ABSTRACT
In order to observe the characteristics of that stream, it is necessary to consider the ways in which, and the times when, multiple dimensions converge or diverge. A network of proportional relationships specific to the climactic contour thus emerges: some correspond to proportions within other musical dimensions; others do not. Further correspondences between orchestration and other musical dimensions also exist, particularly through the selective use of the harp. Immediately apparent is the individuality of each dimension and the fact that each has its own proportional relationships. Roy Howat finds a similar situation in the music of Debussy, where proportions unique to individual musical dimensions unfold simultaneously, in what he calls a 'structural counterpoint'. Energy here is not simply multi-dimensional: it is also inter-dimensional. For some time, Dmitri Dmitriyevich Shostakovich was viewed as having 'sold out' to Soviet pressures, by writing simple, accessible music of little intellectual value.
