More precisely, the complexe sonore is Igor Stravinsky's use of diatonic and whole tonemotifs, and scales, against an octatonic background, rotated by minor thirds. Stravinsky "considered them to be in a perpetual state of potential symmetrical rotation by minor thirds under which the octatonic background scale is invariant."[3]Dmitri Tymoczko argues that Stravinsky's octatonicism results "from two other compositional techniques: modal use of non-diatonic minor scales, and superimposition of elements belonging to different scales."[4]
^ a bTaruskin, Richard (1996). Stravinsky and the Russian Traditions: A Biography of the Works through Mavra, p.937 and 1394. ISBN 0-520-07099-2.
^Taruskin (2000), p.439.
^Taruskin, Richard (2000). Defining Russia Musically: Historical and Hermeneutical Essays, p.438. ISBN 978-0-691-07065-0.
^Tymoczko, Dmitri (Spring 2002). "Stravinsky and the Octatonic: A Reconsideration" (PDF). Music Theory Spectrum. 24 (1): 68–102. doi:10.1525/mts.2002.24.1.68.
^Taruskin, Richard (1987-04-01). "Chez Pétrouchka: Harmony and Tonality "chez" Stravinsky". 19th-Century Music. 10 (3): 265–286. doi:10.2307/746439. ISSN 0148-2076.