The Rite of Spring former's student days, considered "The Rite" a masterpiece that had created "the decade of the displaced accent and the polytonal chord". Copland adopted Stravinsky's technique of composing in small sections which he then shuffled and rearranged, rather than working through from beginning to end. Ross cites the music of Copland's ballet "Billy the Kid" as coming directly from the "Spring Rounds" section of "The Rite". For Olivier Messiaen "The Rite" was of special significance; he constantly analysed and expounded on the work, which gave him an enduring model for rhythmic drive and assembly of material. After the premiere the writer
The Rite of Spring that the work's opening bassoon melody was derived from an anthology of Lithuanian folk songs, but maintained that this was his only borrowing from such sources; if other elements sounded like aboriginal folk music, he said, it was due to "some unconscious 'folk' memory". However, Morton has identified several more melodies in Part I as having their origins in the Lithuanian collection. More recently Richard Taruskin has discovered in the score an adapted tune from one of Rimsky-Korsakov's "One Hundred Russian National Songs". Taruskin notes the paradox whereby "The Rite", generally acknowledged as the most revolutionary of the composer's early