CHAPTER 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)

Scriabin, Messiaen

Chapter:

CHAPTER 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

Richard Taruskin

The “Sacrificial Dance” at the end of Stravinsky’s The Rite of Spring reaches its dénouement in a massive crunch, denoting a strain the body of the Chosen One can no longer bear. Afterward there is only a tiny coda (reminiscent, perhaps, of the way the “March to the Scaffold” ends in Berlioz’s Symphonie fantastique) that tracks the concluding mimed action closely: she crumples (flute glissandi); the elders rush up to catch her (sweeping upbeat figure); she collapses in a heap (concluding thump).

Citation (MLA):

Richard Taruskin. "Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Jan. 2025. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-chapter-004.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-chapter-004.xml

Citation (Chicago):

Richard Taruskin. "Chapter 4 Extinguishing the “Petty ‘I’ ” (Transcendentalism, I)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-chapter-004.xml