Stravinsky's The Rite of Spring

https://www.youtube.com/watch?v=NzBRKCCsIQc

Outline:

Thesis: Igor Stravinsky incorporates 20^th century modernism characteristics into his musical piece, Spring Rounds from Rite of Spring, such as contrasting sounds and melodies and layering of instruments by adding stratification, fragmentation, and disjunction.

A.    Stratification

a.       Definition (Merriam-webster.com)

                                                              i.      The state of having many layers

b.      0:27

                                                              i.      String section has the main sound with a simple same 3 notes

                                                            ii.      In the background, another instrument is playing three notes on the offbeat of the strings so that it is like an echo

1.      Notes go up the scale

2.      Create a sense of  panic

c.       1:16

                                                              i.      Strings (?) play the melody that was just previously played

                                                            ii.      In addition to the strings, it seems that there are flutes

1.      At first, they play two notes back and forth for a couple of seconds, then descends down the scale

a.       Sounds like bells

d.      2:41

                                                              i.      This section sounds quite frantic

                                                            ii.      Strings, again, are frantically playing the same note

                                                          iii.      While this happens, flutes(?) go up and down the scale, creating  whirlwind effect

B.     Fragmentation

a.       0:35

                                                              i.      In section before  0:35, the strings are playing 3 consecutive notes, giving an eerie sound

                                                            ii.      At time 0:35, the strings cut out and the melody changes to a completely new melody that has not been heard yet

                                                          iii.      The melody is optimistic and plays notes going up the scale, then back down

1.      Very spring-like

                                                          iv.      After that short section, the melody switches back to the creepy sound of the strings

b.      2:28

                                                              i.      Leading up to 2:28, the orchestra plays an intensified, louder version of the melody heard at 0:26

1.      Gives an intense picture

2.      Sounds like fighting

                                                            ii.      At 2:28, all sounds cut out and a sound is played that sounds like birds chirping for a second

                                                          iii.      Then, the melody jumps right back into the frantic-sounding section with the string section

C.     Disjuction

a.       1:49

                                                              i.      Before 1:49, a soft, spring-like melody is heard

1.      Type of sounds one would hear at a ballet

                                                            ii.      Then, at 1:49 the drums are played and the melody and mood completely changes and becomes dark, intense, and loud

1.      The opposite of the previous section

                                                          iii.      This is where the melody at 0:35 is played, but much more loudly and powerful

b.      2:44

                                                              i.      Near the end of the song (at around 2:35), the frantic piece of the melody is played

                                                            ii.      At 2:44, it cuts out and all the audience is left hearing is the ever so faint sound of a flute going back and forth between two notes, again mimicking the sound of bells

                                                          iii.      The exact same melody at the beginning of Spring Rounds is played again

1.      The piece started and ended with the same melody

2.      This creates a feel of completion

Essay:

            Igor Stravinsky, a well known composer, lived and produced unforgettable music during the 20^th century, a time period called modernism. One of his most well known pieces, Rite of Spring, was a game-changer in the world of music. The sounds that he created were new and unheard of. He often paired contrasting sounds together to create a feeling of tension and dissonance, two unpopular musical terms. Specifically, he incorporates 20^th century modernism characteristics into his musical piece, Spring Rounds from Rite of Spring, such as contrasting sounds and melodies and layering of instruments by adding stratification, fragmentation, and disjunction.

            One of the modernistic characteristics that Stravinsky incorporates into his piece is stratification. Another simpler word that could be used to describe stratification is layering. Often, Stravinsky had several instruments layered on top of another to create multiple sounds at once. This use of layering intensified the piece and helped to specify the feelings that were meant to be felt. At 0:27 in the piece, the string section has the melody with the three same notes. In the background, another instrument is playing three notes on the offbeat of the strings so that it creates an echo effect. These background notes are contrasting because they go up the scale and create a sense of panic.  Another place in the piece that has stratification is 1:16. The section that was played before this point is repeated, but this time, a flute is added and at first plays two notes back and forth until it decrescendos down the scale creating a sound similar to bells. The last point of stratification in Spring Rounds is at 2:41. Again, the strings are frantically playing the same note while the flute crescendos and decrescendos up and down the scale, creating a sense of mystification and terror. This stratification that Stravinsky adds creates clear images in the minds of the audience members.

            The use of fragmentation is also apparent in Stravinsky’s, Spring Rounds. Fragmentation can be defined as the process of breaking something up into parts. For example, in the musical section before 0:35, Stravinsky has the strings playing three consecutive notes up the scale, creating an eerie sound. At 0:35, a completely new, spring-like melody is played, giving off the sense of optimism in a pessimistic section. The notes are played up the scale and then back down to give off this sense. After only a few seconds of this, the creepy melody switches back to the melody before 0:35. Another part in the piece that has fragmentation is at 2:28. Leading up to 2:28, the orchestra plays an intensified, louder version of the melody heard at 0:26. These sounds create images of fighting and other intense moments in the audience members’ minds. Then, at 2:28, the melody cuts out for a split second, and an instrument is played that mimics the sound of birds chirping. Right afterwards, the fighting scene continues and the music becomes dramatic and intense once again. These fragmentations within the piece are similar to stop signs. The music is going and going and once it hits the “stop sign” it switches melody for a second, and then continues on its way as it was before.

            Disjunction is the last indication of 20^th century characteristics within Spring Rounds. It is similar to fragmentation in that the melody changes, but the changes classified as disjunction are much more dramatic and long-lasting. Before 1:49, a soft, spring-like melody is heard; one that is normally heard at a ballet. All of a sudden, at 1:49, the sweet melody terminates, and drums are played. The melody and mood of the piece completely changes and become dark, intense and loud. It is the same melody as the one played at 0:35, but it is much more forceful and produces a darker feeling than the other section. Once the end of the song is near, around 2:40, the frantic melody is once again played. At 2:44, it cuts out and all the audience is left hearing is the ever so faint sound of a flute going back and forth between two notes, again mimicking the sound of bells. The switch in melody is unexpected and may cause the audience to jump a little. The melody played is the exact same one at the beginning of Spring Rounds. Although the piece has its dark and light moments, Stravinsky creates a feeling of completion by starting the piece with the same melody as he ends it.