Pieter Van Den Toorn - Stravinsky, Adorno, and The Art of Displacement

Stravinsky, Adorno, and the Art of Displacement Author(s): Pieter C.
van den Toorn Source: The Musical Quarterly, Vol. 87, No. 3 (Autumn, 2004), pp. 468-509 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3600933 . Accessed: 06/12/2013 04:30
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The Twentieth Century and Beyond and Institutions, Technology, and Economics
Stravinsky, Adorno, of Displacement

C. vandenToorn Pieter
and
the
Art
of IgorStravinsky's Much of what is characteristic music maybe defined in in terms of shifts the metricalalignmentof rhythmically displacement, chords. himself often began and Stravinsky repeatedmotives, themes, here, in fact, not necessarilywith a committedset of pitch relations,one a that is octatonic, for example,but with a phraseturnedrhythmically, The motive or chord displacedin relationto a steadymetricalframework. to startingideasbear this out, as manyreferencesin his publishedremarks do the worksand sections of worksthemselves-Russian, neoclassical, and serialin origin.Even beforethe birthof concrete ideas, the composer wouldset himselfin motionby "relating intervalsrhythmically," improvising units."This initial exploration,he later confessed, on a set of "rhythmic "wasalwaysconducted at the piano."1 Adorno began here, too. Targetedin his celebratedindictmentof music are, above all, the composer'srhythmicpractices,the Stravinsky's frequentdisplacementof accents, and the disruptiveeffect of displacement on the listener.The absence of expressivetimingis bemoaned,the And instead lack of any "subjectively expressivefluctuationof the beat."2 of the developmentalstyle of the classicaltradition(as definedby Arnold Schoenberg,Adorno'spoint of departuremusicallyand music-analytimusic was relentlessand literal.No cally), the repetitionin Stravinsky's no could be elaboration of motives or "motiveinferred, development in a music that could seem outwardly forms."3 So paradoxical vital froma rhythmicstandpoint,the overalleffect was often one of standstillor stasis, of any kind of forward an invention "incapable motion."4"The repetition it the same as were constantlypresents thing though somethingdifferent," Adorno complained."Farcical and clownish,it has the effect of puttingon airs,of strainingwithout anythingreallyhappening."5 formthe liveliest part of Adorno'scritique. Such characterizations of one kind or another, they addressthe psychologicaleffect Descriptions of Stravinsky's music. At the same time, however,they are often incomwith the task of piecing them togetherleft to the plete and fragmentary,
doi: 10.1093/musqtl/gdh017 87:468-509 (? Oxford University Press 2005. All rights reserved. For permissions, please e-mail: journals.permissions@oupjournals.org.
andtheArtof Displacement469 Adorno, Stravinsky,
is unsystematic to thepointofbeing reader. Adomo's unintelligible approach with moresympathetically),6 as somehavesuggested ("anti-systematic," in theanalytical themselves hemmed bysweeping philosophical descriptions in character. The oftenno lessfragmentary andsociological conjectures of consciousness can be explained at stream bythe dialectical processes of a and the of Adorno's but to work, onlyup suggestion many point, fetishized thisparticular adherents to the effectthatthe critic-philosopher canseemrealenough.7 Adorno aspectof the process(itslackof finality) of his the "constellation"-like effect and acknowledged thought prose,8 can oftenseemlikewaywardness all the same,a poetic but the results forthe moredetermined effortto address head-on obscurity substituting the complexity of the issuesraised. withthe analytical thereareproblems aswell.As Indeed, description hasobserved, "astrange MaxPaddison existsbetween"the disparity" and of aesthetics on the andsociology [Adorno's] sophistication radicality andtraditional one handandthe lackof sophistication character of his methodon the other."9 it is not so muchthe Actually, music-analytical modelof analysis fromSchoenberg thematic-motivic inherited thatlacks is as it its lack of not (or Missing sophistication application application). Music10 but alsoin a lateressayon onlyin Adorno's of Modern Philosophy of are definitions conceivable kind(elementary ones Stravinsky11 every fortermssuchas "accent," forexample), identifications of passages and detailthatmustnecessarily sectionsof works cited,andthe analytical if is not to lapseinto polemic. The generalization generalization qualify of abstract needforconcrete detail-for the grounding termsandconof the musicitself'-is acknowledged earlyon in cepts"inthe structure but is the Philosophy Modem never allowed to in the materialize Music,12 of formof an effective supplement. Yetthe bitsandpiecesof Adoro's description areworth all pursuing the same.Andtheyareso moreforthe musical illumination thanforthe andsociological ideasto whichtheyareattached (and larger philosophical from andhisadherents haveinsisted, which,asAdorno theynot only derive theirmeaning butare"inseparable").13 for Theyareworth pursuing the musical andmusic-historical sensethatcanbe madeof thejuxtaof Schoenberg andStravinsky, thejuxtaposition of the classical or position (thestyleof "developing styleasdefined bySchoenberg "homophonic" andStravinsky's of displacement. Wherethe convariation")14 processes material is concerned, the invention struction of thematic anduseof such thesetwoworlds canindeedseemto standapart in waysthatare material, thatcanenliven anditsreflection. immediately identifying, ways experience in Adorno's and in Confronted the later Stravinsky essay Philosophy, in Stravinsky's as well,is thatsingledimension musicthathasseemed
470 TheMusical Quarterly
it in the earsandeyesof the listening mostto identify that namely public, of rhythm andmeter.The features thatpreoccupy Adornoarethosethat in works tendto standout, in fact,perhaps of the early Russian period aboveall:the mechanical of the beatandits transmission, nature the of accents,the rigidity of the juxtapositions, andthe seemdisplacement andrelentless nature of the repetition. on matters inglyunvaried Touching thatpertain to the listener's immediate to music, response Stravinsky's canbe madeto relateto wider andmoretangible Adorno's concerns ones, "entrainment" of meter,forexample, to the roleof expecto the listener's or not) is tationin music,andto the wayin whichemotion(pleasureful In Leonard nowclassic formulation of "emotion and aroused. Meyer's in the Western arestirred whenimplicaarttradition, emotions meaning" tionsor tendencies areinhibited or arrested, norms whenestablished are And the wayin whichexpectations of metrical are broken.15 parallelism in Stravinsky's thwarted music,withthe meteroftendisbydisplacement of thistypeof interaction. asan instance as a result, Indeed, figures rupted from should not be scrutinized thereis littlereason whyAdorno's critique of musictheory of thiskind,be madeto relateto the world perspectives andcognition. andanalysis andits tiesto issuesof perception not onlyof Adorno's Muchof thiscanbe pursued irrespective framework and ideas,butof the stilllarger (mainly Hegelian philosophical be are it can to which those ideas attached. Indeed, Marxist) pursued The latterneednot be accepted of Adorno's critical verdict. irrespective as a means of support, in order forthe analytical harnessed to description, in Ourunderstanding canbe reasonably be appreciated. sympathetic, fact, in anywayaccepting of Adorno's as without the "no" account. Indeed, of some matters musical underThomson remarked time where ago, Virgil of critics areconcerned, the actualopinions need andcriticism standing that Whatcountsis the musical not concernus unduly.16 understanding thatarenoticed,described, andcomis brought to bear,the features The Schoenbergian modelof the menteduponin one wayor another. for music of foil Stravinsky's classical regardless stylecan serveas a useful andsociopolitical to the larger andlesstangible meanings philosophical is in that model attached. On the more Adoro's which, account, speculative canbe sideof Adorno's too, manyof the negative images argument, andreplaced ones. detached bypositive be seeking to retrace thesteps of Withthisin mind we shall first with the detail Adorno's the description critique, supplementing analytical a oftenmissing in thePhilosophy. andexemplification this, detailed Following in Stravinsky's of metrical anditsimplications music definition displacement in turn ofrebuttals ofAdorno's willbe attempted, followed bya number arguwillthenleadto a somewhat lessstrident, lesspolarized ment.Conclusions
onein whichthegreat viewof theSchoenberg-Stravinsky of divide, variety in Stravinsky's music canimply andpsychologies that processes displacement arenot always at oddswiththoseof moretraditional tonalcontexts. Adoro Interpreted of accentsandtimerelaAdorno is struck aboveallbythe "concentration in Stravinsky's music. The "most of this elementary tionships" principle" is displacement: melodic andmotivesare "concentration" fragments in sucha waythat"iftheyimmediately constructed the accents reappear, on theirownaccord falluponnotesotherthantheyhadupontheirfirst of theirirregularity, the shifting Because accents"can appearance."17 be result a of chance." can to the of seem to be "under game They appear a spell."18 The gametheyplayis an "arbitrary" to Adorno, one, according liebeyond the control of thelistener. Andthe arbitrariness onewhoserules on the partof the of the gameprecludes andengagement participation or listener. The listener's roleis reduced to thatof a spectator. performer accentsresistassimilation. Theycannotbe Stravinsky's displaced and so as "shock effects."19 And while "shock" is anticipated, appear a legitimate of muchcontemporary accorded music placein the reception atonalandtwelve-tone (in thatof Schoenberg's music,aboveall,where Adornoidentifies it witha sudden of the horrors of the recognition modern its effectin Stravinsky's musicis viewedas debilitating. world), of the ability to anticipate, listeners the irregucannotabsorb Deprived overwhelms accents of "Shock" them,and larlyshifting displacement. "In thereis neitherthe anticipatheylose their"self-control." Stravinsky, assumed thatshock northe resisting tionof anxiety ego;it is rather simply for himself. The the individual musical cannotbe appropriated by subject no attempt to assert makes itself,andcontentsitselfwiththe reflective of the blows.The subject behaves likea critically literally absorption victim of an which he cannot absorb andwhich,thereaccident injured in tensionof dreams."20 fore,he repeats the hopeless hereandelsewhere in Adorno's Reference accountto a "musical "The musical dramatization. rather thanthe subject" subject" implies fallsvictimto Stravinsky's listener accents. (The arbitrarily displaced in Adorno's in fact,although is seldom mentioned listener account, in thisregard, with and"subject" areclearly "listener" interchangeable eachviewedas the victimof the sameset of musical circumstances.) to whichthe Thus,the musiclacksan overriding according pattern In Adorno's accentscouldbe organized. shifting descriptions, irregularly these accents becomes the the listener's to inability organize subject's
inability.Justas the listenerloses his or her metricalbearings,so, too, the
the displaced accentsin his or her cannot"heroically reshape" subject as blowsandshocks."21 the accents are "convulsive image: experienced areomitof thislistener-to-subject translation And although the specifics Without ted fromthe record, theyarean integral partof the equation. characterizations wouldmakelittlesense. them,Adorno's in music of the is the ideaof a balance Central to Adorno's argument of melody, a balance the fourmusical dimensions between highest quality, andform.In Stravinsky's music,thisis overturned by harmony, rhythm, on displacement andits on rhythm an emphasis and,morespecifically, musiccouldconsistof suchan ideal effectof shock.That"great" to all as it were-is an ideatraceable for seasons, good equilibrium-one in in it appears (Adorno's likelysource, anycase),22 although Schoenberg as well.Schoenberg wroteof otherguisesearlyin the twentieth century in all direcand"equally" the needformusicto developconsistently Not onlywerethesedirections but an emphasis on tions.23 inseparable, to these one couldcomeonlyat the expenseof the others.Ideassimilar the 1920sand1930s, in a number of critical wereexpressed surveys during A Music Cecil Gray's Survey including of Contemporary (1924).There, as being"atits highest whenall arein is viewedsimilarly eachparameter when one does not over equilibrium, predominate the others."24 complete masters" is neitherharmonic, nor Music"ofthe greatest rhythmic, "itis all andit is none."25 Adorno's version of to Gray; melodic, according thisidealrunsas follows: admirers have accustomed todeclaring hima rhythmist Stravinsky's grown therhythmic ofmusicandtestifying thathe hasrestored dimension which to hadbeenovergrown bymelodic-harmonic thinking-again butthisis honor....Rhythmic structure is,tobesure, blatantly prominent, of alltheother ofrhythmic achieved attheexpense aspects isunderscored, butit issplitofffrom it content, organization.... Rhythm in in lessrhythm thanin compositions results notin more, butrather made ofrhythm.26 which there isnofetish of theseimbalances. is thefirst Instead of a formation Melody casualty in of shapes the melodies to displacement andcontours, subjected musicare"truncated, No Stravinsky's patterns."27 primitivistic independentmelodic lifemaybe inferred fromthese"patterns," no structure to of. andrhythmic features arenot subjected to a harmonic, speak Melodic, variation" bythe Schoenbergian "developing alongthe linesimplied andrelentlessly. and model,butarerepeated Theyarenot varied, literally well. it is and are thwarted as For without variation, progress development
andtheArtofDisplacement473 Adorno, Stravinsky,
of elaboration thatthe repetition of motives onlybymeansof a process can addup to an overreaching andthematic segments designor trainof otherthana meresumor total.WithStravinsky's something thought, thereareonly"fluctuations andtheirrepetition, of patterns" "primitivistic constant andtotallystatic."28 The muchballyhooed something always "consists of varied recurrence of the same; of the same invention rhythmic melodic of the same harmonic of the forms; indeed, patterns, verysame rhythmic patterns."29 of thiskindmay Evidence of a musical be found on virtually nightmare
music,but see, as a startingpoint here, the repetiany page of Stravinsky's
tionof the A-D-C-D fragment in the hornsin the "Ritual of the Rival and"Procession in TheRite Tribes" of the Sage" (1913;see Ex. 1). ofSpring of this"primitivistic (tenin all) arewithoutelaboration, Repeats pattern" or in orinstrumental transposition, changes articulation, dynamics, All is fixedfromstartto finishin theserespects: the firsttwo assignment. notesof the fragment arealways while the last accented, three,D-C-D, arealways slurred. Whatchanges is the fragment's in relation alignment to the steady on the 4/4 meterandthe accompanying Entering parts. and second the fragfirst,third, fourth, beats,respectively, quarter-note mentfallson andoffthe half-note beat,the likelytactusherewitha metronome of 83. (Thehalf-note of beat,alongwiththe sensation marking on and off is to define the conditions of in it, likely falling displacement thispassage. At a levelof pulsation justbelowthe tactus,the quarter-note a subtactus beatbecomes unit,the levelof the pulse,aswe shallpresently be defining it.) In turn,the steady meteron whichdisplacements of thiskindhinge andprior is likelyto impose itselfindependently to the entrances of the andits sustained Ds. The repetition hornfragment of the G-F-E-D fragin thisregard. mentin the firstviolinsis crucial As a pointof departure andreturn, the pitchG in thisfragment fallson the downbeat, whilethe division into two or A "cells" B in Ex. 1), and (labeled fragment's segments, witheachof thesesegments the spanning 4/4 barline,lendsfurther supFurther of the accompanying portforthe 4/4 framework. along,repeats in the tuba,although at rehearsal nos. 64-67, segments irregularly spaced serveas an additional meansof support-indeed, the of following removal the reiterated in the violinsat rehearsal no. 66, as a constant fragment in this The of these of entrances aremultiples backdrop respect. spans of twoandfour; the segments repeats G-sharp-F-sharp(G)-(G-sharp) andG-sharp-A-sharp-C-sharp-A-sharp-(G-sharp) arealigned in a fashion. metrically parallel In sum,whilerepeats in the firstviolinsand of the various segments in relation tubasarespaced are to the irregularly, they metrically parallel
474
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Adorno,and theArt of Displacement 475 Stravinsky,
