Stravinsky's Break with Contrapuntal Tradition: A Sketch Study
Lynne Rogers · Journal of Musicology · 1995
The works of Igor Stravinsky have often been noted for the strikingly individual characteristics that so readily identify their composer. One of the most remarkable of these Stravinskian calling cards is dissociation, a contrapuntal structure that organizes the texture into highly differentiated and harmonically independent musical layers. Dissociation in Stravinsky's music may be seen as a type of counterpoint, but one that differs profoundly from traditional, tonal counterpoint. Tonal counterpoint, a counterpoint of lines, assumes the complete integration of its horizontal and vertical components. Melodically distinct lines combine to create a single harmonic progression that governs an entire texture. On the other hand, dissociation, a counterpoint of layers, does not assume such integration. Instead, the audible separation of contrasting, superimposed layers of musical material is primary, prohibiting the formation of a vertically unifying harmonic progression or pattern of simultaneities.