Abstract
Addressed here is the psychological complexity of meter, notated and heard, in The Firebird and Part II of The Rite of Spring. Of concern from the standpoint of the listener are the competing forces of meter, displacement, and parallelism; how these forces take precedence, with melody and harmony falling into place accordingly. Duly supplanted is the motivicism of the Classical style, as Theodor Adorno observed some time ago. Also of consequence here are octatonic harmony and the strict performance style favored by the composer on a life-time basis.
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References found in this work BETA

Emotion and Meaning in Music.Leonard B. Meyer - 1956 - University of Chicago Press.
A Generative Theory of Tonal Music.Fred Lerdahl & Ray Jackendoff - 1987 - Journal of Aesthetics and Art Criticism 46 (1):94-98.
Emotion and Meaning in Music.Julius Portnoy - 1957 - Journal of Aesthetics and Art Criticism 16 (2):285-286.
Philosophy of Modern Music.Theodor W. Adorno - 1976 - Journal of Aesthetics and Art Criticism 35 (2):242-244.

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