——_—_—_—_—_—_—_—_—_—_—eeeeeeee—— «t Music Theory >jecs within the raged to keep 2000 words) and artwork only to considered for vuble spaced (in. leaptions), pro. >rmancet0 nor hhe most recent lintel following inorder: an ab- 1s the footnotes, sifanys the mu: >ted for publica «Music Theory, car; review will receipt. Article should be ad ic Theory Spe. ashington, Sat sent to Patrick setrum, Depatt 9, Texas, 5712. Stravinsky's Mass and Stravinsky Analysis V. Kofi Agawu ‘A recent debate concerning the nature of pitch organization in Le Sacre du priuemps has brought to the fore central issues in Stravinsky analysis. The exchange between Allen Forte and Richard Taruskin epitomizes the broad division betwoen tonal: ists and atonaliss, between analysts who hearin the Rite an in evitable prehistory and therefore develop methods to explain these allegiances, and analysts for whom the radical and mod- cemare uppermost, and who therefore prefer methods that deal ‘with the work “om is own ferms."* However stark the dichot- ‘omy appears conceptually, however, is execution rarely sue- ceeds in maintaining consistently each ofits perspectives. On the one hand, advocates of atonaity are obliged to deal with the uncontroversial contention that no music can be discussed ‘without some reference to its historical circumstances, even Where the relationship between the work andits predecessorsis| an essentially negative one. On the other hand, an analysis, ‘whose extent isthe detailing ofa work's sources, elements, ro= codures, and gestures, and which makes no attempt to explain ‘Whit or ter ead od chlngng comments ons eater version of "See Richard Torshin, “Letter the Ear” Mise Anas (386) 513-30, and Allen Fort, “Letter tothe dors Reply t0 Red “arushin." Mise Ana 50980) 521-85) Joy Stas, Svs’ Toma Aus," Jural of Mase Theory 26 (090.28, hhow these function together to ereate a unified (or disuified) and colerent (or incoherent) whole, is equally imited.” aough Ihave posted ros, chet clini between Savy slats the acl reds fer ana of appa Te sow andl achtowidged thal thst rca rear came wi AP (hor Berga’ ance, “Problems of Ph Organza a Sti” (er ‘peciverof New Mase 2[963 1-2, goto forsee ecopaion the ‘tvapsnwhichsome of hse roblems might Bererved Once of decent fro Hoge may te ced 0 Ptr tan dea To's The Muse of for Savnty (New Haven and London. Yale Usivery Pes, 198) ad ‘Tarun’ pai of artes, "Chernomor to Kache Harmonie Sorcery or, Siranhy’ "Angle." Journal of the American Maicoopea! Sac (Goes), 32-142 and “Cher Perowehke: Harmony and Tonalty thet Saving” Minton Cnty te 10 (187, 28-286, Van den Toor prove an cxuunive ventory of Sia’ octane woshaay, we Tarakin inthe former sad, trace nntenthcentury precedent {oF Srvnlys stones an, othe ate, anaes whole ene from Pe ‘ocho show hat "an oot comple sonore ie mini ae & ‘able pon of tree povering tn wl pa athe] emote’ 26), Ottheother there formations, Aen Forte's The amon Or Inzmion of The Rte of Spring (New Haven and London: Yale Unirty res, 178) develops an prone ted inset coy tere segs at ‘pict chron cnneco sath aber ey twentcestury masters et the Cares M, Joseph, "Stacia Coben in Savin Pa Ra Masi” Mate Theory Spec 4 (98), 76-9 for a tet apation a Fortes method. A prvocae pu of arcs Joseph Straus, "A Pine ft Voie Leading inte Mass of Suvi.” tse Theory Spcram 4 (ip) 10612¢ and "Suavishy's Toa Aas” doura of Mase Theory 26 (G2), 251-29, sagt mayen ch barony adv ending fant a"40 Musie Toory Spectrum ‘What the Forte-Taruskin debate dramatizes most vividly is the ficult of generalization with regard tall of Stravinsky's ‘euvte, givenits unpredictable, chameleon tye of evolution. For even Pieter van den Toorn's rigorous and comprehen sive demonstration of ctatoni consistency in Stravinsky un ervalues what Schenker calls Zusammenhang-—coherence —or, more specifically, “connection,” the ultimate indicator of «dynamism both in tonal and (arguably) in atonal musie* Tn reser Sais, dranang on comments made by Suvi biel eof Gevalpycoloy ax apped to muichy Leva. Meyer athe ‘hscnpine apparatus Forte. Some cf thefts insta’ osltons ‘ne resedby Tas Strnty’ Angle" andby David Schltr, ‘a Modes, Prologations. sed Ava," oural of Mscegy# (900, 502-309. Among atlas, Wiis EBejomin's "Toa th cuits: Remar he rat Moves ot Stviny+ Concent for Pans ‘nd Wind trues” Deoy On 21-1297), $n 0297), 5°31 roves a wie angi ut atthe tine ngeousenlration fr ral bac asus in Strannsky ants, notably the tlaontpbetmeen “deep and “sure” sutures, Benji stay ao eo ee tat malesffectvewse of ecomposton Ratt Monn ‘Dison! Plo ‘ton Theresa and Compostonl Preset "Journal of Mase Teery 2919), 9-81 develops an sgh of Seber into tayo poge ‘ion of notre nooriin te se of Schubert List, Wap se Sebi Arold Wha Misa! Anaya: Depons and isin, (nagar Lectare inthe acl of Mase, King’s Catlepe Lndon, 198) Me Ata a Haman Seence? Le Sacred prince in Tc) od Practice,” Mae Analysis 1 (982) 3-3) lalnte progr ih Siravly ans, propoig sah of he mos powetlexplanstay methods corel sve Deptt sonal pel oft of sraieton,iterok, and sues, Ears T Cone Sty. The Progresata Method.” Penpacines of Now Mase (192,18 26h et ‘ltedmuch af esponse, ary ess the concep re pea ee te. and dependent upon ctxt and pry bets the mcs they ouch, mamely tht and texte, reins by compere) ‘ors: Buse Critpher Hay nso of Sti Symphonie of Wind Insramen in “On the Problem of Sssison nd Coty “went Centary Mise” Mac Tory Spec 8 (988), 38-74 wh otutyeaendr atin of ison inne 9 Coe “Heinrich Schenker. Dar Mareen der Mash V2 (Mich: Det Masken Vera, 1906) 2:"Resumpton of Ui Condeations, "ins spite of token gestures in that direction Chapter I2of van den ‘Tom's book is entitled “dominant-toni progresson”—there 's no attempt to build on previous work in which the status of diminution in Stravinsky's musi i considered. To skirt the issue of socalled “pitch classes of priority” may be @ conven: ‘ent analytical strategy for the Rite, but it does injustice t0 4 later worksuch asthe Mass whose studied archaism resist fac- ‘Sol Kais. “Mince the Tre Yearbooks Das Metewek a der Mas Hench Schenker: At Anaad Traaton" (Ph D drat, Northwesere Univers 1773), Va 2 i ‘he mow frequent eed dacs ofthe operation of ininuion it Savin use may De oun in Sehnke'“Resempuon of Une Co sseratons,” which cota theft oe edie paph ever bibl of Stravinsky pice. rt Ise he Cnc fr Pao end Wind ‘ramets. Asin thesigzanes of hi sas, ion Babi wt 1964 ks symptomatic a commentary onthe cist of mse dco sts considerable ony that Schenker ans ony Yemessres ot he ‘ano Concerto oral that it ts wth normative inlevncs, proved ‘hemos revealing sight mo the pocedure of Sinmikys compost is ork sugested rier modes af analy ws, nce, demons "ag thatthe path was no ackvard bet forward oan enteson of ein ‘eas of polongton nd contnastion hich provided ass onsen ‘he span of cert tratonaly teste ths aom-exene cone, ook fhe ptm tere supericaly sggeed acy the Snes of ch rogresionweresoppesie aly offre und sain in op | "he mean ofmadvatingstch rhythm eens wth ‘er ifrent ffs (Mion Babi, "Remar on the Ree Str Penpecver of New Muse 22 (194), 3858, repined a Penpcter ‘Schoenberg and Smeviy, Benji Barts al Edward. Con Pri «eta Priston University Pres 1), 165-185; mgs aed). What Fatt merely serie hs been en ale demonstration by Morgen ‘Disonant rotngation," asad thai boner aot rested Serr) thesia demonsrtons ofthe nar of wie ening in tv) ‘may te found allowing: Ade Kats Chalege ie ria Te sion: A New Cone of Taal (New York: Kao, 1985), 296-19 ‘wish cron, isnt een mentonedy van den Toomia The Nef for Surinsy Allen Fore, Contemporary Toe Sachs New York: Cua Universi Teacher's Ctepe, 1985 Fe Sle, Std Hewing Toa! Coherence in Msi New York: Charles Boni 52 repited by Does 1942); and ost rece, Stas, “A Pile Vote Lending ite categori tonic gre TToom’sinsi vuneelated S the apparer comistency further synt “The aim methods of, the Mase, a Stravinsky taskis analy “the close 3 reference te ‘comprehen: lectcal inte implicit der Iysts plot. 1 festin three reset sonia Seie slaieion + “Comore intsity te ‘hoe Engl fos). Basie F ‘Sita rw 662 Masel ar "wat,2otvan den fon"—there the status of| “To sktt the justice to a mresiss fac: sermekin der Sand Wand ‘crane Sirk,” Penpecter "Cone [Po aed). What iS. a0 0 eta for York: Columbia Hearing: Tort ile categorization into a diatonic, octatonic, oF octatonic~ latonicgrid.