ABSTRACT
Each of these three characteristics of proportional design will be seen throughout the forthcoming chapters, and, in each case, these attributes will be shown to mirror closely characteristics of other musical dimensions. For instance, we will see that climaxes often fall near points of golden section, but that thematic variations tend to fall in symmetrical units. We will see that dance forms tend to contain enclosed proportional designs, while the proportional designs of sonata forms tend to be consecutive or axial. But before making such observations it is first necessary to consider how Shostakovich builds these larger patterns: how, in Asafievan terms, form grows.
