(Q014) Stravinsky’s The Rite of Spring features

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When evaluating Stravinsky’s The Rite of Spring, it’s helpful to place the work in its stylistic context and identify the hallmark practices it embodies.
Option 1: primitivism. This choice aligns with the common scholarly framing of The Rite as a primitivist work, emphasizing raw, elemental rhythms, ritualistic pacing, and a sense of ancient, pre-industrial culture. The score’s driving ostinatos, irregular accents, and confrontational musical language are often described as capturing a primitive, primal energy.
Option 2: twelve-tone music. This is not characteristic of The Rite. Twelve-tone technique, developed by Schoenberg and central to the Second Viennese School, emerged later and is more about a method of row-based composition than the visceral, rhythm-driven experimentation heard in The Rite. The work predates systematic twelve-tone practice.
Option 3: neoclassicism. While Stravinsky did explore neoclassicism in other works (notably Pulcinella and other pieces from the 1920s), The Rite of Spring is not primarily identified with neoclassical aesthetics, which tend to draw on clear forms, orderly textures, and a more tempered musical language. The Rite instead embraces a more mythic, ritualistic, and nontraditional approach to form and timbre.
Option 4: Klangfarbenmelodie. This term refers to a technique where the tone color or timbre of successive notes creates the melodic line, a device associated with certain 20th-century composers but not a defining characteristic of The Rite. The Rite’s innovation lies more in rhythm, orchestration, and primal energy than in a deliberate, line-by-line timbral division of melody.
Overall, the combination of ritualistic atmosphere, irregular rhythms, and a raw, ceremonial mood is what most distinctly identifies The Rite of Spring within its era, while the other options point to techniques or movements not central to this work.

MUS374.001_1253 CH 33 CHAPTER QUIZ

(Q014) Stravinsky’s The Rite of Spring features

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