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4/4 bar line. The two fragments are not ostinati, strictly speaking, but the displacement that results from the irregular spanning of their repeats is hypermetrical rather than metrical. Typical of the melodic invention in Stravinsky's Russian-period works, the reiterated G-F-E-D fragment in the first violins is sliced up into smaller segments. Labeled A and B in Example 1, these segments are reshuffled: after each repeat of segment A, segment B is repeated once, sometimes twice. Significantly, however, all repeats of these segments fall on the downbeat of the 4/4 bar line. And this parallelism is likely to reinforce the sense of a 4/4 hierarchy. At the outset of this passage, the effect is likely to be one of at least relative stability, and in preparation for the entrances of the sustained Ds and A-D-C-D segment in the horns. The latter are not only irregularly spaced, they are metrically nonparallel as well; the latter entrances are the troublemakers in this passage: the cause, as we shall see, of metrical conflict. (The conflicting cycle of the bass drum noted in Ex. 1 will come to the fore further along, and then only in the form of a challenge; even at rehearsal no. 70, where the notated meter changes to 6/4, the sense of a duple or 4/4 bar line is likely to persist.)
476
Pitch relationsin this example follow an analogouspath. The octatonicism at the outset is explicit and relativelyunimpaired. Consistingin the main of the tritone-related0-2-3-5 Dorian tetrachordsG-F-E-D and C-sharp-(B)-A-sharp-G-sharpin the firstviolins and tubas,respectively, octatonic relationsare qualifieddiatonicallyby the D-scale on G, impliedby the accompanyingpartsin the strings (see Ex. 2: the dotted line beneath the quotation signifiesoctatonic-diatonicinteractionin termsof the singleoctatonic transposition Collection II and the D-scale on shared these two of referenceis the G-F-E-D G, by interactingorderings tetrachordalfragment,which serves as a connecting link).30And this, too, would seem to be in preparationfor the entrances of the A-D-C-D fragmentin the horns. Articulatinganother0-2-(3)-5 incompleteDorian here in termsof D-C-(B)-A, the latterentrancesare foreign tetrachord, to Collection II. The clash with the C-sharp-(B)-A-sharp-G-sharp tetrachordin the tubasis likely to be especiallyharshin this regard. music as well is the layeredor stratifiedstrucTypicalof Stravinsky's ture that may be inferred.Fixed registrally as well as instrumentally, fragments in the firstviolins, tubas, and horns repeat accordingto cycles that The varyingcycles in the horns and varyindependentlyof one another.31 tubas result in an alignmentor coincidence that changes verticallyor as well as metrically.Yet the "harmonic" "harmonically" changes are locked into a limited set of variablesfromthe start;harmonyin the largeis exceedinglystatic. The sound of the superimposed fragmentsmidway is is this little different from what it at the beginningor through passage
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the end.As withthe separately of a giantlocomotive, the moving parts individual churnaway withlittle,if any,local,over-the-bar-line fragments orprogress. senseof harmonic movement A starker wouldbe contrast to the world of developing variation difficult to imagine. Therearemotivic as we haveindicated, variations, in motivic succession durational and changes (reshuffling), spanning, metrical But of the sort and varimelodic, harmonic, rhythmic placement. ations withtheearlier identified stylearemissing altogether. developmental Thereareonly"fluctuations of something constant and always totally asAdornocomplained. The invention of"avaried consists static," merely recurrence" of the samemelodic, andrhythmic harmonic, "patterns." of metrical with Indeed, along thestratification processes displacement, of thispassage, the of the world of preclude sympathetic give-and-take in the wayin whichmotivic detached from variation, particles, developing In betweeninstrumental the themes,areexchanged 1, parts. Example is not tossedaboutfromone instrument to the next,made hornfragment of a "dialogue" in thisrespect(asit mighthavebeenin, say,a the subject of or It is not treated Mozart). string Haydn quartet "humanistically" by suchmeans(asthe character of suchtreatment hasoftenbeenimagined,
at the very least, in moderntimes, since the dawn of chambermusic).32
And it is not treatedexpressively, either.If the displacement of the in the hornsis to haveits effect,then the beatmust A-D-C-D fragment be heldevenly(mechanically) withlittleif anyyielding to the throughout, conventions of expressive andnuance,the meansbywhich, timing havemadetheirmediating felt. traditionally, performers presence is the contrast, in fact,withso manyof thefamiliar So stark givensof the developmental thatanything but the mostnegative of stylemissing, on the partof a criticsuchas Adornowouldhavebeendifficult accounts It canalmost to imagine. seemasif the impression wouldhavehad gained to havebeenthatof a cold,stiff,andunyielding music.Here,however, the pointconcerns the "protest" to Adorno, musichas that,according "the however ineffectual, always represented: protest, against myth," "theinexorable bondsof fate."33 No cryin the dark couldbe heard against in Stravinsky's self' in its struggle with"outrageous formusic,no "inner All the this seemed as tune," expressing inexpressible. missing well, "Thus it is, andnot otherwise," the bybarking replaced proclamations: from one seemed to be unvaried to the next. And saying composer repeat the proclamations seemedto be thoseof an authority, of someone in not thoseof the loneindividual. musicidentifies not charge, "Stravinsky's Adornocomplained in one of hismoreprovocative withthe victims," pro"but withthe agentsof destruction."34 it identifies nouncements, Indeed, whowerejustthen appearing withthe fascists on Europe's horizon.35
Moregenerally,the "identification" of Stravinsky's music "withthe collecto a "primitive," tive"admitsof two interpretations: Adomo makesreference age, and to a modern,industrialone.36The musicalsubject pre-individual in these worlds,"regressively" and in an "infantile" behaves ritualistically is "anti-humanistic" in these respects.Its music manner.37 Stravinsky's the powersthat are with the but with "suffering subject," sympathies not be, various"agentsof destruction." In contrast,the developmentalstyle symbolized for Adorno the of the to mature with to meet the time, ability day'schallengesand subject While the subjectremainedlocked in repetitive to develop accordingly.38 in music, unable to move beyond the trancelike gesture Stravinsky's of he was relativelyfree in the worldof developingvariastupor ritual, tion.39This was the nature of the musicaloppositionAdorno sought to unravel,the splithe attributedto Stravinsky's music,its tearfromtradition and traditionalsensibility. A samplingof Adorno'sanalyticaldescriptionsappearsin Figure1. in the writingsthemselves, they are here Incomplete and fragmentary of thought. All are ultimatelytraceableto into a train single compressed a single musical condition, namely that of metrical displacement.Two subsidiaryconditions result from displacement: 1) inflexiblyheld beats (beats lacking in expressive timing); and 2) a repetition of themes, motives, and chords that, apartfrom the displacementitself, is literal and lacking in the traditionalmodes of elaborationor developing variation.The characterizationstriggeredby these conditions are relativelyconcrete, neutral, and observationalto begin with in Figure 1, increasinglyless so furtheron down the line. Indeed, the more specific the imagery,the less tangible and the more speculative. On the left side of Figure 1, the need for strict metricalityin the music (the need for "expressivefluctuation" performanceof Stravinsky's or nuance to be kept to a minimum)is made to implymechanizationand and a impersonality,which in turn are made to imply "anti-humanism" collective authorityof one kind or another. On the right side, a lack of variation in the repetition of Stravinsky'smotives is made to imply a similarlack of "identification" with the individual, the plight of the musical subject. The descriptionsand characterizations are Adorno's,as has been while the outline both the converts suggested, descriptionand the characterizationinto actual featuresof the music, featuresthat are then connected in the formof an explanatorypath. A largerrationaleis thus musical. (The outline is not imposedalong lines that are more specifically in other but an Adorno's, words, represents attemptto piece the various descriptionstogether as a single line of thought.)
Stravinsky, Adorno,and theArt of Displacement 479
Metrical Displacement "convulsiveblows and shocks"
I
(1) inflexiblility of the beat; relativelack of expressivetiming
I~~~~~~~~~~~~~~~~~~~~~
(2) literal (unvaried) repetition; relativelack of elaboration or developingvariation
non-espressivo secco
mechanical, lacking"nuance" or "expressivefluctuation" (pianola)
incantatory style, ritualistic "primitive patterns" staticquality immobiity
non-individual impersonal "depersonalization" unfeeling
non-individual impersonal "collective" "murderous collective"
"anti-humanistic" "agentsof destruction" Figure 1. in the Formof an Explanation. Adoro's Characterizations
Displacement Defined in fact,is precisely fromAdorno's Oftenmissing the senseof a account, rationale for what it is that connects the various music, Stravinsky's larger musical motivates or triggers in relation one factor to the components, others.No doubt,as Adornoinsists, the concern in Stravinsky's music of displacement morespecifically) is not withthe (andin his settings a features of motiveandtheirelaboration, butwithjustthe opposite, the literal of suchfeatures. Yettherearereasons forthe namely repetition of the repetition, The unvaried nature reasons thataremusically specific. in In music follows a different works of the logic. repetition Stravinsky's or to develop aboveall,Stravinsky not to elaborate Russian repeats period And in seeking to lines,but to displace. metrically alongtraditional
a repeated seeksto retain theme,motive,or chord,the composer displace in order features otherthanalignment thatalignment itself(andits shifts) of the repetition actsas a foilin this mightbe set in relief.The literalness As features of and areretained, the articulation duration, respect. pitch, metrical of the or chord shifts. alignment giventheme,motive, Thisis not the wholeof it, however. in the repetition of a Literalness actsas a counterforce, backto the listener too, a wayof referring fragment In directopposition the fragment's to displacement, it original placement. metrical a repetition of the original implies parallelism, alignment along And the morethatis repeated withall else thatis repeated literally.40 of the morefullyaroused aretheseconflicting literally, expectations metrical likelyto be. parallelism The implications herearequitefiendish. To repeat a theme,motive, or chordliterally andwithout variation so as to highlight andexposeits is to undermine metrical thatdisplacement at the same displacement time.It is to raisea conflicting signalof metrical parallelism. Typically, of are andwithvarying listeners off caught guard. degrees intensity, Unableto commit themselves one wayor the other,to a reading initially of displacement or one of metrical theyareaptto losetheir parallelism, This is of the effectof displacemetrical the origin bearings.41 disruptive blowsandshocks" to whichAdorno ment,indeed,of the "convulsive not with refers. It hasto do not withone or the otherof thesetwosignals, or but with their conmetrical strictly speaking, displacement parallelism is an the there insufficient evidence for automatic flict,with factthat easy, in favorof one or the other.Crucially, too, the twosidesarenot ruling reconcilable. Listeners cannotattendto bothsimultaneously.42 In Example 1 fromTheRite the hornfragment A-D-C-D of Spring, on the fourth beatof a 4/4 measure, is introduced onlyto be quarter-note In beat bars to the first several later. half-note displaced quarter-note beats,it fallsfirstoffandthenon the beat.Howis thisshiftlikelyto be the displacement withthe steady Willlisteners readthrough interpreted? of reference? willtheybe as a frame 4/4 metersustained Or,alternatively, fixed of the of the repetition, the character takenin by the literalness by to match thatliteralness of accents andslurs? Willtheyattempt articulation off the half-note beat? Andwill withthe fragment's original placement so the meter at the half-note an do beat,adding they byinterrupting to the count rehearsal beat at no. 68?43 (or"extra") quarter-note irregular is "conservative" in nature.44 An The firstof thesealternatives
establishedmeter is sustained (conserved)in orderthat the "same" fragmentmight be read throughplaced and displaced.The second alterThe meter is interrupted in orderthat the repeatof the native is "radical." fragmentmight be alignedas before,that is, in a fashionthat is metrically
betweenthesetwometrical of the relationship The reciprocity parallel. in Figure 2. is summarized graphically interpretations listeners the alignfrom left to "conservative" adjust Reading right, on to mentof a repeated theme,motive,or chord("change") byholding listeners do the while"radical" an established meter("nochange"), in to persevere metrical order their reverse, bearings ("change") adjusting A of conservation thus underlies measure withan established alignment. whether it be meter,in the caseof the conservative bothinterpretations, in that of the radical one. or response, alignment, will to reflect one or the otherof these tend notation Stravinsky's is It maynot always reflectthe one to whicha givenlistener responses. butit willtendto reflectone or the otherall the same.Andit will drawn, of the listening do so categorically. If,at anygivenmoment experience, of a fragment butnot the repetition maybe heardas placedor displaced either both,then the notationis no lesscategorical. It, too, acknowledges of a repeated or the fixedplacement the displacement fragment. in the clarinet in the opening The principal of fragment allegro Renard illustration. The alternative bar(1916)can serveas an additional in 3a derived from and 3b are the finished score and an rings Examples earlysketchof Stravinsky's, respectively. of is slicedupinto smaller music,the fragment Typical Stravinsky's units are then or that of one segments "cells," repeated independently the seriesof irregularly entrances thatresults is 5 + 2 + 5 another; spaced beats.(Thequarter-note beatis the likelytactusherewitha quarter-note of 84.) In the finished score(seeEx.3a), the resultant marking displacementslie exposed to the eye.The assumption hereis thatthe passage willbe heardandunderstood thatis, withthe clarinet conservatively,
change
no change
"conservative"--
placement
meter
(displacement)
"radical"
meter
placement
Figure 2.
Alternative Responsesto Displacement.
482
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opening allegro,mm. 7-13, score (conservative), earlysketch Example 3a-c. Stravinsky,Renard, (radical),and rebarred (still more radical).? Copyright1917 by J. & W. Chester,Ltd. (ChesterMusic), London. Reprintedby permissionof G. Schirmer,Inc.
fragment newly placed at m. 9 and m. 10. Introduced on the bar line or half-note beat, the fragment falls off the beat twice and then on the beat again at m. 13. The steady 2/4 meter on which these displacements hinge is introduced and then maintained in large part by the basso ostinato, which acts as a metrical backdrop. The radical alternative, shown in Example 3b, stems from an early sketch of Renard.45One of many in the sketchbook that would seem to indicate the composer's awareness of these conservative and radical options, the sketch follows several drafts in which the conservative solution of the finished score is in place. (The sketch may have arisen as an afterthought, in fact, with the composer having wanted to test the radical option on paper.) Here, the meter shifts in order that the repeats of the clarinet fragment might be aligned in parallel fashion. All repeats fall on the downbeat. And much of the motivation for the notated metrical irregularity in Stravinsky's music may be traced accordingly, that is, to attempts to expose these opposing forces of metrical parallelism.The parallel
in the analytical notationof Example 3c is stillmoreradical alignment in Ex. cited 1 fromTheRiteof the fromthisstandpoint. (Like passage of Renard is a layered the opening structure.) allegro Spring, out in the notacan sometimes be worked No doubt,compromises line with the bar often tion, beams-attempts,at leaston bycrossing meterandan established to preserve bothan established alignpaper, cannotalterperception ment.Butsuchsolutions or,indeed,the role a frame of reference which"events" are byan orientation, against played a of Listeners orient themselves as matter and located,timed, weighed.
