(the use of musical figures that are repeated in different guises throughout a composition or section of a composition) included additive motivic development. This is a technique in which notes are removed from or added to a motif without regard to the consequent changes in metre. A similar technique can be found as early as the 16th century, for example in the music of Cipriano de Rore, Orlandus Lassus, Carlo Gesualdo and Giovanni de Macque, music with which Stravinsky exhibited considerable familiarity. The Rite of Spring (1913) is notable for its relentless use of ostinati, for example in the eighth-note ostinato on strings accented by eight horns in the section "Augurs of Spring (Dances of the Young Girls)". The work also contains passages where several ostinati clash against one another. Stravinsky was noted for his distinctive use of rhythm, especially in The Rite of Spring. According to the composer Philip Glass, "the idea of pushing the rhythms across the bar lines [...] led the way [...]. The rhythmic structure of music became much more fluid and in a certain way spontaneous." Glass also noted Stravinsky's "primitive, offbeat rhythmic drive". According to Andrew J. Browne, "Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art." Stravinsky's rhythm and vitality greatly influenced the composer Aaron Copland. Over the course of his career, Stravinsky called for a wide variety of orchestral, instrumental, and vocal forces, ranging from single instruments in such works as Three Pieces for Solo Clarinet (1918) or Elegy for Solo Viola (1944) to the enormous orchestra of The Rite of Spring (1913), which Copland characterized as "the foremost orchestral achievement of the 20th century". Stravinsky’s creation of unique and idiosyncratic ensembles arising from the specific musical nature of individual works is a basic element of his style. Following the model of his teacher, Nikolai Rimsky-Korsakov, Stravinsky’s student works such as the Symphony in E, Op. 1 (1907), Scherzo fantastique, Op. 3 (1908), and Fireworks (Feu d'artifice), Op. 4 (1908), call for large orchestral forces. The Symphony, for example, calls for 3 flutes (3rd doubles piccolo), 2 oboes, 3 clarinets in B, 2 bassoons, 4 horns in F, 3 trumpets in B, 3 trombones, tuba, timpani, bass drum, triangle, cymbals, and strings. The Scherzo fantastique calls for a slightly larger orchestra but completely omits trombones: this was Stravinsky’s response to Rimsky’s criticism of their