* This isnot to underplay the value of van den ‘Tom's insight that otatonc collections permeate apparently unrelated Stravinskan surfaces, but merely to point out that the apparently rigorous theoretical demonstration of stylistic ‘consistency still leaves room for—one might say roquires— further synthesis and integration in analytical application, ‘The alm of the present study isto describe the principal methods of pitch organization in a single work of Stravinsky's, the Mass, work which has nt been much treated in the recent Stravinsky literature.” [should indicate at the outset that my task sanaytical, not theoretical. The fat that analysisinvolves “the close and systematic study of individual eompesitions by reference toa set of technica principles which are coherent and comprehensive" s sufficient indication ofthe necessarily dia- Jectcal interplay between theory and analysis, but its not an plicit denial of the possibility for emphasis within the ana- Iyst’s plot. Thus TstressSchenker'sidea of “connection,” mani- festin three conventional categories, cadence, diminution, and ‘rex categorie acl fom Berge’ “Problems of Pc Or ‘ionin Strain den To for whoa provide the motel fhsseaton scheme for "otonting the questo of eos. ea, ‘ed isincson in Stroiay mus” (The Mul Sank.) "Comporedbetwcce 5a 9 ihe Kye andthe Gaia wee shed 91984, the Mar ns ir peroredin 48 under be ton of Er Arse ‘ett the Testo la Seals Manon Oxaber 2,188, Wisscored foro ‘Shoes, Enis or, two Basone eno umpet three tromones and acho ras of mens oes (aos ad bay) ad cides ies (descant adal toe). Basic background information may be found in Rebert Cra Svs’ Mas Netbooks gr Sank. Edin Ca (Ne™ Yore: Dus Sloan, an esr, 1, 301-204, and ne Waker Whe, Siavinshy: The Camper and Hs Works (Beree Univers of shorn Pres 12nd 17) 4-430, Ofameerslenteretare woe ical actions tothe psc, Rishad F. Goldman, "Caren Choice" The Musical Quart 38(198) 4815 a neh Kernan, Pros Repo ‘on Stavky,” The Hation Review (198), 13413. "ital Maal Ana? Savinsky's Mass and Analysis 141 prolongation, each of which is not metely applicable to the ‘Mass but, further, provides the most effective tol for reading the dynamic sense ofthe passage in question. By taking my ead from Sehenker—a lead that goes in directions not necessarily advocated by him—I seem to be arguing the case fora tonal rather than an atonal Mass. Iti not on such a sweeping and simplistic declaration that my argument tums, however, The tension between “old” and “new which inevitably confronts Stravinsky analysts isan important motivation here too, but it should not obstruct the central task of suggesting ways in ‘which, to put it simply, we might hear or lear to hear the Mass ‘cent sticulating device, one which orcnts the sense of, various segments ofthe Mas, isthe cadence. Itserves to close off numerous sections ofthe piece, not merely asa “terminat- ing convenience” (to borrow van den Toorn’s suggestive term) ‘but asthe most important element of an implicit losing mecha- nism. There are two complementary properties of cadence, & syntactical arrangement and what might be called a gestural sense, Both are necessary to ensure that not all Vl successions, ty rating templar ota of Schonkers Savi ass 50 highly hate ot ontooked tc ierave ature of enterpse—ame), tothow hat Svinys Pano Conca exited wg tat kes tment he are mi" anda that Savin’ rege for enone: ‘on™ tral ina pine wich “throug Bad, nati and woman (Resumption of Unie Covert,” fa Kay, Vl 3 212-210). We bead nat ower, sar Seber ste pefeenes in oreo cept Cheespanatory veal sth, Adora sential ope sdedcompars {rest of Scher ad Srsiky, Pop of Modo ue ras. ‘Anne G. Mil and Wey V Blonter Ne York: Seabury Pres 18. ome te gublomite asthe ecm conjunction in ever pss. ‘Sev ao Hy, "On he role of Sesouon and Conn Twentieth ‘Cniry Mas142 Music Theory Spectrum for example, are counted as perfect cadences, since tempor placement, register, rhythm, and duration, among othe fac+ tors, contribute tothe articulation ofa sense of closure. Incon- ventional onal musi, these factors may be said tobe in equilib ‘ium, buti Stravinsky they are constantly played with, played off agains each other or retained as Gestalen ofan outdated common practice. In Example 1 are assembled ten cadences which provide a basis for study of Stravinsky's cadentil practice (the fact that the majority of these eadences are from the Kyrie is notin. significant factor in the later discussion of tonal orientation). In Example 1a, the terminal sonorty san F-major chord in § position, To acknowledge F asthe pitch clas of priority i ‘recognize that connection or voce leading plays an important role nour pereeption ofthe structural elements ofthe cadence Specifically, since three of the four voices inthe final bat are stationary, the highly implicative 4-3 motion in the tenor is ‘thrown ino relief. To refuse to acknowledge the priority of F simply because the chord isin postion, traditionally isso- nance is to misunderstand the passage, for there is clearly no other pitch class of priority on the same level of structure. But thisdoes not mean that such ronal meanings are simple. On the contrary, itis the multiplicity of meanings that most signe ficanly characterizes such passages. In this context, one might ‘wish to hear, in adltion to the primary Fa secondary pitch of Priority, C, by virtue, fist, ofits function as bass ofthe conclud "Intnl subsequnt cramps, hve wed for ol the berachle ‘soation stemming tom Shenker int by now saa, Roan urls seote hari ton whe capped arabe meal (i 3a forth) denote loi fncion Alles te lated by betes ner a reheaal nunbet. fe ges with! syst Wears otatn need ‘tn the aoe ofafendamestis, batnsy ade ay, Ta ache Ss onneptabl forthe aa of Savino wi eons ingsonorty, and second, ofits continuity throughout the entire ‘opening phrase ofthe Kyrie." ‘A conventional voicleading interpretation ofthis cadenee would ordinarily require numerous quotation marks inorder make ifs point, but at the same time iis dificult not to heat these overtly tonal connections (ce reduction in Example Ia). In Example 1b, the cadence in Bh is full articulated in the ‘ice pats x shownin he eduction, although hereto thee ‘inating sonoriy in fll texture isa chord. The priority of Bb, however, isnt in doubt. In Example Te consistent stepwise ‘motion o “connection lads toa terminal sonot thatcan be heard asthe dominant seventh G arrived ay stepwise mo- tion in four ofthe voices (a quasi-resoution i given in Bracks ¢ts). lis asia goalorented progression were cut off in mid steeam, to be resumed later and brought 10 satisfactory completion. The timbraland extra disjunction between mm, {Sand 16contibute to this sense of an abandoned proces. his inspite ofthe retention of pitchclass Da link between the wo sections. (Subsequent anal shows that he postponed reso luton ofthis chord, prolonged through the following st mes sures [16-21], takes place inthe final measures of the Kyrie.) ‘The syntactical arangement of each ofthe cadeneescosid> eed thus ar, while acknowledging the combined oes (norma tively peaking) of melody and harmony, also suggests thatthe {wo parameters do not necessarily have the same perceptual "Pe mow simsating recent cason of miles opposed simple ‘mening Charles J. Sith "The Funconal Exava of Chose {Cor.” Mase Theory Speci (985, 8-139, whch, owen les if atonal conten, Br emai on Savi peti wes may be found in van dea Torn, The of Svs, 458, PAamodal wading of Example lisboa wed apg 0° Phys’ cadence Were theseventh oer Dna sostongy see ‘sal eaing right have ben prefrtc oa foal one Tes sy th at fumerous ove conte that we will ncounter tp Mae a eoutthe entire {this cadence ‘ksinorderto tot to hear Example la) sulated in the retootheter sriorty of Bb, stent stepwise inythat canbe "stepwise mo- ven in brack- 2at off in mid 4 satisfactory ‘between mn, pro ‘teen the ssiponed reso- wing ix mea- {the Kyrie? ences consid- oles (norma- gests that the ime perceptual spporedio single however eles idsogget TV yer he ‘Stravinsky's Mass and Analysis 143, Example 1. Cadenoes a. Kyrie,mm.4-5 6, Kyrie, mm. 8.9 «Kyrie, mm. M15 ae Be 4, Kytie,mm.24-25.