Autor/Autorin: D''hoe Jeroen
JEROEN D´HOE studied composition at The Juilliard School (USA) and at the Lemmensinstituut (Belgium), and musicology at the University of Leuven (Belgium). He won the National Queen Elisabeth Composition Competition (2003) and currently teaches composition at the Lemmensinstituut and at the Utrecht Conservatory (The Netherlands).
STRUCTURAL DUALISM IN THE TWENTIETH-CENTURY SYMPHONY examines the genre''s inherent concept of "STRUCTURAL DUALISM,” considering "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. These various manifestations of structural dualism are illustrated with pioneering compositions and key esthetic statements from both composers and theorists.
STRUCTURAL DUALISM IN THE TWENTIETH-CENTURY SYMPHONY examines the genre s inherent concept of STRUCTURAL DUALISM, considering 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. These various manifestations of structural dualism are illustrated with pioneering compositions and key esthetic statements from both composers and theorists.
JEROEN D HOE studied composition at The Juilliard School (USA) and at the Lemmensinstituut (Belgium), and musicology at the University of Leuven (Belgium). He won the National Queen Elisabeth Composition Competition (2003) and currently teaches composition at the Lemmensinstituut and at the Utrecht Conservatory (The Netherlands).
Über den Autor
JEROEN D¿HOE studied composition at The Juilliard School (USA) and at the Lemmensinstituut (Belgium), and musicology at the University of Leuven (Belgium). He won the National Queen Elisabeth Composition Competition (2003) and currently teaches composition at the Lemmensinstituut and at the Utrecht Conservatory (The Netherlands).
Klappentext
STRUCTURAL DUALISM IN THE TWENTIETH-CENTURY SYMPHONY examines the genre''s inherent concept of ¿STRUCTURAL DUALISM,¿ considering ¿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. These various manifestations of structural dualism are illustrated with pioneering compositions and key esthetic statements from both composers and theorists.
