Asparval wrote:
MeshGearFox wrote:
But the Rite is not a serial piece. The Rite is early Stravinksy and I love it. I like a good deal of Stravinsky's music until the late 1940s. I was referring to the 12 tone method of Schoenberg that Stravinksy adopted in the 50s and 60s, when even Copland felt a need to follow the Darmstadt crowd.
I remember seeing a programme in which Stravinsky was talking about the Rite of Spring and demonstrating the series of notes the themes where based on. He was definately talking in terms of it being a result of his interest in serial composition but I accept it may have been an early example.
Unless I am getting hazy on my theory I'm sure that there is a very subtle difference between purely serial compositional principles and the basic atonal theory of Schoenberg (although Schoenberg used serial principles too).
Sacre has the element of heavy chromaticism, but to be truly "serial", it has to follow Schönberg's matrix system (with P, R, I, and IR). The musicological term used for
Sacre and
Petrushka is primitivism.
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"Weia! Waga! Woge, du Welle,
walle zur Wiege! Wagalaweia!
wallala, weiala weia!"
I won't translate it because it doesn't mean anything.