The Perception of Meter in Stravinsky's Histoire du Soldat

Date of Award

2005

Document Type

Thesis

Degree Name

Bachelors

Department

Humanities

First Advisor

Miles, Stephen

Keywords

Soldier's Tale, Stravinsky, Igor, Rhythm, Meter

Area of Concentration

Music

Abstract

The present study uses Stravinsky's Histoire du Soldat as the focal point for an investigation into meter as a perceptual phenomenon. Through the analysis of several metric theories, a model of meter is presented that is flexible, dependant upon the individual listener's subjective experience. This concept emerges from contemporary theoretical writings, particularly the work of Lerdahl and Jackendoff, Jonathan Kramer, Joel Lester and William Rothstein. As opposed to the traditional notion of meter as a musical component fixed within the score, a more flexible model accounts for individual differences not only among various listeners, but also among an individual's own successive hearings. As evidence I cite examples within the writings of Igor Stravinsky as well as within the music of Histoire du Soldat. The first analysis is an examination of the opening movement, 'The Soldier's March,' while the second analysis focuses on a later section of the 'Three Dances' movement, the 'Waltz.' These diverse sections of Histoire demonstrate the range of metric flexibility within the work as a whole, from the smallest level of meter between adjacent measures, to the larger formations of hypermeter.

Rights

This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.

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