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Dissertations / Theses on the topic 'Flute sonatas'

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Published: 4 June 2021
Last updated: 3 February 2022

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1

Gallagher, Daniel Ryan. "Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601776064413.

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Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.

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3

Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.
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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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5

Hobbs, James A. (James Alton). "Six sonates pour une flute et basse ou hautbois et basse by Ernst Eichner: a performing edition with critical commentary, a lecture recital, together with three other recitals." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332477/.

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From the sources published by R. Wornum and Mme. Bérault a performing edition of the Six Sonates pour une Flute et Basse où hautbois et Basse was produced. The music was adopted to twentieth-century notation and supplied with suggestions for articulations and the performance of ornamental figures.
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Cunningham, Jennifer Ann Reinert. "A critical edition of Johann Christoph Schultze’s Six sonatas for two flutes without basso and a chaconne for two equal voices in canon." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1578.

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By the eighteenth century, the business of music publishing in Europe had exploded. Europe had become more culturally international, and interest in purchasing and performing music written by foreign composers was in vogue. Unfortunately laws governing copyright and editing of music were either difficult to enforce or non-existent, and most were not applicable on an international level. Around 1750 music publishers Leclerc and Boivin published an edition of flute sonatas in Paris. This edition was attributed to Georg Friderich Handel, whose work, at the time, was the most sought after in Western Europe. This particular collection is identical to an earlier edition published in 1729 in Hamburg, Germany by an unknown German composer, Johann Christoph Schultze. This paper is the first modern critical edition of Schultze’s Six Sonate â Doi Flauti Traversi Senza Basso Con una Ciacconna tra mischiata di doi Canoni nella medesima nascosti (Six Sonatas for Two Flute without Basso and A Chaconne for Two Equal Voices in Canon) and marks the first time the Chaconne has appeared in modern notation. The edition aims to be as true as possible to the 1729 publication, notes standard performance practices, and answers the question as to why the 1750 edition may have been falsely attributed to Handel.
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Kwag, Munjung. "A Performance Guide on Selected Sonatas for Flute and Piano by:Darius Milhaud (1892-1974), Louis Durey (1888-1979), Francis Poulenc (1899-1963)." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627665101419925.

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8

McNulty, Sarah. "C.P.E. Bach's flute and continuo sonatas (Wq.125-129, 134) : rhetorical processes used to convey a religious understanding and implications for performance." Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542822.

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Hutchinson, Paula C. "Structure and Style in Three Flute Works of John La Montaine : With Three Recitals of Selected Works by Bach, Prokofiev, Messiaen, Reinecke, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277868/.

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This comprehensive study specifically includes: a brief biography of La Montaine, background surrounding the composition of the three works, a thorough analysis of each work, and a style comparison of the three pieces. Materials in the appendixes are: an annotated list of La Montaine's flute compositions; the text of the song cycle Fragments; an interview with John La Montaine; and an interview with Doriot Anthony Dwyer, to whom Come into My Garden and My Beloved, Let Us Go Forth are dedicated.
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Gimenes, Marilia Gabriela do Nascimento. "Osvaldo Lacerda’s Sonata for Flute and Piano (1959): A Performance Guide with Historical Background of Brazilian Genres Embolada, Serestra, and Baião." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177200/.

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Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.
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Drude, Matthias. "Sonate für Flöte solo (1986-87)." Matthias Drude, 1987. https://slub.qucosa.de/id/qucosa%3A72474.

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Die Sonate für Flöte solo, 1986 – 87 für die hannoversche Flötistin Barbara Hannemann komponiert, besteht aus einem gut dreiminütigen Allegretto, dessen spielerisch-heiterer, an Hindemith gemahnender Anfang eine eher harmlose, unkomplizierte Musik erwarten lässt (diese Erwartungshaltung wird wenigstens teilweise enttäuscht) und einem mit gut fünf Minuten ausgedehnteren zweiten Satz, in dem sich ruhige Partien (Andante) und schnelle Partien (Allegro) abwechseln. Eine wichtige Idee des Werkes ist die der „latenten Mehrstimmigkeit“, also der Vortäuschung von Zwei- oder sogar Dreistimmigkeit in einem – instrumentenbedingt - real einstimmigen Satz. Diese wird vor allem im ersten Allegro-Abschnitt, einem Fugato, realisiert. Das geschieht durch den raschen Wechsel unterschiedlicher Lagen, Lautstärken und Artikulationen, die für jeweils unterschiedliche Stimmen stehen.
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Harman, Maria D. Alene. "Erwin Schulhoff (1894-1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103324/.

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Erwin Schulhoff (1894–1942) was a Czechoslovakian musician born in Prague, to a German-Jewish family, and whose life came to a premature end in 1942 at the Wülzburg concentration camp, near Weißenburg, Bavaria. Schulhoff’s life, compositional style, and two of his flute works are addressed in this dissertation: Sonata for flute and pianoforte, WV 86, and Concertino for Flute, Viola, and Double Bass, WV 75. Each work is considered as a discrete entity, and insight provided into the structure of the music; stylistic and compositional influences, form, phrase structure, and other aspects are discussed. The intended audience is the flutist seeking knowledge regarding the historical significance and performance of each piece. The analysis and summary of Schulhoff’s life and primary flute works will contribute to the understanding of performance scholarship of his music and provide a deeper understanding of the composer, from the perspective of musical and compositional style.
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Pak, Moon-Chung. "Sonata form in the six quintets, opus 11, by Johann Christian Bach." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026704.