—e. Kyrie,m. 21 Kyrie, mm. 93-34 @ a1144 Music Toory Spoctrum Example 1. (coat) fg. Kyrie,mm.37-38 Kyrie, mm. I-82 ti ae id 5. Gloria, 8 aes force, and tha ‘ody, infact, particular con from harmony which proves tactical arrang ception that p Tn Exampl exchange bety gram), This e: chords asa pe tonal confit an enharmoni ‘What directs bass, the are tural iverte less perceptua Craft has calle the complex ¢ agree thatthe tonicism of thi ofhierarchy,s to orient the stop short oft reasons of voi Example 1 aromatic mo lowest voice. conjunct voie Foe tather svi itesinting—co ‘Clo, ase ert, Stforce, and that one day may predominate over the other. Mel- ‘ody, infact, may be said to lead the ear, even thoughit retains a particular contextual harmonic identity. To separate melody from harmony i, ofcourse, an analytical convenience, but one which proves useful for distinguishing between a particular sym tactical arrangement and the hierarchically based forces of per- cxption that project this syntax." ‘In Example 1d, the eadence is on A, complete witha voice «exchange between bass and tenor (marked by arrows inthe dia- gram). This exchange enables an interpretation ofthese three ‘chords asa prolongation of A, overlooking for the moment the tonal confit in the first sonority between Cf and, or between an enharmonic Bf (tenor) and B (bass) in the second sonarity ‘What directs the ear, however, ithe quasi-32-1 desent in the bass, the archetypal cadential gesture which, although tex turally inverted from conventional tonal practice, is neverthe- less perceptually dominant. Example le involves what Robert Craft has called a modulation to D." Leaving aside for now the complex issue of modulation in Stravinsky's musi, we can ‘agzee that the pitch elas of priority isD. The apparent panda toniism of thiscadence colors, but does aot challenge its sense othierarchy, since the eombined 7-8and3-1 progressions serve to orient the voice leading to D. And the fact thatthe voices stop short ofthe final D is significant for reasons of texture, not reasons of voice leading. Example If describes a cadence in Bb arrived at by stepwise «chromatic motion in the top voice and descending third in the lowest voice, Like previous cadences, this one is marked by conjunc voice leading—not, however, in only two voices, but Foe farther dca of ah bin perception ce Was cass Stravinsky's Mass and Analysis 145 in four; (reading from top to bottom) 7, 2-1, 43 (by octave displacement), and "42-3 (by enharmonie substitution for b3), Example Ig describes a cadence on F, but, unlike previous ca- dence its terminal sonority isnot a triad but a tetrachord con- sisting ofthe pitches F, G, Bb, and C. This is set class 4-28 or [0257], significant for its symmetrical intervalic arrangement and, in this context, for its relatively “open” sound, the latter ‘enabling an exploration of tonlity-defning intervals such as fourths and fits, Its a eadence because a terminal sonor- ity, itrepresents a moment of rest, of completion; hythmicat- ticulation and voice leading secure the cadential function. To accept this function isto accept a fundamental extension ofon- ventional tonal practice in Stravinsky’s language. The issue turns on definitions of dissonance and consonance—in particu: lar, whether the terminal sonorty of any perfect cadence isnot by definition a consonance, Whitall has suggested that certain stratepcaly placed dissonances in the Rile function as focal Points, serving to orient structural procedure inwaysanslogous to focal consonances in conventional tonal musi.” In the ‘Mass, however, there sno consistent use of 4-23 as cadena sonority; what is important, as we will sce later, is its extensive ‘but contextually dissimilar use. The significance of Example 1g therefore reaches beyond the individual momento the work as whole ‘The symmetrical structure of 4-23, although it multiplies the number of potential meanings inherent in the sonorty, doesnot relinguish a sense of hierarchy. Inthe context of Ex- ample 1g, F has priority not only because it isthe bass note of the sonortbut further, and more important, because the jour ney oF followsadual 3-1 (bass) and7-8 in Example Id, the descent enbuanees rather than contradicts 2 sense of tonal orientation Example Ih describes the final cadence ofthe movement as «8 dominant-tonic progression in G. The elements ofthis pro- ‘wil, "Mise Anasitas Human Since," 35,145. Music Theory Spectrum sresson include the explicit V-I descent ofthe bass Voice, itself approached by way ofa precadential subdominant, There are ‘many nondiatonc pitches inthis cadence (the ated third and Talsed seventh over the dominant are cases in point) but the temporal postion aswell as the gestural sense confirm that this is a cadence, The picture is Tess clear when one considers the activity in the accompanying instruments, but the change sone of degree, not of kind, For although te final sonority is a G- ‘major chord ia fist inversion, the manner in which its ap- proached andits consonance relative to what precedes it give it the normative status of «consonance. ‘The notion that the manner in which sonorties are ap: proachedis important to ther defnition as consonances or die- sonances, which also lies at the heart of Schenker's discussion ‘of connection in Stravinsky, may be conceptualized in terms of the foregsounding” of process, by whichis meant that consis ent voice leading takes perceptual prominence over the actual resultant sonorites. This is formulation with some intuitive appeal, andit has been invoked in other studies of Stravinsky's ‘music as well asin studies of highly chromatic music, Robert Cat, for example, defends the fnaleadence ofthe Kyrie along these ls: “{ The movement] concludes ona G 6h, wich isap- proached, one might say justified, from four different cadence tones simultaneously."