in this respect,a backdrop course, seekinga reliablegroove, a context
or whichto organize "events." Theycan respond conservatively against in but not both to a (however wayssimultaneously radically displacement, of the barline,the notation the much,bymeansof a crossing mayimply in of an forces are set forces such motion, option).Opposing possibility not reconcilable. thatareultimately of a barlineis not Yetthe equivocation bythe crossing implied At is likely without least the to initially, experience perceptual implications. a of be conflicted, to deal or sensed subject good qualification opposition. A displacement is feltnotin isolation, butasit relates to previously obviously, established It those earlier intimations of placements. implies placements, whichsurface not aspartof an evolving senseof structure (anoverriding in otherwords), butassomething thatconflicts. Andthisis crucial. pattern, is thatof a prevailing Thefeeling andofbeingtaken goneamiss, assumption this. unaware about meter and the metrical of by Assumptions alignment the repeated orchord, inferred andinternalized at some fragment reflexively earlier cannot be sustained.46 The be likened to that of a may process point, and from under the listener's feet. rugbeingpulled suddenly unexpectedly Andthisis likely to be the caseevenwithhighly conservative in readings, whichestablished levelsofmetrical be to If pulsation may clung tenaciously. a in for a the metrical a of only splitsecond, change alignment repeated orchord is likely to bring about a disruption of thatwhich theme,motive, underlies meter. alignment, namely As depicted in Figure nature of meterandmetrical 2, the reciprocal is crucial. Forit is not as if meteraroseindependently of placealignment mentanddisplacement, as if the materials of Stravinsky's musicfell intoplace,whollyat the mercy of sucha (ormechanically) automatically andmotives withinan Themes, design. fragments, maybe introduced metrical to be sure,acquiring, established as a resultof that hierarchy, a strong senseof placement Yetthe processes introduction, (orlocation). arereciprocal themselves andworkbothways.If alignment from emerges doesmeteremerge from meter,so, too, in the mindof the listener, The renewed of a givenfragment alignment alignment. parallel may
confirmand reinforcean establishedsense of meter, just as a change in alignment (displacement)may disruptthat sense.47 At the firstsignsof change,in fact, confusionis likelyto reign.A to the listeneris treatedin an unfamiliar familiar way, repeatedfragment and the listenermaybe uncertainas to how to proceed.The specificnature of the changemaynot be knownat first,but it maybe sensedall the same. froman initialpoint of contact. Figure3 tracesa possibleresponse-pattern from a second the lifetimeof a listener's to anywhere engageLasting split ment with the context in question,an initialstateof confusionis followedby the lost frameof reference. Since the a retrospective scramble to reestablish in of is to be that an indeed likely gone amiss,assumptions feeling assumption earlieralignmentcorrectly generalareput to the test. Was the fragment's inferred? Shouldit be sustained, inferred? Was the metercorrectly allowing should it be for a perception of displacement? Alternatively, interrupted, Much of this can passin a few seconds. for a parallel alignment? allowing a wayof relatingthe old with the What listenersseek is a relationship, new. Sought is a means of connecting the variousplacements,acknowledging all as partof a single trainof thought. At some point in their retrospectiveanalyses,however, listenersare likely to read throughthe repeatedfragmentconservativelyor radically. An attemptof this kind is likely to proceedwith a good deal of sensed
displacement
retrospectively ResponseNo. 1 "conservative" displacement; meteris sustained
doubt, Listener uncertainty, d disruption continued doubt, uncertainty placement; meteris interrupted
>
displacement Figure 3. Responsesto Replacement.
ResponseNo. 2 "radical"
is likelyto qualify however. One response the other.48 And opposition, can facilitate the analyses although retrospective readings, subsequent in outlined 3 are to be eliminated Listeners stages Figure unlikely altogether. in an automatic, or "bottom-up" unconscious, mayproceed way,49 to whichtheyarefreeto renewtheirinitialexperiences, includaccording those of and its free ing displacement Theymayproceed of disruption. in otherwords, conscious andin a waythatallows themto go memory, muchthe samemotions" fromone hearing to the next,as through "pretty it in a related hasphrased RayJackendoff studyof the cognitive implicationsof renewed listeners cancontinueto hearthe piece"asif hearings; forthe firsttime."50 of thiskindstand in contrast to "top-bottom" Hearings in or which immediate intervenes. Twosystems approaches, prior learning of listening arethusat stake,eachinteracting of the yet independent
other.51
And so the timings of the various in Figure 3 areleft stagesoutlined are to not onlyfromone contextto open.They likely varyconsiderably the next,butfromone listener to the next as well.Somedisplacements in their Evidence be overwhelming, maybe sensed fairly readily. may support andthe listener's initialdoubtmaybe momentary andscarcely conscious. At othertimes,however, considerable andanalysis thought maybe beforethe listener, andwithrepeated required retrospectively hearings, "live" aswellas "inhis or herhead," is ableto arrive at a conservative or radical an integration of the disputed withan evolving reading, passage senseof structure. scenarios involveoutright cases (Worst-case dismissals, in whicha passage of disruption is nevermadea partof suchan emerging sense.Radical canoftenarise in thisway,the result of responses bydefault a listener's to follow an inability through conservatively bysustaining established meteragainst the forcesof parallel alignment.) to the next.The So, too, detailsarelikelyto varyfromone listener samelistener react to one to context, may conservatively radically another. And stillanother listener in switch midstream, may succumbing to the conflicting evidencethat,up to thatpoint,had quitesuddenly served as a form of opposition. Andthepossibility of a conservative merely or radical cannot be discounted either. The predisposition degreeto whichsteady metersareinternalized andmadephysically a partof the listener(thedegree to whichtheyareentrained, to use the terminology of the psychologist,52 with our and funcsynchronized biological cognitive clockmechanisms"),53 tions,our"internal mayvary.Somelisteners may be moresusceptible thanothersin thisregard. And theirconservative of thatsusceptibility. fromthe Quiteapart responses maybe a function musical contextin question, in otherwords, listeners be may predisposed in the waytheydo. Figure to respond into account, 4 takesthispossibility
displacement
retrospectively "conservative" displacement; meteris sustained
t doubt, uncertainty, t~ disruption
'
I~
continued doubt, uncertainty placement; meteris interrupted -
displacement Figure 4.
"radical"
Responsesto Displacement (with predisposition).
Figure3 accordingly.Listenersarriveon the scene inclined to rearranging react conservatively or radically,to sustainan establishedmeteror to yield in this respect. The variablesare numerousand complexityinterwoven.Firmly favorconservativereactions,obviously, establishedmetricalframeworks while literalnessin the displacedrepeatof a theme, motive, or chord will tend to favorthe radicalalternative,metricalparallelism and an interruption of the meter.Sizecan makea difference, too. With lengthierfragments, the difficultiesin adjustingto a new metricalalignmentare likely to increase:displacedchordsare more easilyassimilated. Tempo playsa decisive role in the disruptivepotentialof a displacement,as does metrical location. And both these factorsare open to measurement. Figure5 shows a way of classifying displacementson the basisof their location within a given metricalhierarchyor grid. (The given hierThe signature is 2/4, archyhere derivesfromthe openingallegroof Renard. and the likelytactusis the quarter-note beat with a marking of 84). Location is definedby two interactinglevels of pulsation,a slowerlevel that or marksoff the beats of a faster,"pulse" level.54 "interprets," "groups," The pulse level is the highest level at which the placed and displaced entrancesof a given fragmentare beats, while the interpretative level is the next highest level at which those beats are markedoff as onbeatsor At least two levels of offbeats.In this way, displacementfollowsmeter.55
Levels of pulsation 1/16 ..........................
location
-1 1/8 . . . . . . . . . . . . . . . . . . 0
tactus
/4
+1 1 measure /2 . . +2 2 measures 1
Figure 5.
Nos. 0-9). Displacementand MetricalLocation (Renard,
pulsationmust interact to meet its conditions,even if the effect of a given displacementmay be felt at levels above and beyond that initial
interaction.
The levels of pulsationin Figure5 are groupedin overlappingtwos. At a degree marked0, beats at the level of the tactus "interpret" beats at the subtactuslevel just below. Here, the potential for disruptionis at its fall on and off the tactus, specifically in Figure highest:repeatedfragments the beat. At the marked beats at the level just 5, +1, degree quarter-note above the tactus "interpret" the tactus. Here, repeatedfragmentsfall on and off the half-note beat ratherthan the quarter-notebeat. In Example 3a, entrancesof the clarinetfragmentare definedin this way, fallingon and off the half-note beat (or barline). Beats of the half note ratherthan the quarternote are subjectto interruption(quarter-note beats may continue uninterrupted),the disruptiveeffect of which is likely to be milder. This concerns time and timing as well as human psychology.The actual of the half-notebeat at the degreeof + 1 mayequal that of the disturbance quarter-notebeat at the degreeof 0. At a slowerpace, however, displacement or the radicalalternativeof adding"extra" beats to the meter may be negotiatedwith greaterease. Traditionally,too, this is where meter is centered, namely,with the of the tactus and the identificationof that regularity with the regularity human pulse. This where "thebeat"is, so to speak,where the sense of a steadyalternationbetween downbeatsand upbeatsor onbeats and offbeats is likely to be most vivid. Meter'sinternalization is likely to be at its most sensitive, with immediatecontact of this kind manifestingitself
as well;at the levelof the tactusorjustabove,withbeats outwardly withthe "rhythmic" character of biological or cognitive synchronized feet aretapped, processes, stepstaken,andso forth. ofmeter fades whenmoving from the Then,asthisacutesense away too. of + 1 in Extended the 0 and tactus, fades, displacement beyond degrees thedirection of hypermeter, arefeltlesskeenly. Interalization displacements orentrainment is lessmarked, so thatwhena fragment is displaced andthe orinterrupted thesense meter asa result, ofdisruption isless threatened is likely to havelessof a struggle severe. Withmore with time,thelistener what indeed havebecome made a part ofhimorher. entrained, may physically orradical or are made more Conservative easily. adjustments readjustments from of another 4a-d showthe displaced fragment repeats Examples in Renard, hereaccording to the graduated the opening allegro arranged of Figure scaleof locations 5. is followed at increasingly The initialplacement by threedisplacements on the beatof a two-measure locations: introduced shallow spanin Examin falls off the beat of that the 4b, off the 4a, fragment span Example ple off and the half-note beatorbarline in Example 4c, finally quarter-note is purely beatin Example 4d. Whilethe lastof thesealignments analytical andin the order in conception, the firstthreedo indeedoccurin Renard, the initialplacement, the degrees are 4a-c: following givenin Examples more the displacements themselves shallower, progressively progressively in theirpotential. disruptive
Rebuttals
at allbetweenthe styleof developing variation Butis thereno interaction Is the musicof Schoenberg and andthatof metrical displacement? as Adornoimplies? And areAdorno's Stravinsky whollyantithetical, Is thereno meritin "convulsive blowsandshocks" altogether unforgiving? it can cause? andthe disruption displacement Evenin the passage TheRite (seeEx. 1), where ofSpring quotedfrom in horn the of the A-D-C-D arelikely repetition fragment displacements of the meter,the experience to be disruptive canbe mixed.Introduced off no. 67, theA-D-C-D fragment fallson the beatat rehearsal the half-note beatjustbefore no. 68. Assuming thatthe shockof thisinitialshiftcanbe eitheras a formof disabsorbed withouttoo muchhesitation (assimilated themeterwithan"extra" or,byinterrupting beat, quarter-note placement as a parallel a seconddisplacement on the beata fewbars alignment), lateris likelyto be moredestructive. The uncertainty caused bythe initial andstrengthened. The possibility of sucha shiftis likelyto be renewed
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r3
I 3
Stravinsky,Renard, opening allegro.
second displacement is likely to be questioned first; the meter underlying it, second. While the quarter-note beat (here, at the pulse level) may continue uninterrupted, its interpretation by the half-note beat is likely to be the subject of a breakdown, with the distinction between onbeats and offbeats lost. In the listener's scramble to reestablish his or her bearings (to reclaim, above all, a sense of the interpreting half-note beat), even the metrical character of the accompanying tuba fragment, otherwise consistent and in phase up to this point, is likely to be questioned. Indeed, the breakdowns are likely to continue through much of this passage. Introduced off the beat and on the fourth quarter-note beat of the 4/4 bar
490
line, the horn fragmentshifts to the first,third,and second quarter-note each quarter-note beat beats, respectively.Although effectively"spotting" in this way, the displacedrepeatsare not strictlycyclicalin relationto the barline, and the spansthey define are highlyirregular (see the bracketsin Ex. 1). Yet the disturbances Although irregularly may remaintemporary. spacedat first,repeatsof the horn fragmentreach the stable durationof eight quarter-notebeats at rehearsalno. 70; seven successiverepeatsfollow off the beat and on the second quarter-notebeat. (Although the notated meter shiftsto 6/4 at this point to accommodatea numberof conis likely to flictingperiodsin the accompanying parts,the 4/4 framework in And the accompanying tuba fragment persist the mind of the listener.) is stabilizedeven earlier,with repeatsreachingthe durationof sixteen quarter-notebeats. Somethingof a resolutionis thus forgedas the two dance movementsin question drawto a close. Alignment and harmonic coincidence are stabilized,with the disruptionof the earlierbars (Adorno's"shocks") capableof being heard and understoodas partof a of largerplan action, one with a beginningand an end. Farfrombeing isolated and isolating,the disturbances may be reconciledwithin a larger, structure. evolving More specifically,at rehearsalno. 70, the final placementon the second quarter-notebeat of the 4/4 bar line maybe heard and understoodas the "correct" readingof the horn fragmentA-D-C-D. In turn, earlier on alignments the fourth,first,and thirdbeats, respectively,may be read as displacements.Crucialhere is the fragment's concludingpitch D and the agogicaccent of this pitch. The final placementon the second quarter-note beat allowsD to fall on the downbeatof the 4/4 barline, and in this way to acquirethe metricalacknowledgment and supportwithheld fromearlierrepeatsat rehearsalnos. 64-70. This, too, may contributeto the sense of resolutionat rehearsalno. 70. It is as if, aftermuch trialand error,the horn fragmenthad finallystumbledinto place, findingthe metrical location fromwhich a maximumdegreeof stabilitycould be derived. music are not typicallyas disIndeed, displacementsin Stravinsky's ruptivein their potential as the ones cited in Example1. Examples5a-c show thematic statementsfromthree worksof the Russianera. Each of these statementsconsistsof a displacement,whethernotated or concealed by the radicalnotation; a short motive falls firston and then off the likely tactus, the half-note beat in Example5a, the quarter-notebeat in Examples5b and 5c. And despite the shallownessof the location and the disruptivepotential (the degreeof location is 0 in all three cases), a conservativereadingis likely to farewith little resistance,with the displacementsread as a formof syncopation.
E1211
radical (notated)
1 t7
conservative
>R
,r
r ,
Example 5a.
Thematic Statements. Stravinsky,The Riteof Spring (1913), autograph.

