The Rhythms of Reiteration: Formal Development in Stravinsky's Ostinati

Gretchen G. Horlacher

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Musicology and Musical Analysis Diverse Music Education Insights Literature, Musicology, and Cultural Analysis

Abstract

This article examines ways in which Stravinsky's superimposition of ostinati and other repeating fragments creates both continuity and form. It considers how the interaction of superimposed strata may control the lengths of phrases and contribute to the establishment of pitch priority. It introduces the cycle as a model for measuring the contrapuntal progress occurring between two or more strata.

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1987Some Extensions of the Concepts of Metrical Consonance and Dissonance 1990Stravinsky's "Les Noces" and Russian Village Wedding Ritual

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2008The Roles of Invariance and Analogy in the Linear Design of Stravinsky’s “Musick to heare”2018Rhythmic Functions in Pop-Rock Music 2010The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text 2013Stravinsky and the Russian period: sound and legacy of a musical idiom 2020The Music of Pavel Haas 1997Robert Schumann's Metrical Revisions 2007Counterpoint and polyphony in recent instrumental works of John Adams 2014SYMMETRY IN THE MUSIC OF JOHN ADAMS

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