Stravinsky's "Mass" and Stravinsky Analysis

This study of pitch organization in Stravinsky's Mass takes as point of departure a remark of Schenker's regarding coherence (Zusammenhang) or, in context, "connection" as the basis of tonal and--arguably--post-tonal music. Stravinsky's play with the conventions of cadence, diminution, and prolongation is then demonstrated in selected passages. Finally, two mutually contradictory but complementary analyses of the Kyrie are offered to show that a residue of conflict is often retained on the deepest levels of Stravinsky's large-scale tonal strategy.