conservative (notated) 7
radical 7
Example 5b.
Thematic Statements. Stravinsky,LesNoces, IV (1917-23).
radical(notated) 7
> > > ~ x--
,
A l
ip1
18I
conservative 7
v 1? F
I ?1 T
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:1-
v l?
--
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tt
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Example 5c. Thematic Statements. Stravinsky,Symphonies of WindInstruments (1920; 1947 version).
There are qualifications, no doubt. In Examples 5a and 5c, not only are the displaced repeats concealed by the radical notation (which retains a single, fixed alignment for the repeated fragments), but the repetition is also somewhat shortened. In Example 5c, the motive D-D-D-B is shortened to D-D-B. And instead of a series of displacements, there is but one immediate shift. Yet the radical resistance to a conservative reading is still likely to be minimal. The evidence can still seem to be tipped heavily in favor of the effect of syncopation. And this has mainly to do with the strength of the meter that may be inferred in each case. In Example 5c from the opening of the Symphoniesof Wind Instruments,the 2/4 meter of
492
the rebarred, conservative reading is above all a product of the bell-like repetition of the pitch D in the opening bars. The regularity of this attackpattern could not have been more forceful in this respect.56 In fact, the displacements in Examples 5a-c are more likely to be binding than disruptive. The syncopation is likely to allow for a smoother and more continuous connection between the motives and their subsequent repeats. With the initial spans of the three motives reduced to seven beats (see the brackets in Ex. 5a-c), the repeats arrive "too soon" and may actually have the effect of increasing the listener's anticipation of the bar line. The reduced and irregularspans are a part of a process of compression. Examples 6a-d show an analysis of the opening statement of the Symphoniesalone. Example 6a reproduces the notated barring of Example 5c; Example 6b rebars the statement conservatively with a steady 2/4 meter, exposing the displacement concealed by the irregular barring (the motive [D]-D-D-B falls first on and then off the quarter-note beat); Example 6c eliminates the displacement by adding an eighth-note beat to the initial span (expanding the span from seven to eight quarter-note beats); and Example 6d eliminates both the displacement and the shortening of
a) radical(notated) =72
clf
C
f-f
l.
f.
1 JC
b) conservative (rebarred)
c)
4gF
d)
f
8
h f. f?T
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294;
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Example 6a-d.
Stravinsky,Symphonies of WindInstruments, opening.
andtheArtof Displacement493 Adormo, Stravinsky,
the repeat. Withthe repetition of the bell-like motivestripped of its invention in thisway,something of the nature of thatinvention is revealed. The displacement of the motivemaybe heard andunderstood as a departure froman underlying a variation in thisrespect. stereotype, Sigstatement at m. 6 (seeExx.6a too, at the end of the thematic nificantly, and6b), the conservative arrives "ontarget" withthe radical reading a pointof intersection thatis likelyto enhancethe sensenot notation, butof an arrival as well.The pitchD returns at this onlyof a downbeat, with E as a metrically accented point, likelyto be interpreted neighbor note. The syncopation of the repeat can heightenthe listener's senseof as the thematic as a statement whole draws to a close. anticipation the displacements in Examples 5a-c as Indeed, whynot interpret variations itselfasa feature of (evenasdeveloping ones),metrical alignment the motivealongwithothersuchfeatures in Schoenberg's identified Fundamentals Conservative would Composition?57 of Musical responses seemto invitesucha consideration, in anycase,the ideaof a motivic followed in thiscase).The psycholbyits variants profile (displacements, of the conservative would seem to to thatof the ogy response correspond motiveandits apprehension: the displacement of a through reading motiveas it relates to an earlier listeners are to alignment, likely be struck aboveallby the changeor relationship not itself, necessarily by the considered orin anidealized orjuxtaposition. alignments separately adjacency the is of transformation itself sensed Something automatically andthisis whatis likelyto exciteandto directtheir (effortlessly), In theserespects, attention the experience is little conservatively. fromwhatwe knowof the phenomenology different the accompanying of more traditional motivic relations.58 perception No doubt,therearequalifications hereas well.In a lengthy studyof and the varied of in metrical motives traditional, nonparallelism repetition hascompared tonalcontexts,DavidTemperley the difficulties of the former withthe fast,automatic motivicrelationwayin whichordinary When reinforced are motivic assimilated.5 by metrically parallelism, ships "tend to be he detected while, automatically," concludes, relationships ifatall.60 whennotsoenforced, withdifficulty" "only theytendtobedetected of perception as a means theories areinvoked of explanation, J.A. Fodor's of nonparallel is "nonthe ideabeingthatthe detection relationships in character; modular" thatof parallel "modular."61 relationships, withordinary Yet the analogy motivicvariation is difficult to dispel. In the listener's of a asit to read the motive through displacement attempt so the relatesto an earlier meter (doing by sustaining against placement it wouldindeedseemas if he or she were the forcesof parallelism), asa variation to readthrough thedisplacement ormodification. attempting
in terms otherthanthese. to explain of thiskindaredifficult Attempts is readthrough in otherwords, asif metrical The displacement motivically, to a disAnd a of the motive. indeed feature were interpret placement in thiswaywouldindeedseemto be to interpret conservatively placement it motivically. accountof disruption WithAdorno's however, generally, negative in Stravinsky's music is lesswiththe variety of displacements the concern of the experience of the disruption thanwiththe nature andthe severity a hasclaimed,62 of attending," as one theorist itself.If meteris a "mode what are we to make of its the listener's attention, disrupwayof focusing in lettinggo, in givingupandbreaking tion?If thereis satisfaction away of a level fora time (allowing, for the of radically, regularity higher pulsaof displacement, tion to takeeffect),whatof the initialconfusion the of intensity, disorientation intowhich,withvarying the listener degrees be may plunged? Theorists withperceptual/cognitive issueshavelong engaged the emotional canbring stressed arousal thatexpectation wheninhibited or interrupted. And it hasbeensometimenowsinceLeonard first Meyer the "the of affective that deviation a begandiscussing experiences particulareventfromthe archetype of whichit is aninstance" cancause.63 Surely the disruption of an established of thiskind. meterfitsbehavior At the sametime,however, the larger andaesthetic psychological hasto do not witharousal as such,not withthe stateof alertness question to whichthe listener butwiththe nature of the emomaybe propelled, in one wayor another. tionsstirred Are Stravinsky's and displacements the disruption andpsychologically as theycancausetraumatic damaging, or can theybe "exciting" Adornoinsists, anda "delight," as Meyer in his description contends of implication anddelaymoregenerally?64 And if displacement canbe a "delight," whyshouldthisbe?Whyshould of Stravinsky's to processes listeners musicbe attracted of displacement thatdisrupt theirmetrical bearings? Not justmeterbutmeterinternalized is the subject of the disruption. Thatto whichmeterattaches itselfphysically is affected and,in thisway, to the of we have surface consciousness. evenif (As brought suggested, the source of the disturbance is not knownat first,it is likelyto be sensed andfelt all the same.)And thismaybe whatalertness the is, of course: sense of about means of heightened engagement brought bydisruption. By we are into with we closer contact what are disruption, brought internally, so to speak, withwhatwe are,deep,down,andunder. in musicwasderived of arousal in largepartfrom theory Meyer's "conflict of human emotion.65 The ideaherewas JohnDewey's theory" thatemotionin musicarosefromthe samegeneral set of circumstances,
Adoro, andtheArtof Displacement495 Stravinsky,
fromthe blocking of expectations, or tendencies. namely, implications, in a belief the eventual resolution of the conflict(or by Accompanied clarification of the ambiguity), the inhibition, or arrest hadthe blockage, effectof heightening a senseof anticipation andsuspense.66 "Delay pleasuresplay," reasoned.67 andreverie" couldindeedbe Meyer "Expectation asbeing"better thanactuality." imagined In muchmusicof the nineteenth century, delaycan seemto have takenon a lifeof its own.The waysin whichcompletion or closure is canseemto havegrown evermoreelaborate, averted, sustained, suspense andfrombotha harmonic andmelodic In poeticterms, the standpoint. and nature of much music of this outwardly fragmentary incomplete canbe identified witha yearning thatis endless, period "longing eternally as Charles Rosenhasexpressed it in his discussion of the openrenewed," The emphasis Dichterliebe.68 on the purely ingsongof Schumann's sideof pleasure as somehavetermed negative ("negative it)69 pleasure," can seemsadistic or sadomasochistic as well.Pleasure is derived fromthe inhibition orblockage in otherwords, itself,the painof wantanddesire, the withholding of a senseof arrival, or release. completion, resumption, Adornohimself the "sadomasochistic" in Stravinstrains acknowledged in the composer's in and in the sky's music,70 self-denial," joy "perverse shocksof hismetrically accents.71 displaced of thiskindhavedoubtless beena partof musicin the Implications arttradition itself. Western since,at the veryleast,the dawnof tonality And therehasbeenno dearth of acknowledgment. Heinrich Schenker routesof his linearprogressions to real-life likenedthe circuitous experiencesof "obstacles, and reverses, detours, retardations, interpolations, at the an the half-cadence close of antecedent famously, interruptions";72 in the progress an "interruption" of sucha progreswasdubbed phrase of the psychology In recentstudies of anxiety, emotions havebeen sion.73 as "interrupt that arise from identified moregenerally the phenomena" of ongoing, or thought (blocking, inhibiting) organized "interruption behavior."74 Morespecific versions of thisequation involvenot one but aroused andconflicting tendencies. simultaneously the fit couldnot be tighter. of metrical Here,of course, Settings in involve the music of irreconcilStravinsky's displacement opposition thoseof meterandmetrical on the one hand, ableforces, displacement on the other.To inhibit, metrical arrest, block,delay,or parallelism or is to stir one of these forces (an behavior") "ongoing thought interrupt is To displace a repeated the emotions. theme,motive,orchordmetrically of and to the meter. It is to to thwart disrupt implications parallelism of to whicha sizable invitethe "convulsive blowsandshocks" portion is directed. Adorno's morespecific criticism
496
And so the question arises:if interruptionand inhibition can be an accepted and even expected part of the listening experience of the tonal (or atonal) repertoryto which Adorno adheres,why can it not be of the music?Even if we grant the distinctionin experience of Stravinsky's on application-the emphasison pitch structurein the tonal repertory, rhythmand meter in Stravinsky's-the processessubstantiatethe same generalpsychology.Moreover,metricaldisruptionis not unique to music. The disruptionis less relentlessin tonal works,as well Stravinsky's as less immediate.There are fewer displacements,which in turn tend to be confined to less immediatelevels of metricalpulsation,specificallyto the bar line and above. Crucially,too, conflictingalternativesto meter and its continuation tend to surfacein the formof alternativemeters, ones that are often hemiola-related,while in Stravinsky's music alternative meters of this kind are seldom an option, the conflict materializing in the formof an outrightdisruptionor interruptionof a prevailingscheme. A seriesof displacedrepeatsis invariably patternedand regularin earlier music it is often highlyirregular(as it is in contexts, while in Stravinsky's the passagefromThe Riteof Spring quoted in Ex. 1). And the repetition is far less literal in earliersettings;motives are transposedand varied melodicallyand harmonicallyas part of a more extensive processof developingvariation. In the opening theme of the "Minuet" in Mozart'sEinekleine K. 525 (see Ex. 7a), a risingtwo-note motive, straddlingthe Nachtmusik, 3/4 bar line at mm. 1-2 and 2-3, is displacedat m. 3.
