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TH342/Contemporary Trends Sarah McMahon Analysis Project #2 Fall 2013 Due Date: Monday, October 7, 2013 For this

analysis project, you are to analyze the Introduction to the Second Part of Igor Stravinskys The Rite of Spring (pages 86-96). After listening to this section and carefully studying the score, answer the following questions. Your answers may include, in addition to written commentary, musical examples, graphs, charts, etc. I prefer that your answers be typed, but if that presents an insurmountable problem I will accept a neatly written project.
1. What are the main motives in this section? On a sheet of manuscript paper,

write out the important motives (at their sounding pitches, not their written pitches) and assign them letters. (Some of the motives used in this section may have two components. In those cases, write out both components and assign them a single letter with two numbers. For example, you might call the upper part X1 and the lower part X2.) Indicate on the manuscript paper where each motive is first found and what instrument plays it. On either the manuscript paper or on a separate sheet of paper, list the assigned name of each motive, where it occurs after the first appearance, what instrument has it, and, how it is varied from the first appearance (level of transposition, rhythmic variation, etc.). [40 pts.] On manuscript paper.
2. What are some of the important harmonic sonorities? (You may describe them

in terms of pitch class sets or more traditional descriptions.) Where do these sonorities occur and why do you consider them important? One structure that I want you to address is the last beat of R79+1. [15 pts.] The very first section of The Second Part the Exalted Sacrifice starts at R79. R79+1 has a traditional sonority of {i, v, i, v, i} this minor sonority shows the audience the uncertainty. This is because of the strange shifting tonality from traditional i to v. we cannot tell what one is tonic.
3. Discuss the use of the minor triad in the opening of this section (R79-R82). [10

pts.] The minor triad in the first section of this piece is a minor triad mad of the pitches F#, A#, and D#. In integer form these numbers 6, 9, and 3. This minor triad is played originally in the flute part starting at R79. I think that this pattern of 6, 9, 3, jumping into what would be the dominant of D# major or C#, E#, and G# also known in integer form as 1, 5, 8 is expanding on the idea of the sacrifice by jostling our tonality. This keys back to the idea of negating major and minor by playing excerpts from both keys one after another.
4. What do you consider to be important features of this section? This is an open-

ended question to allow you to be creative in your analysis. [15 pts.] I think that the most important parts of this section of music are the shifting tonality throughout the entire piece. These 8th note lines are helping the music

shift to create a feeling of uneasiness and uncertainty. Two other parts that are very important with in this piece are the two themes I have already identified. Theme Y 1&2 are important because they transition into a new theme at the very end of the piece as a whole. Theme X is a transitional theme, only appearing at the two places where the rhythm and themes change.
5. Discuss the form of this section. (It is not one of the traditional forms that you

may have studied in tonal harmony classes.) Where do formal divisions occur? What defines the beginnings and endings of these subdivisions? [20 pts.] I think the form of this piece is in A, B, coda form. This piece starts out with the A section, beginning with the minor triad shifting tonality section. Soon after that theme X foreshadows a shift in theme and the section change of the piece. The development that leads into the B section of this piece starts with theme Y 1&2. These themes develop and change rhythmically. This development leads into section B of this piece. I though of it as section B because of the rhythmic change to triplets and much faster rhythm overall. Then theme X comes in to the piece at the piu mosso. This indicated the change back to themes Y 1&2. At the end of this piece theme Y 1&2 help lead in the new theme for the section Mystic Circle of the Young Girls.

N.B.:

All work on this project, and on all projects for this class, must be your own. There is to be no collaboration between students, and all material from outside sources must be cited with a bibliographic reference. Submission of work that is not your own is plagiarism. Any work submitted that I suspect is plagiarized will be treated in accordance with the University policy on academic dishonesty. (See The Source, pp. 22-26.) Penalties for plagiarism may range from resubmitting the project to an F on the assignment or an F for the course; in serious cases of plagiarism, students may be suspended or dismissed from the University.

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