* Example Ii from the end ofthe Sanc- tus, provides vividillastration ofthe way ia which consistency in voice leading can help to shape a line so that its cadentil function is made perceptible. The voice pars, considered in isolation, show two kinds of motion: a pedal E inthe soprano, ‘which serves to regulate the activity ofthe other voices; and predominantly stepwise motion in alto and bass. This makes ‘the final two chords, with the bas leap from dominant to tonic, all the more striking, since the voices have been obviously dic rectiona in their approach. That one can describe this as V-1 ‘cadence’ not much in doubt, The bebavior of the instrumental parts, however, challenges without negating this sense of ca dence by adding to ths relatively simple vocal part numerous apparently extrancous nots, including significantly, a fifth, G , tothe inal A-major chord, Its the bassoon line that retains the explicit element of connection, charting a stepwise ascent CD-E-F-G-(EIC}), which again serves to orient the voice leading in the direction of the final, hierarchically superior so- nority.” Finally, Example 1j interprets the closing bas of the Gloria asa plagal eadence. lis archaic, almost quotational characteris mediated by Stravinsky's idiosyncratic vocal part writing, nota- by the resolution to FY in both “tenor” and "bass." The mo: emity ofthe procedure, in other words is in its voice lead- Jing, while its conventional allegiance derives from the shadow «east by a 1V- progression inD. Even though the cadences described in Example 1 have been taken out of their larger contexts, the functions ascribed to them are entirely compatible with conventional tonal prac: tice. As we have seen, each perfect cadence includes between ‘one and four elements of idiomatic voie-leading (-8,5-, Vl, and so forth), elements which then interact with other, not ee ‘essay tonally oriented motion, But the temporal placement ofthese events as well as their gestural sense makeit possible to escrbe them as cadences. The fll significance of Stravinsky's im aisconneton, sete espn by Wheto Ansermet cotton state nterpation ofthe GD dpa in eal Arman chod pres ® "cel apts ending the Sats (Saint, 40). Amer owledpes the compoional log of th ening "ne Sth may be jsf ‘paper themotement fpr leading pth al chrd™— bat in De feulv aural unconvincing “Once the mie cto analy the tn, ‘oie nding witout, bonever, making the eration hat he eto ctenig othe "wrong thing Ts ooo an avons Sof ting hata somo nly nae tt ying EES prec nthe sun cota oeccncrpoie a hear sit methods of cade sidered in this « Stravinsky exple ponents of com Somewhat in di with such conver Inherstudy ¢ major” would be to sim plify matters to. point of distortion; it may be preferable tos) that tis “on Eb.” But the former description i not easily ds- missed when the gestural sense of the passage suggests motion within the chord of ES. Includedin Example Sais aninterpreta- tion of various diminution inthis passage, diminutions which function rather like those in conventional tonal music, Even the A vanity of meanings surounds te frm “prolongtion” in Sviky Herat abou mot ce skeet acta ys esac ofthe preoapedzonny the kfc Se, smng ater Ka ‘Can to Mac! Trin, 294 and foaming; Roy Tran, "Towa Now Concept of Toshi” Jour of Mase They 31959), 257-8: ‘spec, Morgan, "Disonat Pratongson'" The ental ue ia De Morgan Benjumin Jedate—Morga's "‘Dionan Projngations, Pele "its and Major Tiras ia Savneys Fano Cane," n hey Ob (0973-7, na espe to Benj "Tay without Fhe to teat which ese sen in Save men bed oped © ‘scents. A wef rec conten to the daeson of peclongton Schlesterg, "Modes, Prolonitons, so Aman which embers ‘trical omer. Sc ao St The Prsttom of Potongton it Ps “ona Mus; Foural of Muse Theor 31 (987) 1-21, whch tempt i | | } ) | \ ) ) i | | \ i i ) }zation, butitre hich that hierar. ssevarious ways nrety of musical sizing the latter Ys practice 2 sthod of prolon- cof the passage, prolonged. The sheardin the ar ‘ning alongside sities which, would be to sim: preferable to say ‘snot easily di suggests motion Lisaninterpretae rminutions which ‘music. Eventhe te net pyc ‘fnew, Pret Theory Oly tithe the "eso pokes sof ponpaton levembraces ates shat be Stravinsky's Mass and Analysis 151 Example 3, Prolongations 4 Kyrie, mm. 48-49 Gloria, mm. 72-75, a : nf152 Music Theory Spectrum Example3. (cont'd) Agnus Dei,mam. It Voie ead ®Stravinghy’s Mass and Analysis 158 | 4. Noie esting enc mi. 13-24 @ ® ® ® ® ® a ‘ a temporal displacements of various contrapuntal lines —which therefore yield an apparently dissonant surface—are character- isicof tonal musi. syasve element of “connection inthis escent that is embedded in ts unfold “open noteheads in Example 3a). We right think of this as “significant line.” an implied line that oF ‘enlsthe voice leadingof the passage bu isnot necessarily heard fon the surface of the piece. That the line is perceptually not ‘sinc neater ue by Gerald Abra a Chopin's Mase Sole tad: Ontrd Univer Ps, 1B), 72 ase i of me ein chopas mu ich es somewhere between pte melody and ure seocapament tothe wos beeen that at emp ‘yepment ih spet tothe eno praneters154 Muse Theory Spectrum too far removed from the sounding surface, however isevident from the analogy betwoen the overall registral descent of the teralsurface and the descent of the significant lin. Here, asin [Example le, the content of the passage suggests pandiatoni sm, but such a label tells us ite about the nature ofthe d= ‘namic motion inthe passage. Another type of prolongation is illustrated in Example 3b, from the Gloria, The reduction interprets this asa prolongation of, although unlike the Bb ofthe previous passage, D oceurs here only atthe end, not atthe beginning. This, therefore, isa retrospectively perceived prolongation, or one in which the ‘movement of linsis oriented towards the final sonoity, which then attains a measure of stability. To call this inal sonority 8 stable one, however, isto invite possible tcl, since this so- nority isnot a conventional triad but a [02] tichord, set lass 3-6, In this particular temporal and sonorous context, it 38- sums te role of regulator and goal, justasit prepares the final sonority ofthe movement. On the basis ofthese qualities, it is interpreted asthe prolonged sonority. Tocallita "focused dis- sonance” (as Whittall, for example, would) may be one way of mitigating the distinction between consonance and dissonance implicit ina hierarchic interpretation. But since there is no con- sistent use of et class 3-6, its significance remains local. Stil nother way into the passage isto focus on what the procedures ff “connection” produce. These procedures are shown in re- duction in Example 3b and consist principally of two pars of Jncomplete neighbor-note progressions tothe F} (melody) and 'D (bas) that form the basis ofthe final sonoity. Thsisanother instance ofthe foregrounding of procedure (compare Example 1i) by virtue of consistent stepwise motion, but the results f ‘rom being merely normative A third example of prolongation is shown in Example 3c, 4 recurring passage in the Agnus Dei. Before discussing the sense in which this passage may be heard asa prolongation of D, we might consider another interpretation of i (see lowes line of Example 3c). Donald Grout proposes that we hear this as “passage in D and predominantly modal (Dorian)."* tis not, however, the modal orientation that he pursues, but the tonal ‘one, which rsultsin the appending of ronan numerals to most ‘ofthe vertical onorities inthe passage. The entire progression, VAIEV--V-(IV)I, charts a dominant-tonic path. A chain of roman numerals with no modifications or qualifications hardly ‘does justice to this passage, whose initial pandiatoncism c lenges rather than affirms a sense of tonal orientation, Yetitis not easy to dismiss altogether the basic motivation of Grout’s analysis, which isthe fact thatthe passage i organized hierar- chically fin no other way than inthe final, somewhat con trved cadence on D, suggesting mode 1. What is missing from this analysis is also what is most relevant perceptualy— namely, sense of connection in voice leading. In light ofeat= lier discussion, we note thatthe passage emphasizes C initially, aC thats decorated by both upper and lower neighbor notes, land that towards the end it progreses to D. The reduction fs inthe details ofthe story. Since the sense ofa prolonged Dis perhaps aot as obviovsin this passage as itis the previous example (3b), itis necessary to amplify the factors that have influenced this reading. Fits. the interpretation takesinto account amore global process, the large-scale recurrence of