JAVS Spring 2026

Because Debussy’s Élégie emerged through what was initially an almost spontaneous discovery, this prompted further historical investigation into potential connections between the two composers. Notably, Debussy and Stravinsky were well-known musical colleagues and prominent figures within the Parisian art scene. 3 Stravinsky even dedicated a short cantata to Debussy in 1911, and their relationship developed into a friendship that lasted until the final days of Debussy’s life, despite an eventual divergence in their musical trajectories. 4 Though they originated from different compositional traditions, Stravinsky held a deep admiration for Debussy’s Impressionistic roots and his use of harmonic color as a means of sonic expression. Given this context, the aim of this study is to investigate both Élégies through analytical inquiry, with a primary focus on Stravinsky’s viola work. By drawing stylistic parallels between these two compositions - primarily through discussions of theoretical form - this research proposes that they may be understood as existing in a form of artistic dialogue with one another. In addition, it also becomes an interesting historical study on the composers’ compositional style, particularly Debussy’s short work. Contextually, the French composer’s Élégie was written in the years preceding his death, when the composer was experiencing turmoil from physical ailments, financial struggles, and processing the lingering heaviness of the First World War. Stylistically, Élégie , L. 138 can be viewed as a unique work reflective of the times; Stravinsky’s Élégie can also be regarded in a similar light, opening up discussions for ways these melancholic pieces can align narratively. Theorists and Analytical Tools The theoretical terms “polyscalarity” and “displacement” will be used as primary analytical lenses for the Élégie analyses, polyscalarity being particularly relevant in the Stravinsky. To briefly contextualize, polyscalarity refers to the simultaneous use of musical notes belonging to different source collections—such as octatonic scales, modes, etc—without necessarily implying distinct tonal centers or key areas. Displacement—particularly focusing on rhythm—goes hand in hand with defining the tonal ambiguity present in these works; it can be a tool used to challenge the traditions and notions of form predating twentieth century compositions, used to highlight certain motivic gestures, and influence the direction of phrases.

Before examining the inner workings of Stravinsky’s composition, it is worth considering the theoretical discourse surrounding the Russian composer’s compositional style during this period. While extensive research exists on Stravinsky’s musical language in the early twentieth century and during the early stages of Serialism, a degree of ambiguity remains regarding this so-called transitional period. Given the nature of the present composition, this ambiguity allows for a more nuanced and intriguing approach to its stylistic categorization. Music theorists Pieter van den Toorn and Dmitri Tymoczko, in particular, sought to challenge prevailing assumptions about Stravinsky’s compositional methods and to articulate the techniques at work in his music. Pieter van den Toorn’s research on Stravinsky and his use of the octatonic scale in the late twentieth and early twenty-first centuries represented a revolutionary mode of thinking within the music-theoretical community. He demonstrated how Stravinsky employed octatonic scale collections (octatonic referring to an eight-note, symmetrical scale that connects dissonant intervals with dominant harmonies) to shape rhythmic, harmonic, and intervallic structures, emphasizing the use of unconventional harmonies through both symmetrical and asymmetrical constructions. 5 Tymoczko’s research, however, challenges this viewpoint by suggesting that the octatonic scale is less central to Stravinsky’s compositional language. Instead, he argues that “many instances of purported octatonicism actually result from two other compositional techniques: modal use of non-diatonic minor scales, and superimposition of elements belonging to different scales.” 6 Both perspectives offer valuable insights: van den Toorn’s approach— particularly as articulated in The Music of Stravinsky: Collected Essays —facilitates close examination of how small pitch collections underpin a work’s overall structure, while Tymoczko’s framework foregrounds polyscalarity, or the simultaneous use of material derived from different source collections, allowing multiple tonal areas to be perceived concurrently. 7 Despite their differing analytical emphases, both theorists agree that Stravinsky was highly methodical in his use of technical constructions—especially with regard to displacement. This is evident in his tendency to “shift

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Journal of the American Viola Society / Vol. 42, No. 1, Spring 2026