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  • Straus Chapter 3

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    Colin Hunt
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    I. This document contains a series of tables with numeric values and symbols. II. More tables with numeric values are presented, showing different patterns at labeled intervals. III. Additional tables with numeric and symbolic values are shown, some containing questions marks. That's a high-level summary of the key information contained in the document in 3 sentences. Let me know if you would like me to elaborate on any part of the summary.

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    Richard straus chapter 3

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    I. This document contains a series of tables with numeric values and symbols. II. More tables with numeric values are presented, showing different patterns at labeled intervals. III. Additional tables with numeric and symbolic values are shown, some containing questions marks. That's a high-level summary of the key information contained in the document in 3 sentences. Let me know if you would like me to elaborate on any part of the summary.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as docx, pdf, or txt
    15 views4 pages

    Straus Chapter 3

    Uploaded by

    Colin Hunt
    I. This document contains a series of tables with numeric values and symbols. II. More tables with numeric values are presented, showing different patterns at labeled intervals. III. Additional tables with numeric and symbolic values are shown, some containing questions marks. That's a high-level summary of the key information contained in the document in 3 sentences. Let me know if you would like me to elaborate on any part of the summary.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as docx, pdf, or txt
    of 4

    I. 1.

    a. (0123)
    (0124)
    (0135)
    (0235)
    (0247)
    (0248)
    (0257)
    (0268)
    b. (01458)
    (02468)
    (02479)
    c. (012678)
    (013679)
    (02468T)
    2.
    a. 2, 0, 0
    b. 0, 2, 4
    c. 3, 6, 0
    d. 1,1, 2
    3.
    a. No
    b. No
    c. Yes, 6
    d. Yes, T4
    II. 1.
    a. 7 at I2, 0 and 4 at I4, 5 and 4 at I9
    4 5 7 8 0

    4 8 9 11 0 4

    5 9 10 0 1 5

    7 11 0 2 3 7

    8 0 1 3 4 8

    0 4 5 7 8 0
    b. 6, 8, 1 at I2. 8, 10, 6 at I4. 1, 8, 10, 11 at I9
    6 8 9 10 11 1

    6 0 2 3 4 5 7

    8 2 4 5 6 7 9

    9 3 5 6 7 8 10
    10 4 6 7 8 9 11

    11 5 7 8 9 10 0

    1 7 9 10 11 0 2
    c. 1, 7 at I2. 1, 3, 8 at I4. 1, 8 at I9
    1 3 7 8

    1 2 4 8 9

    3 4 6 10 11

    7 8 10 2 3

    8 9 11 3 4
    d. 1 at I2, 5, 11, 8 at I4, 8, 1, at I9
    5 8 11 1

    5 10 1 4 6

    8 1 4 7 9

    11 4 7 10 0

    1 6 9 0 2
    3.

    IV. 1.
    a. 0137
    b. 01348
    c. 012378

    2.
    a. (01247), (01356)
    b. (0137), (0146)
    c. ?
    d. ?
    V. 1. 767763
    B. 546553
    C. 012111
    D. 222121

    2.
    a. 0147
    b. 0247
    c. 02479
    d. 027
    VI. 1.
    a. 016, 167, 670, 701 (016)
    b. 014, 148 (037), 480 (048), 801 (015)
    c. 013, 136, 369 (036), 690, 901 (014), 036, 069, 139 (026), 169 (037), 360 (036)
    d. 024, 247 (025), 479, 790, 902, 027, 029, 047 (037), 049, 279 (027)
    2.
    a. 4
    b. (027)
    c. ?
    VII.
    2.
    a. (08) (15)
    b. (01) (34)
    c. (013) (679)
    VIII.
    a. ??
    b. 013679

    4. 0137, 0146. 5-Z36 - 5-Z12, 5-Z38 - 5-Z18, 5-Z37 - 5-Z17


    5. 048, 0369, 02468T
    IX
    1
    2.
    a. 0123
    b. 0321
    c. 021
    d. 0231
    3.0123, ??

    Stravinsky, Agon, Bransle Gay

    012457, 012358
    P and Q are related by Z-class. Their IC vectors are identical.

    The -2 in Bassoon is prominent as well as the harmonic 2 in flutes.

    Flute 1 TBb/F, Fl 2 (0257) is subset of P, Cl. 1 and Flutes are (012345679), superset of P, Cl 2
    (0123457) superset of P. Clarinets play Q

    The contour of wide intervals between clarinets are reminiscent of the earlier Bassoon ostinato,
    but interval content is different.
    The movement is a kind of ternary form, which is articulated both by the different
    instrumentation of the set motives as well as their characteristic rhythms. The middle treatment
    of P is the closest we get to any kind of development. The clarinets usher in Q beginning with a
    less rigid rhythm. The strongest indicator of the different sections is the instrumentation, ordered
    pitch content and their individual rhythmic treatment.

    The constant castanet rhythm deliberately becomes out of phase with the meter. The
    realignment in measures 4, 7, 9, and so on confirm this. The Clarinet introduction that ushers in
    Q is completely aligned with the beginning of a castanet measure, further confirming the
    deliberate use of the juxtaposition.

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