Cookies Policy

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Emergent Temporalities in Stravinsky’s “Le Sacre du Printemps”

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of KronoScope

Abstract It has been suggested that time is a description of movement and relative change measured or compared against a standard, whether against sun and clocks in the physical world, or against mental constructs, such as the human experience of a subjective ‘now’. The human brain perceives rates of motion and change through both its sensory systems and its higher order processing pathways, and it seems, is uniquely equipped by its structures to derive a range of temporalities across both the physical and non-material worlds. Because we are perceptive and creative in both physical and abstract domains, we are able to make precise clock-time measurements and evaluate the effects of motion and forces in physical space (as in Einstein’s Theories of Relativity) and also distinguish the subjective temporalities that emerge as different qualities of motion expand our mental space to construct abstract meaning. This paper looks at the movement patterns of Stravinsky’s ‘Le Sacre du Printemps’, a musical score for the ‘Ballets Russes’ which caused a riot at its première at the Théâtre des Champs-Elysées in Paris in May, 1913. With hindsight, its first audience was much disturbed, perhaps not only by the highly dissonant sounds accompanying ‘primitive’ movements and the act of self-sacrifice, but also subliminally, by the work’s stark portrayal of pure temporalities: its activity, structure and organised complexity exposed them—and still exposes us, 100 years later—to the raw process of being and becoming, to both actual and emergent temporalities. In the course of ‘Le Sacre du Printemps’, Stravinsky’s organisation of motion, of both rhythm and pitch, transforms our temporal experience from that of the here and now, the physical ‘closeness between man and earth’, to that of the highly abstract ‘triumph of the human spirit’, in what he called ‘a single endless dialogue, an inconceivable conversation’. The means by which, and the point at which each of the four levels of organised movement emerges, is interesting in the light of our ability to construct temporality in both the physical and non-material realms. At the reductionist level, the work’s movement away from the ‘here and now’ invites connections and relations with current ideas about time in physics, while its marriage of rhythms in sound and space, its association of sound and gesture, and its organisation of motion creates a temporal entity whose effect upon the psyche is consistent with what is now known about the brain’s higher-order processing of music and movement.


Full text loading...


Data & Media loading...

1. Hodson Millicent Stravinsky and the Ballet Russes 2008 Interview. DVD recording. Bel Air Media.
2. Stravinsky Igor An Autobiography 1975 LondonCalder and Boyars
3. Stravinsky Igor"Letter to N. F. Findeizen, December 15, 1912. Quoted in Stravinsky, Vera and Robert Craft" Stravinsky in Pictures and Documents 1912 LondonHutchinson
4. Stravinsky Igor, Craft Robert Dialogues 1982 LondonFaber Music
5. Stravinsky Igor, Craft Robert Expositions and Developments 1981 LondonFaber Music
6. Stravinsky Vera, Craft Robert Stravinsky in Pictures and Documents 1979 LondonHutchinson

Article metrics loading...



Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
    KronoScope — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation