Stravinsky- "Symphony of Psalms: movement III" Notes

This is all the major points for the categories of:

  • Resources
  • Structure
  • Texture
  • Tonality
  • Harmony
  • Melody
  • Rhythm and Metre

For this set work. There is also some background info as well:)

For each point, if there needs be, I have also put examples like bar numbers next to them.

Relative? Means whether you can include this point in the 10 marker essay, eg whether or not this is a Romantic feature. I have put REL next to the background info if that is relevant as well.

I hope this helps x

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  • Created by: Mika
  • Created on: 27-04-14 20:51
Preview of Stravinsky- "Symphony of Psalms: movement III" Notes

First 390 words of the document:

Composed 1930 REL
For the Boston Symphony Orchestra's 50th anniversary celebrations REL
The style of the piece isn't easy to classify; it has elements of neoclassicism which is synthesised with
other 20th century elements which Stravinsky does in his own way.
Point Example Rel?
Resources -Large orchestra with no higher strings (violins and violas)
-Traditional SATB choir
-Stravinsky originally intended the work to be sung with
children's voices on the top two parts
Text -The Latin text is Psalm 150
Setting -Text is generally sung syllabically -`Alleliua'
-Unusual effect of extra syllables -b150
-Purposely NO word painting -b87-94
-Repeated phrases and words
-Individual syllables accented for rhythmic effect -b104-109
Structure -Repeated C major chords conclude the opening slow -b21-23
-Slow moving start -starts at
-Faster section dominated by repeated by repeated six b24
note idea afterwards -b53-144
-Sopranos have a new theme based on the Laudate them of
b4. This extends and develops until tutti climax -b163
-Slow chanted section before the end
Texture -Varied
-Opening homophonic for voices
-`Laudate' tenors and basses sing in octaves -b4
-Two part counterpoint in sopranos and altos -b55-64
-Imitative section for voices which can be loosely doubled -b150
by the instruments.
Tonality -Main key is C maj
-Alleluia is C minor (modal)
-Bitonality is a key feature
-E maj in voices and C maj in instruments -b1-19
-F maj and F# maj -b147-149
Harmony -Non-functional
-Though there is a V-I movement in the bass at Alleluia
-False relations -b3 G&Ab
-Changing harmonies over ostinatos -from
-Some simple consonant chords b163
Melody -Melody both in vocals and instruments
-Repeated notes in instruments -2nd
-The vocals have very narrow ranges section
-The vocals also are conjunct with smooth and flowing
-Some vocal passages are based round the octatonic scale -b157-160
-Voices can outline triads (D maj, G maj) -b150
-At climactic points, intervals become larger -b161
-Ostinato motifs- interweaving ostinato thirds -b38

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Rhythm -Static, slow tempo in minums and crotchets Opening
and Metre -Rhythmic with repeated quavers and walking bass line in 2nd section
-Syncopation -b32
-Triplet quavers -b41-51
-Occasional changes to time signature…read more


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