(derivation)
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9: x
RLE r7TrrT~i~ J~
rr
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~-r
Example 7a-b.
Minuetto. Mozart,Eine kleineNachtmusik,
In the consequent phraseat mm. 5-7, the same motive, entering once again on the third quarter-notebeat of the 3/4 bar line, is subjected to a cycle of displacementas part of a hemiola cadence (see the brackets in Ex. 7a). (Hemiolasin traditionalcontexts are often punctuatedin this In the "Preambule" fromSchumann's way by cycles of displacement.)75 in the left another two-note on the downbeat Carnaval, motive, starting hand of the piano part, runs throughtwo full cycles of displacement(see the bracketsin Ex. 8).76 And in Example9, fromthe second movementof Brahms's Piano no. a thematic introduced and Quartet,op. 25, 2, repeatedon the phrase third dotted quarter-notebeat of the 9/8 meter (the likely tactus; see Ex. 9a) is subsequently displacedto the second beat (Ex.9b) and to the first (Ex. 9c). In this third illustration,the displacedrepeatsdo not make for an immediatelypatternedsequence, as they do in Examples7a and 8. Yet The ambiguityof they exemplifylarge-scaledevelopmentall the same.77 the tonic harmonyover the bar line at mm. 1-2 (see Ex. 9a; the pitch B on the downbeatis most likelynonharmonic)is clarifiedby the motive's to the secondbeat of the 9/8 barline (see Ex. 9b), subsequentdisplacement a variationaccompaniedin turn by a modulation.Accordingly,extensive melodic and harmonicchanges accompanythe metricaldislocation,servThere are mitigatingcircumstances, ing in this way as a formof mediation. in other words,with metricalalignment,but it is one of many features affectedin a more comprehensiveprocessof development. In all three of these examples,the repetition, apartfromthe displacementitself, is farfromliteral.The motive is transposedand subjected to a varietyof melodic and harmonicchanges, all in keepingwith an overreachingpattern of development and growth.In Example7a, the cycle of displacementin the consequent phraseof the theme is a further development of the earliermotivic occurrencesat mm. 1-2 and 2-3. More specifically,the earlieroccurrencesare compressed. As can be seen by the Schenkerian graphin Example7b,the cycledefinesa descending-third
II.
ib
sf sempre ff sf
_
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sf
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Example 8.
Carnaval. Schumann, "Preambule,"
498
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Violin
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Example 9a-c.
Brahms,Piano Quartet, op. 25/II.
from scale degree 3 to 1, a B-A-G passingmotion that, interprogression the half-cadenceof the antecedent phrase,is completedby the by rupted The descriptivetermshere are in themselvesreflectiveof the consequent. distinctions that can be broughtto bear. larger of this differences At the same time, however,and notwithstanding kind, the manypoints of overlapcannot be ignored.Processesof implication, inhibition,and delayare as much a partof Stravinsky's displacements As we have seen, significant as they areof the worldof developingvariation. The effect of occurseven in mattersof metricaldisplacement. overlapping hemiolapatternssuch as those illussyncopationthat typicallyaccompanies as tratedin Examples7a and 8 may accompanyStravinsky's displacements in other can be readmotivically, well. Displacement,readconservatively,
as a form A pattern of variation. of displacements, evenwhenhighly words, with from in Example as the The Rite 1, ofSpring irregular, lengthy passage canmapout a form of development of creating a of its own,one capable andresolution.78 senseof initial conflict, stability, departure, as with Adorno's critical the larger So, too, just verdicts, philosophical andsociopolitical can oftenbe set asideandreversed. images They, of his too, areamongthe attached analytical yet detachable components canbe interpreted The samefeatures anddismissed deplored description. in the performance in a positive of light.If the lackof expressive timing musiccanspellcoldness andindifference to the plightof the Stravinsky's musical thenit can spelldirectness and individual (Adorno's subject), to confront "asit is." the world too, a determination unsentimentality, aswell,the refusal canimply of a Andif the lackof variation intractability of the individual of state collective voiceto givewayto the variations (a as Adornounderstands unfreedom, it), thenit can alsorevealsomething of the outside orfalsiof the hardness world, doingso without compromise truth" wasentertained fication. The possibility of sucha "negative briefly in a laterconfirmation of the Philosophy.79 He asked byAdornohimself in confronting "themurderous in the faceof our"impotence" whether, "in of which is reduced to the statusof a state affairs collective," everyone "about the wouldnot a directstatement victim," waythingsare" potential of musical thanany"expression be morepersuasive any subjectivity," is that... the of the "vain lament":80 "Critics insist age deeply might spirit of'Thisis howit is.' in Stravinsky's artwithits dominant inscribed gesture whether thisgesture doesnot wouldhaveto consider A higher criticism denies and which the of the an truth to age spirit implicit giveshape in itself."81 hasrendered dubious whichhistory to Stravinsky's so oftenattributed The cool objectivity (Sachlichkeit) to the nineteenth on as a reaction seenearly neoclassicism was,of course, andsenseof beliefthatby the timeof the Great to the optimism century, Evenlaterin the century, andevenintolerable. Warhadgrown suspect in LosAngeles, benefactor friend and Lawrence Morton, Stravinsky's in the composer's of contrariness wroteof the spirit music,the deflationwas a key issue Instrumentation aryeffect of its economy and concision.82 here. The heavy pedals and doublingsof Wagner'sorchestras(and Debussy's)had been avoidedeven in relativelyearlyworkssuch as the and replacedby the bouncy, soloistic, and Petrushka, finale of The Firebird trademark. and transparent approachthat would become Stravinsky's in from the recoil Could Stravinsky's lifelong personal music, from traditionalnotions of the self and self-expression(his "perverse joy in selfdenial,"as Adorno phrasedit),83signala recoil fromvanity and its conceits?Could the static qualityof his music announce a more soberview of
500
And could the collective authorityAdorno humankindand its prospects? in Stravinsky's to hear so music, the collective will resoundingly professes heardover againstthat of the individual,be that of an enduringtruthor a demandingGod ratherthan that of a fascist? Again, ideas similarto these were entertainedbrieflyby Adorno, but rejectedall the same. No sense of an awarenessof this predicamentcould And the static be detected by Adorno on the partof the musicalsubject.84 not are for Adorno invention of just a style feaimplications Stravinsky's itself. ture, but the negation of the mediumof music Being a temporalart, he insists, to becomingsomemusic must commit itself to "succession," to thing new, "developing."85 the factthat Whatwe mayconceiveof as musical transcendence, namely, other andsomething hasbecomesomething at anygivenmoment[music] thanit was,that it pointsbeyonditself-all thatis no meremetaphysical of It lies in the nature dictated authority. by someexternal imperative crisis of the is beset the musicandwill not be denied.... [Stravinsky] by of artwhichconstantly of a time-based timeless posethe question products it andyet avoidmonotony... without howto repeat developing something andyet mayneverbe he strings The sections maynot be identical together wrotemusic different....[Stravinsky] permanently anything qualitatively music.86 he wrotemusicagainst aboutmusic,because As we continue to insist, however, the distinctivefeaturesof defined.The Stravinsky's style are not so easilyor so straightforwardly contrastsaffordedby the model of developingvariation,howeverinsightful, are more often a matterof emphasisthan of outrightpolarityor antithesis.They involve stressand frequencyof occurrence.The literal and relentlessnatureof the repetitionis not without parallelin nineteenth- and twentieth-centurymusic, and there are a greatvarietyof dismusic, not all of which involve the disruption placementsin Stravinsky's of an establishedmeter.As we have seen, some may actuallycontributeto a sense of anticipationand engagement (see Exx. 5a-c). If Adorno'sapproachto Stravinskyand his music can serve as a reminderof the hazardsgeneralobservationis likely to incur when not sufficientlybuttressedby analysisthat is sufficientlyconcrete, then it can as well, of instincts of immediateimpressions say somethingof the rewards and its the fullest. to disruptionare more varied Displacement pursued and complicatedthan Adorno cared to admit.And the relationship between the developmentalstyle and that of displacementin Stravinsky's music is not as polarizedas he imagined(or as he may have exaggerated, quite possiblyfor the sake of the argument).Rarelymissingfromhis musicis on account, however,is a sense of strugglewith what Stravinsky's
Stravinsky, Adoro, andtheArt of Displacement 501
animmediate levelof contact,a determination to cometo terms withthat level.And it is thisthatis likelyto exciteandmovethe reader-listener to further reflection. hasbeen to applaud Adorno's and tendency Today's philosophy andradical, as sophisticated andto rejecthis analytical sociology as half-hearted, Thisis in parta refleccrude,anddated.87 descriptions As it concerns tion of postmodern trendsin musicology. and Stravinsky the could the Schoenberg-Stravinsky be divide,however, equation A motivicapproach to musicof the developmental reversed. stylecan be judged andnot all of Adorno's analytical hardly inappropriate, are as thosein the Philosophy these lines as or along piecemeal attempts article.88 the laterStravinsky Surelythe atonalandtwelve-tone repertoviewed riesof Schoenberg andhis immediate can be as predecessors in And of that motivic the stylewith intensely conception. juxtaposition in Stravinsky's of metrical music,qualified by displacement processes an appropriate of notedhere,is surely the reservations way proceeding analytic-theoretically. andevenabsurdly naivein In contrast, whatcanseemold-fashioned is a critical thatfixesmusical about Adorno's Stravinsky writings judgment valuewitha singlestyle(withall otherstylesweighed accordingly), of analysis fromthe singlestyle), verification witha singlemethod (drawn withthe terms andconcepts laiddownbythatsinandmusical expression metrical andits implications this a view of Add to displacement gle style. a radical of is steadfastly one-sided thatareinvariably (Adorno interpreter andsocimusic,nevera conservative one), andan aesthetics Stravinsky's fromhis critical detachable judgments, ologythat,evenif ultimately of allthe same,andthe making on thosejudgments to be founded purport trouble is surely edificein deep,wobbly andaesthetic a largecritical unmistakable. the musicto whichAdornorefers Hereagain,however, mayend up As longas the musicconandthe philosophy. boththe criticism rescuing sides tinuesto wieldthe sortof magicit hasin the past,the speculative This how concern. is not to be of interest and are of his account likely butforanyoneless the future, Adornohimself mighthaveenvisioned of music's aboutthe nature convinced content,it maybe sociopolitical an appreciation of both whatwe end upwithall the same.Forit allows the musicandAdorno's descriptions, settingasideall the while analytical convictions to the larger of havingto subscribe the necessity sociopolitical has as been embodiment or to a beliefin theirmusical what, (precisely to find here,the coming increasingly problematic). yearsarelikely argued can onlyworkto the benefitof bothmusicandits Suchan outcome
criticalreception.
502
Notes
