When queried in 1964 by a New York Times reporter about the origins of the Elegy to J. F. K., Stravinsky described “a melodic-rhythmic stutter of my speech from Les Noces to the Concerto in D, and earlier as well—a lifelong affliction, in fact.” The comparison of his melodic writing to a stutter, perhaps offered as a slightly acerbic riposte to frequent critiques, in fact serves as a clever metaphor, for it links the fragmental, dislocated, and repetitive aspects of the composer's melodic style with underlying connective origins inherent in speech. This chapter develops criteria by which we may gauge ordered succession as it plays out in melodies. The melodic evolution of a fragment may be measured along five spectra, each of which is bounded at one end by stasis and discontinuity and at the other by activity and connection.
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.