this four-measure passage and its ‘eventual function asthe terminal element ofthe movement and therefore ofthe work asa whole. This is therefore another ex ample ofa retrospectively perceived prolongation, not only on the local level but aso on the global level (compare Example 3b). Iis, however, possible to question whether this sa gemu= ine prolongation or whether its not some sort of progression. Taatis, doesnot the C-D succession desribe two hierarchically equivalent pitches, thereby eliminating the temptation to select pitch classes of priority? This counterargument might be in- Dona). Groat with Cae V. Pats, Matory of Waser Mle how York Norton, 1980). Groat saan pp the context “odcon to Swany’ shainy (p70. structive for at of succession, ‘enough t0 ine tobal process major triad at tential priority final sonority inant since no tive. This is, though to dese conventional sre determine The next ¢| offers one of t the Mas. Its ehaicsense of ‘modal interpr therefore toe ian mode. U re sce ‘a Searmay “acim, duraion tiple mening ‘Reson of pre Fag om the mre ecto comple tno f gor Seravnak egy tat tom he dcove ee. trene2)" Kisnot, ‘but the tonal Imeralsto most ce progression, {h, A chain of Jeations hardly stonicism chal tation, Yetitis ismissing from perceptually — Tin light of ea. snes Cinitaly, weighbor notes, 2 reduction lk otasobviousin reading, First, >a process, the vassage and its ‘movement and ore another ex. fon, notonly on apare Example this isa gent of progression bierarchically station select at might be ine _scuctive for analyzing other sections ofthe Mass where the fact {Of succession, complete with consistent voice leading, is not enough to indicate priority; but, given the aforementioned flobal proces, it has to be dismissed. The priority of the D- ‘major iad at the end ofthis progression dwarfs any other po- ‘ential priority and this priority, although ts challenged in the {nal sonorty ofthe movement (D), remains perceptually dom- {nant since no other pitch or pite classi offered as an alterna tive. This is, in other words, a prolongation by default, though to describe ita suchs to distance it unnecessarily from ‘conventional tonal music, some of whose prolonged sonorites| are determined equaly by default * The next example (34), the fugato passage in the Sanctus, offers one of the more complicated instances of prolongation in the Mas. Is deliberate archaism carries with it an equally cae ense of modal articulation, so that itis tempting to base a ‘modal interpretation onthe points of imitation, EB, E, By and therefore to conclude thatthe passage isin some sor of Pheyg- jan mode Unless “Phrygian” is being used loosely, such an {we exp thepolitico of fntona prince ie Stnndy'r music can bean is ded ty, amon ter fa. ese, onthe presence om som eel of pie sos fps Although a0 ‘a'Toornsinbrod agreement nih is ve, hs own cna orem ttle meanings asthe see oes, But the rsogion of "pote {lc can coe comment acne orf to adres he ample {peso f prepa pny, when van den Toor sens aboat eer {sees tm Feb ad Perch that “eaon poe theme al {hemor oct nthe fr an ine, elcome, tensioned imple tnie within which 9 slecton of phe ior seems tanned, he sath or oe rome ede he pos (The Mie fig Sosisy, $2), Doin here re ee gcuie ambit) whee Stet wcaveat spl, bist ose hts oh sample 30 Felgp10-I)lusrt coparable ambiguities. tmght eves Dargie tat the stevton of mati meanings oats cf poms pest ees trom be emery of mening hat, Mra nentn) those See, foreample, Craft, “Stavny’s Mau." 20 Stravinsky's Mass and Analysis 185 interpretation cannot be sustained for very long, iffor no other reason than that these itches constitute points of departure to which the music never retums. The ending of the fugato, in fact, has lite to do with E-Phrygian The voic-Ieading graph of this passage given in Example 36 shows large scale progression from an Earea toa area. On this largest level, the fugao is read as a prolongation of C, the ‘whole passage mapping out a 3 escent seen most clearly in the bas. Again, asin Examples Id and 3, the occur rence of the descent in the bass isan inversion of normal tonal practice, bu its role in leading the car is not thereby dimin- ished. The occurrence of structural descents in the lowest voice is not 4 norm of tonal but of pretonal practice, Neo Schenkerian analyses of the music of composers such as Ma- chat and Landing offer examples of such inverted Urlinien.** ‘Tohave to invoke a similar explanation in the present context is hardly surprising, given Stravinsky's deliberate use of archaism in this piece. But itis important to emphasize thatthe analogy between medieval practice and Stravinsky's rst lesson simi- larity of substance than on similarity of function. 1K would be tedious to desi al the details ofthe voice- leading interpretation given inthis passage, but some ofthe de~ cisions made as to structural importance need to be justified “The graph read the fis six bars as constituting a progression from Eto D, exccuted first as an arpegsiation, E-G-B, fol lowed by a prolongation ofthe B-G dyad, and leading finally to 4267 cadence on D. Both the beginning arpeggiation and the ‘cadence at the end of the progression are fairly clear, but not, perhaps, the middle motion, which contains several locally di rected chromatic progressions. The latter, however, offer no altematve tonal sense, Again, the reading of an intervening B- see fo example, theists graph accompanying Dail Leek ‘Wikia's “Macht ve, an he Poem of Fay oe Anas Matic ns (108), 9-28; wich coin "Ueate” deen nates186. Music Theory Spectum G prolongation in mm, 16-18 arses by default. The alto en: trance in m, 19 restores the priority of E, and leads by way of the same arpeggiation to a concluding E-F4-G melodic ascent supported by a C-D bass progression. Stepwise “connection’ thus remains the guiding force throughout the pasage, lending itcontinuity and coherence in spite ofits surface 'No doubt the status of diminutions in this passage wil be ‘questioned by some listeners inspite of earlier caveats, s0 it may be worth making 2 point about the final chord, which is interpreted with priority given tothe C-G dyad. The actual con- cluding sonority isthe recurring tetrachord mentioned earlier, set lass 4-23, butitismot articulated ina way that suggests that itis anything more than a concluding sonority, 2 genuine “ter- ‘inating convenience” in van den Toorn's terms. The CG ‘dyad, on the other hand, forms the clea goal of linear motion, first hinted at, broken, resumed, ad brought to completion in the manner of Schenker’s Unterbrechung (interruption). My raph therefore showsa “supposed tonic" rather than an actual fone. Conceptually, the large-scale 32)3.2-1 progression con- stitutes the preferable explanation, although the fact that set class 4-23 is found inthis context continues fo enhance the ob- servation regarding its statistical prominence. We need not choose between the two explanations, since they point to the ‘multiple meanings inherent inthe fugato, What matters is mak ing explicit the perspective which sanctions each explanation.” se clan 4-23has bec fered noma numberof cco in tise. fice reader mand 42) a rove foraructrlcoherenceinthe movementast whl ce Exum sada sequen! dscnsoa below. Tetame set rosie the polongtiona ane or the semicanonc opening Four ere ofthe Goi (the pith ae sotedre Ff, A and) andr rterattitisneniteseston mm. 1 5 (is ard of 2 nes) nthe Apne, 4-2 spit bath Spina and static mark he nt al of eh of the Key ‘ond nas, Pea andar inthe it Sessa pbs mae mprtan rts then sonny ofthe movement and ete he Before leaving the subject of prolongation, I should like to ‘comment briefly ona short and deceptively simple passage at the beginning of the Agnus Dei (Example 