1. IgorStravinsky and RobertCraft,Conversations withStravinsky (New York:Doubleday, 1959), 11. 2. Theodor W. Adoro, Philosophy of Moder Music,trans.Anne G. Mitchell and York: V. Blomster (New Wesley Seabury,1973), 154. ed. GeraldStrangand 3. See Arnold Schoenberg,Fundamentals of MusicalComposition, LeonardStein (London:Faberand Faber,1967), 8. In Schoenberg'sanalyses,"motivicwere the variedformsof a basic motive resultingfromdevelopment. "Through forms" substantialchanges,"Schoenbergwrote, "avarietyof motive-formsare produced." 4. Adomo, Philosophy Music, 178. of Modern 5. Theodor W. Adoro, "Stravinsky: A Dialectical Portrait"(1962), in Quasiuna Fantasia: Essayson Moder Music,trans.RodneyLivingstone(London:Verse, 1998), 152. 6. The unsystematicnatureof Adorno'sapproachis discussedin Max Paddison, Adorno's Aesthetics of Music(Cambridge: CambridgeUniversity Press,1993), 19-20. See also JulianJohnson, "Analysisin Adorno'sAesthetics of Music,"MusicAnalysis14, nos. 2-3 (1995): 296-97. 7. See Johnson, "Analysisin Adorno'sAesthetics of Music,"298. 8. See Paddison,Adorno's Aesthetics of Music, 19. "The academictreatisewas rejectedin favorof the idea of a 'constellation'of fragments," Paddisonwrites,each of these from an unstated the Adorno's center, fragments"equidistant object of the inquiry." resistanceto the idea of a "whole"in musicalworksand in systemsof explanationgenerfor ally (the equation of such a "whole"with "truth")is at work in these predispositions the fragmentand the fragmentary, and this seems to have been the case even with the very earliestof his publicationsin the 1920s. 9. Paddison,Adorno's Aesthetics of Music, 169. 10. See note 2. 11. See note 5. 12. Adoro, Philosophy of ModemMusic,5. 13. Concerning the "inseparability" of the variouscomponents of Adorno's argument, see Johnson, "Analysisin Adorno's Aesthetics of Music,"296-97. The "interdisciplinary character"of Adorno's writings is addressedat length in Paddison,Adorno's Aesthetics of of Music;see esp. 16-17. Common assumptionsabout the "self-sufficiency" analysis in relation to aesthetics and sociological interpretationgenerally are questioned by Adorno in T. W. Adorno, AestheticTheory,trans. C. Lenhardt (London: Routledge, 1989), 477-78. Left unclear in Adorno's remarksin AestheticTheory, that he alleges, the dependence of however, is the precise nature of the "inseparability" "technical"or "immanentanalysis"(Adorno's term) on social awarenessand thought. Does analysis automaticallypresumesociopolitical awarenessof this kind?Or does it merely invite philosophical or sociopolitical speculation?Left alone, analysis is Adorno asserts,"positivistic"in its implications. Specific "narrow-minded," of this kind are addressedmore fully in JulianJohnson, "The Nature of questions Abstraction: Analysis and the Webern Myth,"MusicAnalysis 17, no. 3 (1998): 267-71.
Adorno,andtheArt of Displacement 503 Stravinsky,
8: "Homophonicmusic can be called the style of 14. See Schoenberg,Fundamentals, developing variation.This means that in the successionof motive-formsthere is something that can be comparedto development, to growth."Or see the descriptionof of Arnold Writings "developingvariation"in Arnold Schoenberg,Styleand Idea:Selected ed. LeonardStein, trans.Leo Black (Berkeley:University of CaliforniaPress, Schoenberg, for the Evaluationof Music,"129-31. Ideasencompassedby Schoen1984): "Criteria not berg'suse of the term "developingvariation"underlieCarl Dahlhaus'sunderstanding style generally;see only of Schoenberg,but of traditionand the classicalor "homophonic" in Dahlhaus,Schoenberg and the for example Dahlhaus,"Whatis 'developingvariation'?" New Music,trans.DerrickPuffettand Alfred Clayton (Cambridge: University Cambridge andModernism, trans.Mary Press,1987), 128-34; and Dahlhaus,BetweenRomanticism Whittall (Berkeley:University of CaliforniaPress, 1980), 40-52. The concept is further and thePrinciple Variation of Developing explored in Walter Frisch,Brahms (Berkeley: University of CaliforniaPress, 1983). Its continuing relevance in Schoenberg'stwelveRadio Talk on Opus 22, and tone music is examined in JackBoss, "Schoenberg's and Ethan Haimo, "DevelopingVariation Developing Variation,"MusicTheorySpectrum; and Schoenberg'sTwelve-Tone Music,"MusicAnalysis16, no.3 (1997). 15. See LeonardMeyer,Emotion andMeaning in Music(Chicago:University of Chicago Press, 1956). 16. In contexts of this kind, Thomson averred,"opinionsare mostly worthless."See Thomson Reader (Boston: Houghton Mifflin, 1981), 87. Virgil Thomson, A Virgil 17. Adoro, Philosophy of Moden Music, 178. 18. Adomo, Philosophy Music, 151. of Modern 19. Adomo, Philosophy Music, 155. of Modern 20. Adoro, Philosophy of ModemMusic, 156-57. 21. Adomo, Philosophy of Moder Music, 155. 22. See Schoenberg,StyleandIdea,39-41. 23. See Schoenberg,Styleand Idea,41: "When composershave acquiredthe technique of filling one direction to the utmost capacity,they must do the same in the next direction, and finally in all directions in which music expands."See the discussionof this aesthetic ideal in Carl Dahlhaus,Esthetics of Music,trans.William Mitchell (Cambridge: CambridgeUniversity Press,1982), 92-93. Music(Oxford:OxfordUniversity Press, 24. Cecil Gray,A Surveyof Contemporary music is similarin Constant Lambert, 1924), 141. The critical approachto Stravinsky's MusicHo: A Studyof Musicin Decline(London:Faberand Faber,1935). 25. Gray,A Surveyof Contemporary Music, 140. 26. Adomo, Philosophy Music, 154. of Modern 27. Adomo, Philosophy of Moder Music, 155. 28. Adomo, Philosophy Music, 155. of Modern 29. Adorno, Philosophy of ModernMusic, 178. The static quality of Stravinsky's harmony and the lack of a traditional sense of development are subjected to criticism no less severe in PierreBoulez'swritingsof the 1950s. Techniques of superimpositionin
504
a "coagulation" Stravinsky'smusic are dismissedby Boulez as "irreducible aggregations," that creates for the superimposedfragmentsa "falsecounterpoint,"all of this "eminently static in the sense that it coagulates the space-sound into a series of unvaryingstages ... and in the sense that it annuls the entire logic of the development." See Pierre Boulez, Notes of an Apprenticeship, trans. Herbert Weinstock (New York:Knopf, 1968), 74. 30. Fora detailed discussionof referentialinteraction in Stravinsky's music, of interplay between a numberof octatonic and diatonic scales, see Pieter C. van den Toorn, The Musicof IgorStravinsky (New Haven: Yale University Press, 1983), 66-91, 100-33, and 261-90. Or see van den Toor, Stravinsky and "TheRiteof Spring" (Berkeley:University of CaliforniaPress, 1987), 143-86. 31. For a detailed descriptionof these structuresin Stravinsky's music, see van den and "TheRiteof Spring," 97-108. Mattersof stratificationin Toorn, Stravinsky music are pursuedfrom a compositionalstandpointin Lynn Rogers, Stravinsky's Eleventh-HourRevision of his Violin Concerto,"Journal "RethinkingForm:Stravinsky's 2 no. See also Gretchen Horlacher,"The Rhythmsof 272-303. 17, (1999): of Musicology Reiteration:FormalDevelopment in Stravinsky's Ostinati,"MusicTheorySpectrum 14, no. 2 (1992): 171-87. with chambermusic, dialogue,and the 32. The associationof the "humanistic" Music, developmentalstyle generallyis discussedin Carl Dahlhaus,Nineteenth-Century Robinson (Berkeley:University of CaliforniaPress,1989), 252-61. trans.J. Bradford "The idea of chambermusic,"Dahlhausconcludes, "aroseas a musicalreflection of a cultureprimarilycentered on conversation.The aesthetic of this humanistic-aristocratic comparisonwith educateddiscourse genre may be derived from the constantly recurring that each partcontinuouslyshows regardfor the other. In this way, the whole emerges of each participantfor the from an interplayof voices sustainedby an understanding overall context, and not as a jumbledamalgamof its parts"(260). 151. 33. Adoro, "Stravinsky," 149. 34. Adoro, "Stravinsky," 35. Adomo, "Stravinsky," 157-58. "Not a small partof the collective effect of these pieces by Stravinskymay be connected with the fact that in their own way, they schooled their listeners,unconsciouslyand at the aesthetic level, in something they were soon to experience systematicallyon the political plane."Fascismis not identified explicitly in this allusion to what listeners"weresoon to experience systematicallyon the political plane,"but the identification is implied all the same. For a spiritedrebuttalof these An Essayin Nine Parts,trans. Betrayed: particularclaims, see Milan Kundera,Testaments LindaAsher (New York:HarperCollins, 1995), 65-97. 36. Adomo, Philosophy Music, 145-47, 157-60. of Modern 37. Adomo, Philosophy Music, 160-67. of Modern of the developmentalprocessin Beethoven and the classi38. Adomo's understanding cal style generallyis likewisescatteredin a numberof publications.See Adorno, Aesthetic Theory,315-19. The role of "developingvariation"in Adorno'ssociopolitical underVariastandingof the classicalstyle is discussedin Rose RosengardSubotnik, Developing in Western Music(Minneapolis:University of Minnesota Press, tions:Styleand Ideology a musicalelement subjectsitself to 1991), 20-24. The term defines that process"whereby
logical dynamicchange while simultaneouslyretainingits original identity"(20). Especiallyin Beethoven's middle-periodsonata allegros,"subjectivefreedom"is reconciled with "objectiveform."Integrated"totalities"are formedin these allegros,with the individualable to "overtake" or to make his or her own receivedform,the "fixed,external order,"that representsthe "worldof object."The continuation and intensificationof the developmentalstyle in Schoenberg'sapplicationof the twelve-tone method is discussed in Theodor W. Adorno, "Versune musiqueinformelle"(1961), in Quasiuna Fantasia, 283-84. Adorno'sunderstanding of this applicationis summarized in JonathanCross,The Stravinsky Legacy(Cambridge: CambridgeUniversity Press, 1998), 229-32. 39. The more immediateaesthetic and sociological implicationsof these two worldsare at greaterlength in RobertAdlington, "Musical addressed Temporality:Perspectivesfrom Adorno and de Man,"repercussions 6, no. 1 (1997), 12-13. While "maturation impliesthe to and in with, to, ability cope develop response changing circumstances," regression denotes "areversionto infantilisticmodes of behavior."ForAdorno, "repetitionrepresents an infantile denial of time... while development signalsproperrecognitionof the temporalcondition." In addition, Stravinsky's "repetitiveor non-developmentalmusic had connotations of mechanizeddomination." 40. See FredLerdahland RayJackendoff,A Generative Theoryof Tonal Music MIT Press, 1983), 74-76, where implicationsof metricalparallelismare (Cambridge: treatedas a "metricalpreferencerule."Given the repetition of a theme, motive, phrase, or other grouping,the "preference" is for the repetition to be aligned in a fashion that is metricallyparallelto the original.The expectation is for the repetition and the originalto be assignedthe same metricalstructure; hence the potential for disruptionin cases of displacement. invoked here is little differentfrom that of the "experi41. The idea of the "listener" enced and knowledgeable" listener referred to by LeonardMeyer in his studyof expectation and the implication-realization processin music. See LeonardB. Meyer,Music, the Arts, andIdeas(Chicago:University of Chicago Press,1967), 8. Although not necessarily the "experienced" listener is alert to the implicatrainedacademicallyor professionally, tions of a steadymeter, or to generalfeaturesdistinguishingidioms,periods,or composers. intuition"in LerdahlandJackendoff, See also in this connection the referencesto "musical and 281-83. The strucA Generative Lerdahl-Jackendoff Theory,1-12, 53, studyaddresses ture heard and understood,the listening experience generally,not "structure" pureand Theoryrefersto the "musicalintuitions of a lissimple. The opening page of A Generative tener who is experiencedin a musical idiom." 42. Conflicts involving meter and its continuation on the one hand, metricalparallelism on the other, occur in tonal worksas well, of course,although, as we shall see, the effects of such conflicts tend to be less immediateand hence less disruptiveof the listener'smetricalbearings.The two forcesare treatedas conflicting metrical "well-formedrules"in Lerdahland Jackendoff,A Generative ness"and "preference Theory,72-75. The rule"stipulatingthat a level of metricalpulsationconsist of equally "well-formedness rule"for metricalparallelismin the repetition spacedbeats conflicts with the "preference of a theme, phrase,or other grouping.Most often in more traditionalcontexts, the latter gives way, with the repetition heardand understoodas a form of syncopa"preference" tion. According to Lerdahland Jackendoff,"the phenomenon of syncopationcan be as a situation in which the global demandsfor well-formedness[specifically characterized here, the demandsfor equallyspaced beats]conflict with and overridelocal preferences
