Manifestations of Structural Dualism in the Twentieth-Century Symphony

This composer essay about the twentieth-century symphony examines the genre’s inherent concept of “structural dualism.” Structural dualism’s evolving manifestations and their interrelation are evaluated. Considering the matter from the opposite side: “What makes a symphony a symphony, regardless of the period in which it is conceived or the style it makes use of?” Emanating from the Baroque sonata, dance suite movement, and sinfonia, structural dualism was originally epitomized by the reconciliation of tonal contrasts in the Classical symphony’s sonata form. This tonal contrast shifted to thematic polarity, embodying structural dualism in the Romantic symphony’s extended sonata form, before structural dualism evolved to integrative, transformative, and—ultimately—conceptual manifestations in various appearances of the twentieth-century symphony. The study’s delineation has a twofold implication. First, it limits the observation of structural dualism to the symphony, although some reference is made to applications of the dualist principle in other genres. Second, the primarily abstract approach of evolving manifestations of the symphony’s structural dualism does not aspire to be a systematic or exhaustive representation of the genre’s twentieth-century history or repertoire. Various appearances of structural dualism will be illustrated with pioneering compositions and key esthetic statements from both composers and theorists, providing a foundation for the conclusive structural analyses in the last chapter.TABLE OF CONTENTS Abstract iii Autobiographical Note iv Acknowledgements v Table of Music Examples vii Preface viii Introduction: Structural Dualism in the Symphony 1 Chapter 1: Tonal and thematic structural dualism before the twentieth century 1.1. Defining tonal structural dualism and thematic structural dualism 4 1.2. Tonal structural dualism in the sonata form of the Classical symphony 6 1.3. Thematic structural dualism in the extended sonata form and alternative 18 formal models of the Romantic symphony Chapter 2: Manifestations of structural dualism in the twentieth-century symphony: integrative, transformative, and conceptual structural dualism 2.1. Defining “integrative,” “transformative,” and “conceptual” structural 34 dualism 2.2. Manifestations of integrative structural dualism in the twentieth-century 37 symphony 2.3. Manifestations of transformative structural dualism in the twentieth-century 51 symphony 2.4. Manifestations of conceptual structural dualism in the twentieth-century 63 symphony Chapter 3: Some examples of structural dualism in the twentieth-century symphony analyzed 3.1. Integrative structural dualism in Dmitry Shostakovich’s Fifth Symphony, 75 Movement I 3.2. Transformative structural dualism in Jean Sibelius’s Fifth Symphony, 104 Movement I 3.3. Conceptual structural dualism in Witold Lutosławski’s Second Symphony 121 Conclusion 141 Bibliography 147nrpages: 153status: accepte

Trompe l’oreille. Researching innovative strategies towards “illusive” sound-process composition

A composer’s imagination reaches beyond ‘realistic’ physical laws, and aims at illusory, groundbreaking sound creations and sensations. An illusory sound process (‘trompe l’oreille’ effect, literally, ear-deceiving) can be created by breaking apart the unambiguous coherence between different musical parameters (pitch, duration, timbre, dynamic, etc.), and, consequently, rendering it diffuse, asynchronous, ambiguous, indistinct. This publication explains 'acoustic illusion' as a phenomenon and focuses on a number of experiments of the past decades. It further comments on examples from the composition practice and music literature, and suggests — through ‘hands-on’ templates — a number of strategies pertaining the use of acoustic illusion in contemporary composition.edition: 1st editionnrpages: 66status: publishe

New Feet For 5 Years A Minute. An artistic research into groundbreaking spatial-temporal experiences in the cross discipline of architecture and music

Architect dr. Jo Van Den Berghe en componist dr. Jeroen D’hoe vinden elkaar in het artistiek onderzoeksproject New Feet for 5 Years a Minute. De synesthesie tussen architectuur en muziek tast grenzen af en genereert nieuwe architecturale en muzikale compositiemogelijkheden die de waarnemer meenemen in een wervelende beleving van ruimte en klank, getimede leegte en plaatselijk ontgrensde tijd. Dit provocatief klank-beeld-verhaal werkt bewust ontregelend op het net- en trommelvlies van de waarnemer.nrpages: 66status: publishe

New Feet for 5 years a minute

Architect Jo Van Den Berghe en componist Jeroen D’hoe vinden elkaar in het artistiek onderzoeksproject NEW FEET FOR 5 YEARS A MINUTE (Associatie K.U.Leuven i.s.m. Concertgebouw Brugge). De synesthesie tussen architectuur en muziek tast grenzen af en genereert nieuwe architecturale en muzikale compositiemogelijkheden die de toeschouwer meenemen in een wervelende beleving van ruimte en klank, ge-time-de leegte en plaatselijk ontgrensde tijd.status: publishe

Once upon a Castle Ontsluier mijn geheimen - Uncover my Secrets

This book maps out the process of creating "Once and Twice Upon a Castle", a transformation of Kasteel Van Gassbeek through installation, performance and music

New Feet for 5 Years a Minute

Presentation and dissemination of the transdisciplinary research project New Feet for 5 Years a Minute (OPK 07/47). This presentation has been an elaborated combination of an opening lecture, an exhibition of the research process (sketches, scale models, draft compositions), and a concert by Spectra Ensemble (conductor Filip Rathé),combined with a mobile installation on the main stage of Concertgebouw Brugge.status: publishe

Toonmoment New Feet for 5 Years a Minute

Presentation of the intermediary research results of the Artistic Research Project New Feet for 5 Years a Minute by Jo Van Den Berghe (architect, Sint-Lucas Architecture) en Jeroen D'hoe (composer, Lemmensinstituut) in the Chamber Music Hall Concertgebouw Brugge.status: publishe

Water activity does not shape the microbiota in the human colon

status: publishe

ONCE AND TWICE UPON A CASTLE

Over Two Years Kasteel Van Gaasbeek, near Brussels, was the site for a series of transformations through installation, performance and music. "Once upon a Castle is not a traditional exhibition, but a project that is not very easy to describe, a multidiscipli- nary experiment, a combination of history, heritage, art and stories, interwoven by the hands of several sorcerers’ apprentices. The members of the British artists’ collective Wildworks created a route for Gaasbeek Castle in which memories play a central role. In the first place, those of the building itself, which can be viewed as an ancient stone memory. Almost a character, who remembers numerous events, but who also forgets, reinterprets or reconstructs them. The castle’s brain appears to function in an extremely human fashion, as soon as you are prepared to step into the scenario. Luc Vanackere Director of Gaasbeek Castl