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76:, which Stockhausen began composing on his way home from Darmstadt and finished on 4 November 1951. Adorno, however, did not appreciate the qualities of the work's second movement, because he could not find any motivic coherence in it. When Goeyvaerts found it difficult to defend himself in German (a language in which he was not fluent), Stockhausen stood up for his friend, telling Adorno, "you are looking for a chicken in an abstract painting".
746:
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Delaere, Mark. 1998. "Objectivering van een geestelijk gegeven in een klankstructuur : Karel
Goeyvaerts' seriële werken Nr. 1 tot 7" / "Objectifivation d'un donnée spirituelle dans une structure sonore: Karel Goeyvaerts, les œuvres sérielles N 1 à 7" / "The Objectification of a Spiritual Idea
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system based on the reconciliation of tendencies, where an increase in one dimension (e.g., duration) results in a decrease in another dimension (e.g., loudness). The method used in the Sonata involves combining the numerical values assigned to the elements in each of four parameters (pitch,
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It is among the earliest examples of multiple or integral serialism, though it is something of a hybrid work. The outer movements relapse into older patterns and do not exhibit the technical purity and perfection of structural organisation found in the middle movements. It was only with his
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for 13 instruments that
Goeyvaerts found a way of composing in which absolutely everything, from the overall form down to the tiniest detail, is governed by one and the same serial principle. The second movement in particular, with its isolated tones, is an example of
421:
Sabbe, Herman. 1981. "Die
Einheit der Stockhausen-Zeit ...: Neue Erkenntnismöglichkeiten der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goevaerts". In
99:, which are simply designated with Roman numerals and metronome markings. Movements I and II are presented in retrograde to form movements III and IV—a pattern that may have been suggested by the four sections of the first piece in
70:'s composition seminar had considerable significance for those young composers eager to develop serial thinking. The influence of the Sonata is also evident in Stockhausen's early serial compositions, particularly
529:
Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode
520:
Sabbe, Herman. 1972. "Das
Musikdenken von Karel Goeyvaerts in Bezug auf das Schaffen von Karlheinz Stockhausen: Ein Beitrag zur Geschichte der frühseriellen und elektronischen Musik 1950–1956".
511:
Moelants, Dirk. 2000. "Statistical
Analysis of Written and Performed Music: A Study of Compositional Principles and Problems of Coordination and Expression in 'Punctual' Serial Music."
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One technique used in the Sonata to preserve an equilibrium amongst several parameters is the "synthetic number". This term was coined by
Goeyvaerts and Stockhausen to describe a
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Although originally titled Sonata for Two Pianos, Goeyvaerts later sought to accentuate the innovative intent of the work by referring to it simply as
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173:. Vol. 1. CD recording. Col Legno WWE 1CD 31894. Includes Goeyvaerts: Sonata for Two Pianos (second movement), performed by the composer and
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153:. A possible model is the fourteen-tone series serving as the theme of the variation movement in Schoenberg's Serenade Op. 24.
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Delaere, Mark. 1994. "The
Projection in Time and Space of a Basic Idea Generating Structure. The Music of Karel Goeyvaerts"
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Delaere, Mark. 1996. "A Pioneer of Serial, Electronic and
Minimal Music: The Belgian Composer K. Goeyvaerts."
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in a Sound
Structure: Karel Goeyvaerts' Serial Works No. 1 through 7". Unpaginated CD booklet for Goeyvaerts,
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Christiaens, Jan. 2003. "'Absolute Purity
Projected into Sound': Goeyvaerts, Heidegger and Early Serialism".
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195:(Jan Michiels and Inge Spinette, pianos, in Nr. 1). Megadisc MDC 7845. Gent: Megadisc Classics, 1998.
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Sabbe, Herman. 1994. "Goeyvaerts and the Beginnings of 'Punctual' Serialism and Electronic Music."
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during the winter of 1950–51, and brought the score with him when he attended the
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duration, loudness, and mode of attack) such that their sum will always be 7.
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Goeyvaerts, Karel. 1994. "Paris-Darmstadt 1947–1956".
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678:Sonata for Two Pianos (Opus 1/Nummer 1
459:. London and New York: Marion Boyars.
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16:Chamber music work by Karel Goeyvaerts
660:Pour que les fruits mûrissent cet été
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366:32. Stuttgart: Franz Steiner Verlag.
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58:in the Summer of 1951. There he met
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131:organisation is not based on a
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22:(1950–51), also called simply
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514:Journal of New Music Research
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779:20th-century classical music
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408:, second edition, edited by
363:Archiv fĂĽr Musikwissenschaft
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441:Revue Belge de Musicologie
381:Revue belge de Musicologie
177:. Munich: Col Legno, 1996.
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573:The Serial Works Nos. 1–7
549:Perspectives of New Music
517:29, no. 1 (March): 37–60.
489:Perspectives of New Music
34:work by Belgian composer
546:/ Stockhausen, Boulez."
354:Blumröder, Christoph von
139:. With reference to the
50:Goeyvaerts composed the
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56:Darmstädter Ferienkurse
789:Sonatas for two pianos
449:Stockhausen, Karlheinz
527:Sabbe, Herman. 1977.
175:Karlheinz Stockhausen
60:Karlheinz Stockhausen
20:Sonata for Two Pianos
416:. London: Macmillan.
397:. Megadisc MDC 7845.
360:. Supplement to the
64:Cologne Conservatory
799:Serial compositions
428:Heinz-Klaus Metzger
180:Goeyvaerts, Karel.
794:1951 compositions
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395:The Serial Works
182:The Serial Works
143:, these sets are
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165:Discography
158:homeostatic
773:Categories
680:; 1950–51)
524:2:101–113.
338:Sabbe 1994
326:Sabbe 1981
314:Sabbe 1994
302:Sabbe 1981
266:Sabbe 1994
227:Sabbe 1981
200:References
73:Kreuzspiel
538:. 1974. "
530:1950–1975
522:Interface
508:48:35–54.
467:(cloth),
443:48:55–94.
387:48:11–14.
340:, 55, 71.
97:movements
40:serialism
724:Category
696:Nummer 5
663:(1975/6)
652:Nummer 2
644:Ensemble
634:Aquarius
540:Messiaen
501:195:2–5.
451:. 1989.
356:. 1993.
328:, 20–21.
229:, 18–19.
150:♭
122:punctual
116:Nummer 2
85:Nummer 1
28:Nummer 1
737:Portals
671:Chamber
571:, from
569:YouTube
347:Sources
124:music.
46:History
30:, is a
707:(1964)
699:(1953)
655:(1951)
636:(1992)
475:(pbk).
471:
463:
370:
81:Opus 1
52:sonata
24:Opus 1
763:Music
627:Opera
584:]
564:Audio
498:Tempo
316:, 59.
280:, 13.
268:, 64.
256:, 38.
244:, 36.
193:]
129:pitch
688:Tape
544:Fano
469:ISBN
461:ISBN
430:and
412:and
368:ISBN
304:, 7.
137:sets
127:The
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83:or
26:or
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