506
music, (77). Often enough in Stravinsky's [specifically,those for metricalparallelism]" however, metricallynonparallelrelationships(displacements)resultnot merely in syncopation, but in outrightdisruptionsor interruptionsof establishedlevels of pulsation.The disruptionsmay even involve the opposite of what Lerdahland Jackendoffdescribe, for metricalparallelismoverridesthat namely, conditions in which the local "demand" for meter or equallyspacedbeats. beat is borrowedfromAndrew Imbrie,"'Extra'Measures 43. The notion of the "extra" ed. Alan Tyson (New York: and MetricalAmbiguity in Beethoven,"in Beethoven Studies, in Beethoven's music, metrical In Imbrie's studies of 45-66. Norton, 1973), irregularity line above at level of the bar and beats are beats the "extra" however, (hypermeter),not, at the level of the tactus and below. The shallowerlevels of as here in The Riteof Spring, case are a distinction worth pursuingmore generally.As it conpulsation in Stravinsky's cerns displacementsof the sort illustratedin Ex. 1, the composercan indeed be imagined as having transferred to more immediatelevels of metricalpulsationthe displacements common in more traditionalcontexts at hypermetriclevels. and "radical" 44. The distinctionbetween"conservative" (betweenallowingthe responses wasfirstraisedin Imbrie,"'Extra' meterto be sustainedand allowingit to be interrupted) Measures and MetricalAmbiguityin Beethoven,"45-66. In Imbrie's studies,however,metand interruption in the formof "extra" beatsoccursat the level of the bar rical irregularity line and above (hypermeter), music, the location is shallower. while, here in Stravinsky's force"of meter,the attemptby the listenerto reduceto Imbriestressedthe "conservative "lawand order" the complexitiesof a musicalsurface.Subsequently, the distinction between "conservative" and "radical" was introducedin Lerdahl and interpretations A Generative of Jackendoff, Theory,23-25, and as a wayof dealingwith alternativereadings in the openingof Mozart's G-minorSymphony,K. 550. It has also been applied hypermeter in the analyticalrebarring of a numberof Stravinsky contexts in van den Toor, Stravinsky and "The Riteof Spring," in LesNoces: 67. See, too, GretchenHorlacher,"Metric Irregularity The Problemof Periodicity," Journal of MusicTheory39, no. 2 (1995): 285-310. arehoused at the PaulSacher Foundationin Basel, 45. The availablesketches of Renard Switzerland.The passagein Ex. 3b is transcribed from p. 5 of the composer'ssketchbook of Renard. Used by permissionof the Paul Sacher Foundation,Basel, Switzerland. 46. The processwhereby,reflexively,a metricalhierarchyis internalized by the listener as psychologistshave describedit, a form of (subjectedto a form of entrainment, embodiment), is discussedin MariRiessJones, "OnlyTime Can Tell: On the Topologyof Mental Space and Time,"Critical 7, no. 3 (1981): 571-76. See also in this conInquiry nection JustinLondon, "MetricAmbiguity (?) in J. S. Bach'sThird Brandenburg Concerto: A Reply to Botelho,"In TheoryOnly 9, nos. 7-8 (1991): 27; and Candace and the Perceptionof Rhythm,"MusicTheorySpectrum Brower,"Memory 15, no. 1 (1993): 27-33. the role of 47. Recent studiesof the psychologyof this interactionhave underscored metricalparallelismin the formationof meter. See David Temperleyand Christopher as a Factorin MetricalAnalysis,"MusicPerception Bartlette,"Parallelism 20, no. 2 (2002): 117-49. 48. The generalpremisehere is that, while oriented or focusedon a given interpretation or structure,whether conservativeor radicalin nature, listenersare able to hold at bay. Not only are they able to sense the competing interpretationsor structures challenge of an opposinginterpretationor structureand be interrupted by it, but they can
and theArt of Displacement 507 Adormo, Stravinsky,
switch "in midstream" without having to backtrackto a beginning. See in this connection Ray Jackendoff,"MusicalParsingand MusicalAffect,"MusicPerception 9, no. 2 (1991): 214-17, 220-28. According to Jackendoff,listenerskeep "multiple" or " at bay unconsciouslywhile attending to one interpretationalone. parallel"interpretations "Ifsubsequentevents in the musicalsurfacelead to a relative reweighingof the analyses," he writes, the selection process"canchange horses in the midstream,jumpingto a differentanalysis"(223). What Jackendoffoverlooks,however, is the uncertaintyand can cause. disruptionthe opposition of alternativemetrical interpretationsor structures Listenersmay switch "in midstream" from one conservativeor radicalinterpretationto another, but not without conflict or, often enough, real confusion and disorientation. It is not solely a matterof switching interpretations,in other words. 49. See EugeneNarmour,"The Top-Down and Bottom-Up Systemsof Musical Implication:Buildingon Meyer'sTheory of EmotionalSyntax,"MusicPerception 9, no. 1 (1991): 8-10. 50. Jackendoff,"MusicalParsingand MusicalAffect," 229. Drawingon J. A. Fodor,The MIT Press, 1983), Jackendoffsuggeststhat on-the-spot Modularity of Mind (Cambridge: processingof the "bottom-up" type "ismodularand 'informationally encapsulated'from musical memory.[The parser]does not care whether the piece is familiaror not; it goes throughpretty much the same motions regardless." 51. See Narmour,"The Top-Down and Bottom-Up Systems,"3. 52. See note 46. 53. See the additionaldiscussionof entrainmentand "biologicaltiming mechanisms" in David Epstein,Shaping Time:Music, theBrain,andPerformance Schirmer (Cambridge: Books, 1995), 135-49. 54. Some of these termsare borrowedfrom HaroldKrebs,"SomeExtensionsof Journal Concepts of MetricalConsonance and Dissonance," of MusicTheory31, no. 1 (1987): 101. "The levels of motion... breakdown into a 'pulselevel' and one or more 'interpretativelevels.' The pulse level is the fastest level. The slowerlevels are interpretativein the sense that they impose a metrical interpretationon the pulse level." 55. Krebs,"SomeExtensionsof Concepts of MetricalConsonance and Dissonance," 101-02. Or see MauryYeston, The Stratification (New Haven: Yale of MusicalRhythm University Press, 1976), 66. Yeston defines meter as "anoutgrowthof the interactionof two levels-two differently-rated strata,the fasterof which providesthe elements and the slowerof which groupsthem."A similardefinition is given in Victor Zuckerkandl, Sound and Symbol: Musicand theExternal World,trans.William R. Trask (Princeton:Princeton does not simplydivide the temUniversity Press, 1956), 162: "The metrical arrangement poralflux into many particlesof equal length. In addition, it collects the particles together into little groups." 56. See the sets of metricalrules involving "events"and "attack-patterns" in Lerdahl and Jackendoff,A Generative Theory,80-85. The readermay wish to comparethe conservative rebarring of the opening block of the Symphonies in Ex. 5c to the analysisof this same materialin JonathanKramer,The Timeof Music (New York:SchirmerBooks, slices the thematic statement into two halves, with 1988), 224-26. As in Ex. 5c, Kramer the second of these halves acknowledgedas the modifiedrepeatof the first.No meter is inferred,however, no quarter-noteor half-note beat capableof interpretingor "grouping"
508
the eighth-note beat. As a result,no syncopationis inferredeither, no displacementof the firsthalf of the statement by the second. Focusingalmost exclusively on the collageKramer's the discontinuitiesposed by these structures, of the Symphonies, like structures analysisis thus acutely radicalin conception. No "normalbeat"is inferredfromworks no "reliablesequence of evenly spacedstrongbeats on any hierarsuch as the Symphonies, chic level but the shallowest"(257). 8-10. The variousfeaturesof the 57. Schoenberg,Fundamentals of MusicalComposition, motive cited and discussedare of four types, namely, rhythm, interval, melody, and harmony.Under rhythm,Schoenbergdoes in fact mention metricaldisplacement, describingit as "the shifting of rhythmsto differentbeats"(10). But the few exampleshe and full of mediation, in fact, changes in many other dimensions. providesareperfunctory They are not likely to produceeven the mildest effect of syncopation. 58. The phenomenologyof motivic detection and recognition is discussedin Dahlhaus, Esthetics of Music,76-77. "The connection between the motivic variant,occupying the present, and the model it recalls is not 'open to inspection',"Dahlhauswrites. "The two motives are not side by side in the same sense as two phrasesmay be called 'adjacent'.... The fact of similaritybetween model and variant is clearerthan the motive announcedto begin with. The generalexistence of some connection is more strikingthan what specificallyis being connected with what." MusicPerception 59. See David Temperley,"Motivic Perceptionand Modularity," 13, no. 2 (1995): 141-64. 60. Temperley,"MotivicPerceptionand Modularity," 153-54. 157. 61. Temperley,"Motivic Perceptionand Modularity," 62. See RobertGjerdingen,"Meteras a Mode of Attending: A Network Simulation of 3 (1989): 67-92. Attentional Rhythmicity in Music,"Integral Music (Berkeley:University of CaliforniaPress, 1973), 63. LeonardMeyer,Explaining 213. 64. See Meyer,Explaining Music,213. andMeaning,14. 65. See Meyer,Emotion andMeaning,28-29. 66. See Meyer,Emotion 67. See Meyer,Explaining Music,211. HarvardUniversity Press, Generation 68. CharlesRosen, The Romantic (Cambridge: 1995), 41. 69. See JeroldLevinson, Music,Art, andMetaphysics (Ithaca:Cornell University Press, 1990), 306-35. 70. Adomo, Philosophy of Music, 159. 71. Adoro, Philosophy of Music, 153. trans.ErnstOster (New York:Longman, 72. Heinrich Schenker, FreeComposition, 1979), 5. "Thereinlies the sourceof all artisticdelaying,"Schenkerwrote, "fromwhich the creative mind can derive pleasurethat is ever new." 36. 73. Schenker, FreeComposition,
Adomo, and theArt of Displacement 509 Stravinsky,
and 74. George Mandler,"The Generation of Emotion,"in Emotion: Theory,Research, ed. RobertPlutchik and HenryKellerman(New York:Academic Press,1980), Experience, 225. Recent theories of anxiety and emotion are discussedin Renee Cox Lorraine,Music, andInhibitions: on a Theoryof Leonard Tendencies, Reflections Meyer(Lanham:Scarecrow 4-6. Press,2001), 75. Forfurtherdiscussionof the hemiola in the classicaltradition,see FloydGrave, "MetricalDissonance in Haydn," Journal 17, no. 3 (1995): 168-202. of Musicology 76. Hemiola patternsof this kind in Schumann'smusic are examined in HaroldKrebs, in theMusicof Schumann Dissonance (Oxford:OxfordUniversity FantasyPieces:Metrical Press, 1999), 22-61. music are 77. Processesof metricaldisplacement(or metrical"relocation")in Brahms's discussedbrieflyin Susan L. Kim, "RhythmicDevelopment in the Motivic Processof Brahms's ChamberMusic"(PhD diss., University of Californiaat Santa Barbara, 2003), and the Shifting BarLine: Metric Displacement 114-30. See also Peter Smith, "Brahms and FormalProcessin the Trios with Wind Instruments," in David Brodbeck,ed. Brahms Studies3 (Lincoln: University of NebraskaPress,2001), 91-129. I am indebted to Gordon Root for his many keen insightson the passagesin Exx. 7, 8, and 9. 78. See in this connection Horlacher,"The Rhythmsof Reiteration,"171-87, where similarconclusions are reachedfrom a differentangle. Horlachertargetsa numberof patterned,superimposed cycles of displacementin the Symphony of Psalms,concluding coincithat, even within a narrowlycontrolled set of variables,vertical or "harmonic" dence can exhibit a remarkable of variation. degree 79. See Adorno, "Stravinsky," 149. 80. See Adomo, "Stravinsky," 149. 81. See Adomo, "Stravinsky," 148-49. 82. LawrenceMorton, "Incongruity and Faith,"in IgorStravinsky, ed., EdwinCorle (New York:Duell, Sloane, and Pearce, 1949), 193-200. On the matterof Stravinsky's "cool objectivity,"see MaureenCarr,Multiple in Stravinsky's Masks:Neoclassicism Dramatic Workson GreekSubjects (Lincoln:University of NebraskaPress,2002), 197-99. 83. Adomo, Philosophy Music, 153. of Modern 268. 84. See Padisson,Adorno'sMusicalAesthetics, 85. Adoro, "Stravinsky," 152. 153. 86. Adoro, "Stravinsky," 87. See Paddison,Adoro's MusicalAesthetics, 9; or Johnson, "Analysisin Adorno's Aesthetics," 299-300. 88. See for example Adorno'sthematic-motivic analysisof Berg'sPiano Sonata in Willi undBeitrdgen von Theodor Reich, AlbanBerg:Mit BergseigenenSchriften Wiesengrund AdornoundErnstKrenek_(Vienna: HerbertReichner, 1937), 21-26. Adorno's analysisis discussedin greatdetail in Paddison,Adorno's MusicalAesthetics,158-74, and Johnson, "Analysisin Adorno'sAesthetics of Music,"303-11.

