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Title: Manifestations of Structural Dualism in the Twentieth-Century Symphony
Authors: D'hoe, Jeroen
Issue Date: 1-May-2003
Abstract: 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: 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 LutosÅ‚awski’s Second Symphony 121

Conclusion 141

Bibliography 147
Publication status: accepted
KU Leuven publication type: TH
Appears in Collections:Muziek LUCA-Faculteit Kunsten
Associated Faculty of the Arts - miscellaneous

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