JAVS Spring 2026

Figure 18. Drawn directly from the same pitch content as the beginning, hovering within a modal D-minor framework. m. 19. Élégie by Debussy.

Returning to the concept of rhythmic displacement, Debussy often employs the tool in passages after the established rhythmic sonorities found at the beginning present themselves once more– e.g., running triplets with embellishments against blocked chords. Compositionally, displacing call-and-response motives in time helps move

forward the development of darker harmonies. A prime example of this is the arrival of m. 13, brought forth by the growth of m. 10 (Figure 19) .by the time m. 13 arrives, the motive is displaced and the harmonies are blending into the phrasing.

Figure 19. Élégie by Debussy, mm. 10-13, showcasing the build-up of displaced rhythmic structures.

In terms of displacement’s contribution to the dialectic discussion, both Élégies employ this compositional tool in distinct but effective ways. Stravinsky frequently uses displacement to emphasize intervallic dissonance within his voice leading, reinforcing the two-part contrapuntal nature of the melodic writing. The greater length of the work further allows for a more gradual tonal development and creates expanded opportunities for rhythmic sonorities to build upon one another (e.g., the arrival of the final fugue inversion in m. 40).

return of the D-minor modality presented at the opening and recapitulation. Despite the shorter duration of the piece, this process remains effective. Although Debussy’s work is more concise than Stravinsky’s, its rhythmic motives are similarly supported by shifting harmonic underpinnings. In both compositions, key centers remain fluid, allowing polyscalarity to emerge as a prominent feature. Dissonant harmonies are employed to propel tension and shape melodic lines, particularly as each piece approaches its climax before reprising the opening material.

Debussy’s Élégie exhibits a similar approach, particularly in passages that emphasize arrival at a key area or the

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

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