3), which provides further illustration of Stavinsky’s play with tonal convention, “Connection” is immediately apparent from the upper-voice escent from C10 G, just asthe argument that the passage con stitutes a prolongation of the C-G dyad is supported by the intervallie—but not spatial—equivalence of the opening and closing sonorties. Th fourth sonority also adds othe sense of| ‘C-prority, as does the lower-voice movement from C to Eand back to C. This would seem to bea paradigmatic prolongation, and in some ways it is, but one or two events in the passage show the waysin which Stravinsky has transformed this norma tive profongation to yield an unusual and therefore uniquely Stravinskian progression. As two-voice counterpoint, there i ‘uch this passage that would not be “allowed, " Te fac that «cissonant fourth is followed by another dissonance, a major seventh, is already odd. But notice that Stravinsky has stag: gered the sense of this passage so that “connection” is never threatened. The lower voice’s descending ifth(G-C) nthe fist measure is “smoothed over" by the stepwise descent (C-B) in the upper voice, just as the same descent forms part of the lobal expression of “C major” in the passage * “Connection similarly overrides the sense of disjunction between the ope ing and closing intervals, which are here perceived as coatex~ tual equivalences—they constitute, afterall the same intel «lass—contradieting both pretonal and tonal counterpoint. The view that Stravinsky “composes with intervals" is certainly supported by this reading, but the more significant fact is that composing with intervals for Stravinsky inevitably means com posing lines, and iti this unfailing attention to “connection ncn hips peas more tong erent wiht Sekonledge strongman vars "sho" on Bab, “Remarks othe Recent tiey "16 that provides t hismusi “The techniq levels of strcte crated? This in structural coher tonality, In conventic cence derives fr the tonic triad ‘onto the larger structure may almost as prep, motvi parallel and foregzoune structure in Ste ‘mally hierarch ‘mapped onto t from diminutio plicit continu: inatesand ms 'sthistructura hich wll orn: The argume this esay) do from the non tc Of sections of “eect oc tnon2 TheNange of em)7 should ike to aple passage a sich provides al convention, te upper-voie re passage con- ported by the ‘€ opening and ‘to the sense of rom CtoE and eeprolongation, inthe passage ed this norma: ‘fore uniguely point, there LL” The fact that, nance, a major "insky has stag G-C)inthe ist ‘escent (C-B) in fms part of the *Connestion” ween the open sived 48 contex: ve same interval ‘unterpoint. The Is is certainly icant facts that ‘bly means com- i that provides the most powerful perceptual too for smu yzing “The techniques examined hitherto are operative on local evel of structure. How are Stravinsky's lager structures gen: ‘rated? This final section addresses the question of large-scale ‘tructual coherence in particular the question of goal-directed tonality In conventional tonal musi, background structural coher= ace derives from the linear projection or horizontalization of the tonic triad, Events the small can often be heard mapped tonto the larger structure, For example, an overall 32-i-LV-1 Structure may be heard within the opening period of a work, Simost a8 preparation for the larger close. Similarly, various rnotivi paallelisms ate possible between middleground events tnd foreground ones.” Perhaps the most radical aspect of structure in Stravinsky's Mass s the discontinuity between for- tmaly hierarchic levels, the fact that local events are not snapped onto the global structure. Whereas the progression fom diminution and cadence to prolongation preserves an im> plist continuity, that from prolongation to a global structure initiates and maintainsan essential discontinuity. And nowhere isthisstructural condition better exemplified than inthe Kyrie, ‘which wil form the focus ofthe rest of our discussion. ‘The argument that lower-level events (discussed earlier in this essay) do not generate the larger structure stems in part from the non-teleological, ocasionally ant-teleological nature of sections of the Mass. This suggestion would seem 10 g0 see Chas Burkhart, "Schenker Motive Primi." Joural of ase Theo 22178), 15-1 Sr pods are dened equ ‘tpn Ove Joss, laoducon the Theory of Herik Schenker ‘The Non of scl Wook of tras ee Tob Roth (New York Langan 1982) ‘Stravinsky's Mass and Anais 187 against the native instinets of musicians for whom Stravinsky's ‘work isso vitally involved with temporality at all levels. But Stravinsky's predominant (though by no means exclusive) in- ‘volvement with ontological time often results ina confit with Imusic time. At the risk of oversimplification and undue gen ization, we might say that precisely because the temporal is fften so explicit in Stravinsky, the peculiar measure of musical time (which in tonal music, for example, is directly motivated by the nature ofthe material and its treatment) is constantiy threatened. Methodologically,the implication s that we find a set of contextual, internally coherent attribute for segmenta tion and leave the larger structure tobe generated not by "pro= Tonged motion through the framework of a single key determining progression,” but rather by the sheer force of ‘contiguity between segments, But as we shall see preset Kyrie calls fora pragmatic reading of this implication. ‘Of the ten cadences cited in Example 1 to illustrate Stravinsky’s cadental practice, eight were taken from the Ky- re, This was construed as. int thata sense of onal orientation is perhaps strongest inthis movement. Robert Craft has writ ten that “one could write a book on the systems of keysin [the "Any am or dont between mascalevens hte hey inhabit suing elo sce vile eek to met ih he Ou “hatha on some grandson eve no mocvents cane tu cert Sour mth each bers Ope accepts # dacontimty Beats one bas 04 Sarid bateouph fo acon. Only pei contents wal rove ‘Soe for ov agnt sch nterptaton, anf my contin ee ht fen th aur othe conte ncathed ithe eae ets fc [Ene dinineton-anpskongetion, thc move osama age le Sirus rsaney peaking» contin Fora more roundt dicwsion ‘tbe ues se Hany, "Oa the Poem of Suceson a Contin in ‘Twente Cetury mas” Unt. thogh the contained a8 {ala ny wellbe he alaiers inthis mais. "cca tc Kyriad loi dats 94 fou es carer than the cater monerons oe May, ting xpi eso onal pe- {oe ofthe fst movement wth erence ti ebombby Bu ths ‘ould ety hole Savin ssc evolution followed «de path fom Tomi to soma. Theiteon Afar morecompced tan ha fou158 Music Toory Specttum Kyrie." although he does not spell out the form which such an analysis might take. His own discussion acknowledges mo- ality as a principal force, and also various means of artical tion including “modulation,” “blocks of tonalities,” and keys.” Even cusory examination of this movement wil confirm that tonal elements are present, asin the final cadence, which, inspite ofthe presentation ofitsterminallementinftst inversion, remains a cadence in, or at least on, G. Quite whether one can speak ofa governing tonality of G major isles straightforward Two approaches to segmentation ae suggested by the Ky rie's outer form. The fst stems from the deliberately sectional ied musical surface, each statement of the text forming aslt- suiient, even self-rezulating area of activity. The second takes more all-ncompassing view, noting a significant break nm, 1S—mattersof textual overlap notwithstanding—and the sense of recapitulation beginningin m. 48, The result isan AB. ‘A formal plan. The following diagram summarizes thisbasicin- formation; Example da provides a synopsis of pitch materials Section Measures Text Cadences Form 1 ks