Today in Composition Workshop we learnt about reading graphic scores and rhythmic ambiguity mostly pertaining to Stravinsky's "Rite of Spring" but other examples were provided for further analysis.
Reading of graphic scores was only touched on briefly, as it was more of an introduction than being too heavily involved. The basic run-down we received were two simple rules - x-axis can dictate the frequency, while the y-axis displays the duration of the notes, for the untrained eye.
In the Discussion about Rhythmic ambiguity the lecturer provided an example of the introduction to the "Riot of Spring" - which represents the birds returning to Russia in the spring-time after the ice has melted - in this section Stravinsky uses almost every breakdown of 1 beat ie crotchets, quavers, semi quavers, quintuplets, sextuplets, septuplets etc.
Another example he used was Debussy's "L'après-midi d'un faune" which has a shifting musical phrase, that moves only as much as a quaver either way and allows for rhythmic ambiguity by tricking the listener into moving the pule a quaver later.
A last note, I must mention, was that the lecturer talked about the "Rondes printanières" which is probably the most famous section. In this he mentioned Stravinsky's use of the poly-chord, in this case he uses an Emaj chord and plays an Ebmaj7 chord over the top.
In the Discussion about Rhythmic ambiguity the lecturer provided an example of the introduction to the "Riot of Spring" - which represents the birds returning to Russia in the spring-time after the ice has melted - in this section Stravinsky uses almost every breakdown of 1 beat ie crotchets, quavers, semi quavers, quintuplets, sextuplets, septuplets etc.
Another example he used was Debussy's "L'après-midi d'un faune" which has a shifting musical phrase, that moves only as much as a quaver either way and allows for rhythmic ambiguity by tricking the listener into moving the pule a quaver later.
A last note, I must mention, was that the lecturer talked about the "Rondes printanières" which is probably the most famous section. In this he mentioned Stravinsky's use of the poly-chord, in this case he uses an Emaj chord and plays an Ebmaj7 chord over the top.