THE UNIVERSITY OF CHICAGO AN EXPERIENCE-ORIENTED APPROACH TO ANALYZING STRAVINSKY’S NEOCLASSICISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY SARAH MARIE IKER CHICAGO, ILLINOIS AUGUST 2017 CONTENTS List of Figures ...................................................................................................................................... iv List of Tables ..................................................................................................................................... viii Acknowledgments ............................................................................................................................... ix Abstract .................................................................................................................................................. x Introduction: Analysis, Experience, and Experience-Oriented Analysis ..................................... 1 1 Neoclassicism, Analysis, and Experience ................................................................................ 10 1.1 Neoclassicism After the Great War ................................................................................. 10 1.2 Analyzing Neoclassicism: Problems and Solutions ....................................................... 18 1.3 Whence Listener Experience? ........................................................................................... 37 1.4 The Problem of Historicism ............................................................................................. 42 1.5 Overview .............................................................................................................................. 43 2 Hearing Neoclassicism Through Historical Ears ................................................................... 45 2.1 Imagining Others’ Experiences of Pulcinella ................................................................... 45 2.2 Neoclassicism for Historical Listeners ............................................................................ 57 2.3 Reconstructing Historical Listening ................................................................................. 60 2.4 The Audience: Setting the Stage ....................................................................................... 65 2.5 Taking Listeners at Their Word: Memory and History ................................................. 82 3 Quantitative and Qualitative Approaches to Text Analysis .................................................. 86 3.1 Texts as Traces of Experience .......................................................................................... 86 3.2 Quantitative Methods: Digital Humanities ..................................................................... 89 3.2.1 Digital Humanities, Musicology, and Digital Reception History ........................................ 91 3.2.2 Values, Drawbacks ...................................................................................................................... 96 ii 3.2.3 Methodology ................................................................................................................................ 99 3.3 Qualitative Methods ........................................................................................................ 113 3.3.1 Reception History, Close Reading ......................................................................................... 114 3.3.2 Values, Drawbacks .................................................................................................................... 116 3.4 Qualitative and Quantitative Methods Combined ...................................................... 121 3.5 Conclusion ........................................................................................................................ 127 4 Reviving Pergolesi in Pulcinella ................................................................................................ 129 4.1 Introduction ...................................................................................................................... 129 4.2 Pulcinella and Stravinsky’s Tartar Sauce ......................................................................... 130 4.3 Reviving Pergolesi in Analysis ....................................................................................... 141 4.4 Conclusion ........................................................................................................................ 155 5 Experience-Oriented Analyses ............................................................................................... 158 5.1 Introduction ...................................................................................................................... 158 5.2 Concerto for Piano and Wind Instruments ................................................................. 159 5.2.1 Back to Bach: Historical Context and Text Analysis .......................................................... 166 5.2.2 A Sheep, in Wolf’s Clothing: Unmasking Stravinsky’s References ................................... 169 5.3 Danses Concertantes ............................................................................................................. 183 5.4 The Rake’s Progress ............................................................................................................. 196 Conclusion ........................................................................................................................................ 213 Appendix .......................................................................................................................................... 218 Bibliography ..................................................................................................................................... 221 iii LIST OF FIGURES Figure 0.1: Possible model, experience-oriented analysis ............................................................... 3 Figure 0.2: Possible model, experience-oriented analysis ............................................................... 5 Figure 0.3: Possible model, experience-oriented analysis ............................................................... 6 Figure 0.4: Possible model, experience-oriented analysis ............................................................... 6 Figure 1.1: Parisotti, “Se tu m’ami” ................................................................................................. 15 Figure 1.2: Stravinsky, Pulcinella, “Se tu m’ami” ............................................................................. 16 Figure 1.3: Stravinsky, Piano Concerto, III, first cadenza ............................................................ 16 Figure 1.4: Stravinsky, Piano Concerto ........................................................................................... 20 Figure 1.5: Schenker’s sketch, linear progressions ........................................................................ 20 Figure 1.6: Piano Concerto, reduction mm. 1–4 ........................................................................... 26 Figure 1.7: Piano Concerto, recomposition mm. 1–4 ................................................................... 26 Figure 2.1: South façade of the Opéra Garnier in Paris, France .................................................... 47 Figure 2.2: Picasso’s scenery, depicted on a postage stamp ......................................................... 49 Figure 2.3: Pulcinella’s costume, as pictured in the program booklet ........................................ 50 Figure 2.4: Program order for Pulcinella premiere .......................................................................... 51 Figure 2.5: Image of Pergolesi in program booklet ....................................................................... 52 Figure 2.6: The “period ear,” reproduced from Burstyn .............................................................. 62 Figure 2.7: Stravinsky, Pulcinella, “Vivo” ......................................................................................... 65 Figure 2.8: “The Mirage,” by Fabian Fabiano, cover of Life Magazine ....................................... 72 Figure 2.9: Auditorium and stage of the Palais Garnier ................................................................. 74 Figure 2.10: London, Royal Opera House, Covent Garden ........................................................ 74 Figure 3.1: Word cloud, late-1920s responses to Stravinsky’s neoclassicism ............................ 88 iv Figure 3.2: Word cloud, Apollon Musagètes and Le Baiser de la Fée ................................................ 89 Figure 3.3: Word cloud for all neoclassical Stravinsky, minimal stopwords ........................... 102 Figure 3.4: Pulcinella word cloud, minimal stopwords ................................................................ 104 Figure 3.5: Piano Concerto word cloud, minimal stopwords ................................................... 104 Figure 3.6: Pulcinella word cloud, English stopwords ................................................................. 105 Figure 3.7: Piano Concerto word cloud, English stopwords .................................................... 105 Figure 3.8: Pulcinella word cloud, no stopwords .......................................................................... 106 Figure 3.9: Piano Concerto word cloud, no stopwords ............................................................