Kytieeleison F 2 69 Kyrieeleison Bb A 3° 41S Ghisteeteison VIG 4 16-21 Christe 5-225 Christecleson 6 26-34 [Instrumental] 7 M38 Kyrie B 8 42 —_Kyrieeleison 9 BAT Kyrieeteison 1 452 Kyrieeleison A crt, Stray Mas", What sor of plot can we deduce from thisschematiation? The above sequence of cadences, although it contains background imtervallie patterns—fifth relations, abandoned dominant, and so on—is by itself not sufficient to form the basis ofan as. sessment of tonality in the movement. Tt does not, indeed it ‘cannot, map out a uniform sense of key, since it acknowledges ‘only endings of phrases, not the larger mechanism of closure that would take into account beginnings as well as midds, Moreover, the actual concluding sonorties are far from being normative, allowing, on the one hand, important secondary ‘emphasis within elements of the chord wile revising, om the ‘other hand, the system of hierarchies operative in traditional harmony. But there are places where the implications of eon ventional harmony are given further contextual support. As shown in Example 4a,m. ISendson what appears tobe a do: nant seventh of G, but the Gis withheld. When the process of this layers resumed in m, 48, the unresolved D is finaly taken ‘over and resolved t0 G, the closing tonality. There is therefore sense in which one might hear a G tonality articulated first as an incomplete progression, and later brought to completion. It such a long-range relationship is perceptually plausible, then ‘one might draw an analogousconneetion between m. 47, which finishes on the dominant seventh of A, and the beginning of the Gloria, where A is attained, Note that both of these explanar tions affect the two most implicative cadences in the move ‘ment, those that seem to require a normative completion. Ex ample dp coneretizes the tonalst’s manifesto, showing on the ‘deepest level an open V-I progression, the V prolonged by is "upper neighbor note. This reading of conventional functional-harmonic contol. the movement, wth its assumption ofa straightforward teleo- logical process, is bound to elicit criticism from those listeners who prefer a more neuteal apparatus for dealing with this mi- sic. Certainly, one would wish to have an apparatus whose cle ‘ments are not being qualified ll the time, and which can there fore be said to account forthe piece “on is own terms.” Atte Example da.‘Stravinsky's Mass and Analysis 169 } example 4a. Synopsis of pitch materialsin Kyrie natization The | Em coe : 1 ins background ved dominant, 2 basis of ana S not, indeed it t acknowledges nism of losure sell a8 mids far from being ‘tant secondary revising, on the tim traditional ications of con- tal suppor. AS ustobea dom: the process of, Dis finally taken rere is therefore ticulated first as > completion. I plausible, then ent. 4, which >ezinning of the Tthese explana 2s in the move completion, Ex showing on the srolonged by its ‘monic controlin stforward tele 1 those listeners 2g with this mu cats whose ele sich can there terms.” Atthe160 Music Theory Spectrum Example 4c Set class 4-23 2 determinant of structure in Kyrie 1 -thamonie rei same time, there is intuitive justseation for looking athe pos- ‘bility of such long-range harmonic connections, given the eat- lier demonstration of harmonic control in cadential situations, in diinutions, and in protongations. ‘What Examples 4a, 4b, and dc (which wll be discussed pres- cently) set into tect (Gomething [have tried t0 capture by my ambivalent use of hierarchic notation) is a conflict between ‘lear, funetional-harmonic passages and non-functional, often lasserted pitch classes. The series of E's whch initiate each of the fst thre sections (mm. 1,6, and 10) an retura towards theend ofthe movement (m. 48) area casein point. Their ari tative prominence, as well as theircontinued membership ina stratum that daes not appear to be integrated timbrally,regis- telly, or thythmically withthe prevailing process ofthe move ment, mark them for special attention. To interpret them in Example 4b as neighbor-note motions to D, the dominant, al- thouth theoretically acceptable, seems too facile, fort denies pitch class Eb what might be called its hard-won independence. “The authority ofa tonal interpretation is further undermined by the fact that unlike conventional tonal music, where every eventeanbe explained wit reference tothe classical set of di {utions (which is not to say that an event admits of only one typeof explanation), good deal of the intervening music inthe Kyrie cannot be easily accommodated within the harmonic fanctional umbrella, We conclude, therefore, that while the Tower levels of structure partake of procedures and gestures sociated with tonal musi, their peculiar conjunction in. the ‘work either nulls or transcends normative tonal structure "There ist least one other way of hearing the Kyrie as un ifed structure (ee Example 4). A flexible notion of prom rence has been invoked in the selection of pitch classes of po™ ity. These include registal prominence, repetition oF reiteration, textual placement, goal of melodic phrase, and bass of concluding sonority, The argument here is that these contextual forces serve to thrust particular pitehes into rom ‘pence, and that, a & corollary, there is absolutly no conic. between the € other words, ¢ support of Eb, ria. These proc make certain ¢ the prominent ample 4e—a p tion ofcadener 23. Tistetrae ‘unfolded acrox ing once in th pitch classes), fore refer tos haps. The notion logic insofar der the umbre fers to a com draws on act distinction bet dissonant pro dissonance ax happensin the sequence of rational, timb felttoorientd 2Bisprolonge tension ofthe significance o es the qua linked tit.ver undermined ie, where every ‘sical set of dim: aits of only one Ling musicin the the harmonie that while the and gestures a junetion in the nal structure fe Kyrie asa ur ‘tion of promi «lasses of prior repetition or tie phrase, and sre is that these “hes into promi- ately no confict between the criteria for selection in any single instance, In ther words, the factors of register and repetition invoked in ‘support of Eb, for example, are not contradicted by other cite ria, These procedures are foregrounded, soto speak, serving to mnake certain pitches accessible to the ear. Ifwe now examine te prominent pitches in both the top and bottom voices of Ex ample 4o—a procedure that therefore goes beyond he collec: tion of eadences—we see clearly that they comprise set class 4~ 23. This tetrachordal clas, atthe same transposiional level, is ‘unfolded across the span ofthe movement asa whol, appe Jing once in the top voice (with several internal repetitions of pitch clases), and twice in the bottom voice. We might there- fore refer to set class 4-23 a atone, a “dissonant tonic” per haps. > ‘The notion ofa dissonant tonic, however, harbors a basic itlopic insofar ast allows a contradictory set of procedures un- Ger the umbrella of prolongation. Recall shat prolongation re fers t0 4 composed-out interval or sonorty, 2 process that draws on active diminution, thereby implying @ fundamental distinction between consonance and dissonance. The ide ofa dissonant prolongation would require that the consonance tlsonance axis be systematically reversed, yet this snot what hhappensin the Kyrie. Often, itismerely the case that while nor- mative consonance-dssonance factors continue t be invoked, ‘sequence of prominent pitches—determined variously by du ‘ational, imbral,accentual/shythmie, or registra factors—are feltto orient the actual voice leading. The claim that st cass 4— 23isprolonged in this movement therefore implies a radical ex- tension ofthe meaning of prolongation, one which reduces the significance ofthe term to mere