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Stravinsky, Adorno, and the Art of Displacement Author(s): Pieter C.

Stravinsky, Adorno, of Displacement

andtheArtof Displacement469 Adorno, Stravinsky,

470 TheMusical Quarterly

andtheArtof Displacement471 Adorno, Stravinsky,

472 TheMusical Quarterly

inability.Justas the listenerloses his or her metricalbearings,so, too, the

andtheArtofDisplacement473 Adorno, Stravinsky,

"Ritualof the Rival Tribes"

Adorno,and theArt of Displacement 475 Stravinsky,

"Procession of the Sage"

' f 1'#r b # #l' I-r # rIf~0

Octatonic scale Collection II

of Boosey & Hawkes, Inc.

andtheArtof Displacement477 Adorno, Stravinsky,

478 TheMusical Quarterly

Stravinsky, Adorno,and theArt of Displacement 479

Metrical Displacement "convulsiveblows and shocks"

mechanical, lacking"nuance" or "expressivefluctuation" (pianola)

incantatory style, ritualistic "primitive patterns" staticquality immobiity

non-individual impersonal "depersonalization" unfeeling

non-individual impersonal "collective" "murderous collective"

"anti-humanistic" "agentsof destruction" Figure 1. in the Formof an Explanation. Adoro's Characterizations

480 TheMusical Quarterly

Adorno,and theArt of Displacement 481 Stravinsky,

Alternative Responsesto Displacement.

andtheArtof Displacement483 Adorno, Stravinsky,

484 TheMusical Quarterly

retrospectively ResponseNo. 1 "conservative" displacement; meteris sustained

displacement Figure 3. Responsesto Replacement.

andtheArtof Displacement485 Adorno, Stravinsky,

486 TheMusical Quarterly

retrospectively "conservative" displacement; meteris sustained

t doubt, uncertainty, t~ disruption

continued doubt, uncertainty placement; meteris interrupted -

Responsesto Displacement (with predisposition).

andtheArtof Displacement487 Adorno, Stravinsky,

Levels of pulsation 1/16 ..........................

Nos. 0-9). Displacementand MetricalLocation (Renard,

488 TheMusical Quarterly

Adorno,and theArt of Displacement 489 Stravinsky,

Stravinsky,Renard, opening allegro.

Adorno,and theArt of Displacement 491 Stravinsky,

Thematic Statements. Stravinsky,The Riteof Spring (1913), autograph.

Thematic Statements. Stravinsky,LesNoces, IV (1917-23).

Example 5c. Thematic Statements. Stravinsky,Symphonies of WindInstruments (1920; 1947 version).

Stravinsky,Symphonies of WindInstruments, opening.

andtheArtof Displacement493 Adormo, Stravinsky,

494 TheMusical Quarterly

Adoro, andtheArtof Displacement495 Stravinsky,

Minuetto. Mozart,Eine kleineNachtmusik,

Adorno,and theArt of Displacement 497 Stravinsky,

Carnaval. Schumann, "Preambule,"

Brahms,Piano Quartet, op. 25/II.

andtheArtof Displacement499 Adorno, Stravinsky,

Stravinsky, Adoro, andtheArt of Displacement 501

Adorno,andtheArt of Displacement 503 Stravinsky,

Adorno,and theArt of Displacement 505 Stravinsky,

and theArt of Displacement 507 Adormo, Stravinsky,

Adomo, and theArt of Displacement 509 Stravinsky,

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