2002/04/01 by Dmitri Tymoczko · 41 citations
Arts and Humanities · Computer Science · Mathematics · Neuroscience · #Art #Artificial intelligence #Computer science #Humanities #Literature #Materials science #Mathematics #Minor (academic) #Modal #Music Technology and Sound Studies #Musicology and Musical Analysis #Neuroscience and Music Perception #Superimposition
paper · doi:10.1525/mts.2002.24.1.68
published in Music Theory Spectrum 24(1), 68-102 (Oxford University Press (OUP))
crossref issued 2002/04/01 · crossref published 2002/04/01 · crossref published-print 2002/04/01 · openalex publication_date 2002/04/01 · crossref created 2004/02/04 · crossref deposited 2021/06/14 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/30 · crossref indexed 2026/08/05
The importance of the octatonic scale in Stravinsky's music has consistently been overstated. While octatonicism is an aspect of Stravinsky's technique, it is just one of a number of different components that jointly produce the “Stravinsky sound.” The article focuses on two techniques that have often been mistaken for octatonicism: modal uses of the non-diatonic minor scales; and the superimposition of elements that belong to different scalar collections.