prominence, and therefore ex: tises the quality of contrapuntal control that is inextricably linked toi ards New Cons of Fonsi and Moa, "Dis ‘Stravinsky's Mass and Analysis 161 would seem therefore thatthe most useful way of hearing the tonal proces in this movement sa dual one, one that rec ‘ognizes, on a deep level, an underlying tonal structure of G, ‘which then defers to a more surface phenomenon, the “arpes- sisted” tetrachord, 4-23. The former appeals tothe authority fof a system of hierarchic tonality, articulated here on a back- {ground level; the later, based essentially on foreground atic: lative prominence, appeals to intervalic rather than pitch co- hherence. To say that one needs the benefit of these two ‘essentially contradictory perspectives inorder to gain the ich- test sense of structural procedure in the piece is not to compro~ mise the analysis but to accept, fist, that the results of ether approach are genuinely fragmentary, and second, that the com bined results yield irreducible conflicts. Limitations ofspace forbid a demonstration inextenso of the ‘explanatory power of the analytic method applied in the Kyrie, ‘but a measure ofits potential may be gleaned from the next ‘movement, the Gloria, whose tonal strategy bears a remark- able resemblance to the Kyrie, The Gloria begins with an em- phasis on A, yields toa reiterated set cass 4-23 (mm. 19-34), retums t0 A (m. 35), and eventually arsves in D (ram. 72 end). The large-scale A-D succession, ike the D-G suecession in the Kyrie, comprises a viable, if weakly represented, dominant-tonic frame against which ean be heard various prominent pitches. Even the treatment of 4-23 between the two movements underics these parallels. Unlike the Kyrie, ‘where the set was “arpeggiated,”itisnow reiterated asa vert tal sonority. Yet the interplay of background and foreground in the Gloria retains an element of connection, most notably in 1m. 35, where the Fb ofthe previous 19 measures is absorbed into the A orbitby being reinterpreted enharmonic matic neighbor note to E. Again, the sheer scale on which this ‘occurs is comparable tothe E's ofthe Kyrie whieh s argued eater, both resolve to D and setain a measure of indepen- sence162 Music Theory Spectrum Thave been concerned to acknowledge a “background” 10 the methods of pitch organization discussed inthis essay and Also to stress the ways in which that background is uniquely transformed by Stravinsky. Ths, a distinction between mor- phology and syntax has enabled an explanation of Stravinsky's ‘use of eadence and diminution. Te difference may be concep- tualized in terms of the weighting of internal components, 80 thatthe shape ofaneighbor-note formation, for example, ire- tained without necessarily carrying over a normative cconsonance-dissonance succession in the expression of that ‘motion. But the line between extension and negation can be a thin one, as the analysis of global strategy in the Kyrie has shown, Tointerpret the Kyrie on the one hand asa movement “in G ‘major," and on another asa composing out of set class 4-23, and to refuse to choose between these two readings-—indeed 0 insist that one needs the benefit ofthese essentially contradic- tory perspectives—may seem to set the clock back for Stravinsky analysis. The tendeney nowadays io find consist- tency, not conicts, Thus van den Tooen iat pains to show that the octatonic sae is used consistently throughout Stravinsky's music, while Taruskin, in what is perhapshis most explicitly an alytical article, proposes to demonstrate the selfsufciency of fan octatonic explanation by showing how a voice-leading inter. Dretation ofan entie scene from Petrouchka canbe accommo {ated within the octatonic frame." Tanai, “Chee Pero Tease of taonce een arin the cnet of ans of he Mae The ony place the ene wre at ‘ichsomererenceemadeto the otto ale tele cmaein the Cro Ofvanden Fortwo ofoctatone presencia Seay he fe inloes passages tat make “epic flerene” othe nae, wee Second nich ines the ass (peel the reo, Nox. 37-8) ss puma aking degre of extn inance, paar nt he esto, en some prior mia witht pt eso bende ‘uh inroenstromeonfiing st (orsems) of rtrece” (The ic of But what of consistent conflicts? Could these not contribute positively to the development of a theory for Stravinsky's me ‘Sc? The idea of conflict or unintegrated interruption sil leaves ‘erin theorists uneasy because ofthe aesthetic assumptions seems to harbor. The argument for such theorists is that the confit sin the viewpoint, notin the music. But it would be simplistic (and dangerously so) to suggest that music which is replete with such positive and enticing confit is somehow in ferior to music without similar confit, for one soon realizes that the notion of conflict is absolutely central to all musical ex- pression. Noristhisthe first time that anaesthetic of irreconil- ability has been put forward to explain the music ofa great com- poser.» Conflict and co-existence of dialectical opposites are, asconstrued here, not just positive measures, but strongly posi tive ones. To reduce away these confi, in my opinion, t0 attack that which is most esental in Stravinsky. Is ofcourse possible tosubsume these conflicts into a higher-level, confi oor Spanky 3) 1s forego comment onthe uneceaiypesepine fir tra cnt pe ea te “Tarshin’s lain that “[No farther mork othe guston af Sans’ nd ech [en val progres iho taking [err at J “Toor dings} undumertly ino acount” ('Srsshy’s"Ang ithe present demonstration sacral roses he Mas ean toby. ihen Turakin's seron needs abe quail To are the ese ‘Slemavestoccaoniie would ree mach maespucethan arse ‘he pest eotent, bt sic itt sy tat grou but maa sense ‘mehadforepmenationbse, noon ise eternal caleson ch st ‘tans el butom objet ene fr asl pepn cnt lth contnuow unfling fot ote coat sale A ‘nin ha ew cp ne ane) Tonal Mi” Mae Theory Spec 3981), 51-7, "mee Rone Renan! Subs, “Adora Dagon of Betbovess Late ie Esty Symptom of Fatal Condon "Joule America Me cope Soke 29 (16). 22-25, free unity, ate and most mune such ashft, ou from the ext: the decidedly discourse abot rit such ator since thecon “Toba taken he ‘ants 098) ings ncaenot eontebute ravinsky's mu tion stl Leaves assumptions Fists that the ut i would be music whichis Issomchow in se soon realizes > ll musica ex ticofitrecon of agreatcom Loppesites are, atstronely posi ‘my opinion, to y-tisof course evel, conti sly resin ‘Sy thevelesn te Serer eat ‘i Stsinky se snr nd an = ‘soky’s"Ane") be cae ft ‘actuate Sal prepin my ‘movethan rane alse) ut "afte Amencon Me | | | i I \ } i {roe unity, a task which is easly accomplished by the simplest land most mundance of semantic shifts. The rouble that with Such shift, our discourse will have taken different turn: away from the extraordinary environment of Stravinsky's Mass 10 the decidedly ordinary environment in which we conduct our ‘scours about that work, For the analystrather than the theo fist such a turn must be flereely resisted.” sinc te someon of ica in 17, umber fimportan aay caland eerie ses renting fe tops iscsi hre bate Pete. ‘Fone thea hese figs int acount wou have equa ret eal of ‘empiri an ssa, Te a ed ‘jaa (19#8), 169-1 mot ven coon oa ues fu ‘Srravineky's Mass and Analysis 163 ABSTRACT “Thisstuy of pitch organization i Sttavisky’s Mass takes s pont of departure a remark of Schenker’s ogarding coherence (Zisem- menhang) or. contet,“connectio’ as the basis of tonal nd “rguablyposteonal music, Stravinsky's play with the oaventions ‘teaence, diminution nd prolongation then demonsratedinse- {ested passages Finally, two ustuallyeontadetry but complemen: tary analyses ofthe Kyrie are offered to show thata residue of conti ‘Rotten retained on the deepest levels of Stavinsy'slarg-sale tonal strate