constituent elements may also define an order, one that is reinforced with every iteration. Unlike a collage, however, whose elements may be viewed from any number of angles or directions, Stravinsky's repetitions exist within the strictures of time: they appear in an immutable order. Ironically, Stravinsky's juxtapositions and repetitions are inherently Janus-faced: sectionalization and fixity enhance contrast and stasis, but they also necessarily engage succession and order.

Keywords:   Igor Stravinsky, repetitions, juxtaposed blocks, fragments, segments

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