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This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.
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14

Wan, Yuh-Jiun. "Recreating Quantz| His Life, Instruments, Treatise and Galant Style in Flute Sonata No. 276 in C Minor, QV 1|18." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10264105.

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Johann Joachim Quantz was a leading flutist, flute teacher, flute maker, and composer in the eighteenth century. He was most acclaimed for serving as top court musician along with C.P.E. Bach under Frederick the Great. Sadly his music and his instruments were deemed outdated by his contemporaries after his death. But since the revival of Baroque music at the end of the nineteenth century, early music and historical instruments have gained prominence, and Quantz has been restored to his rightful place as one of the most influential flute figures in music history. This project delves into Quantz’s life, work, and legacy.

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Webb, Timothy. "Part I The Samson Suite for Chamber Orchestra. Part II The Provocative Prokofiev: Analysis of Moderato Movement Sonata for Flute and Piano in D Major, Opus 94." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1280337287.

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16

Volcansek, Frederick Wallace. "The Essercizii musici, a study of the late baroque sonata." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/volcansek%5Ffredercik%5Fjr/index.htm.

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17

Ericsson, Lena Weman. ""...världens skridskotystnad före Bach" : historiskt informerad uppförandepraxis ur ett kontextuellt musikontologiskt perspektiv, belyst genom en fallstudie av Sonat i E-dur, BWV 1035, av J S Bach." Doctoral thesis, Luleå tekniska universitet, Musik och dans, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26656.

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The aim of the present study is to explore the so-called historically informed performance movement, which also is my own musical performance tradition, from a general perspective grounded in musical philosophy. The discussions concerning this performance tradition have been dominated by different subjects, such as musical works, authenticity, intention and interpretation. The study focuses on Western art music where the performance of the music, the sounding realisation, of a notated work is central. Therefore, the performance in connection with the abovementioned subjects is of prime interest. This more overarching theme gave rise to the following questions: What factors can be considered decisive for whether a performance is a historically informed performance or not? How can these factors be identified? Does this mean that there are instructions in the music that I, as a musician, must obey? What does my artistic freedom look like? Where can I find it? The path to tentative answers to these questions is taken via theoretical discussions and the application of the theory in method and analyses as well as in interpretation.The theoretical perspective of the study is based on contextual musical ontology. The scientific theoretical framework, emanating from this ontology, is formulated in the field of social constructionism.The performance can, through this perspective, be identified as an indispensable part of the musical work, which also implies that the notated work itself is not sufficient to identify the work. Further, the emphasis on the context's importance for the performance in order to allow the performance to be of the work in question implies the necessity of awareness of the context of the work. This concept is deepened in the study through the emphasis on the importance for the performance, in a broad perspective, of the historical as well as the contemporary socio-cultural context. For the work itself this means that the identity of the work is unstable, it is constantly changing, since the different performances of the work that are parts of the work can never be identical. The perspective is based on social constructivist theories about knowledge. With contextual musical ontology as a point of departure, a strategy is formulated concerning analysis and investigation of a musical work. This strategy focuses on the notation, the instrumentation, and historical performance conventions. These three parts interact with one another and in the study they are formulated as being inseparable from the performance of the work.The theoretical part of the study is followed by a case study in which a sonata by Johann Sebastian Bach is studied from the articulated theoretical perspective. The case study contains an investigative part and an interpretative part. The work's notation is always in focus in the investigative and descriptive part, with emphasis on the socio-cultural context connected to the notation. Through the sounding interpretations, the different performances, the final chapter results in a summary of the study as a whole.
Syftet med föreliggande studie är att studera så kallad historiskt informerad uppförandepraxis, och därmed även min egen musikaliska inriktning, ur ett generellt musikfilosofiskt perspektiv. De olika begrepp och frågeställningar som kan sägas dominera diskussionerna kring denna framförandetradition är verk, autenticitet, intention och interpretation. I fokus för studien befinner sig musik inom den västerländska konstmusiktraditionen inom vilken framförandet av musik, den klingande realiseringen av ett noterat verk, är central. Därför står framförandet, i relation till ovan nämnda begrepp, i fokus. Detta mer övergripande tema leder fram till följande frågeställningar: Vilka faktorer kan betraktas som avgörande för att ett framförande kan betraktas som ett historiskt informerat framförande? Hur kan dessa faktorer identifieras? Innebär det att det finns instruktioner i musiken som jag som musiker måste följa? Hur ser min konstnärliga frihet ut? Var finner jag den? Vägen till tentativa svar på dessa frågor har gått via teoretiska resonemang, och applicering av teorin i såväl metod och analys som interpretation. Studiens teoretiska perspektiv och överbyggnad baseras på kontextuell musikontologi. Det vetenskapsteoretiska ramverket, utifrån denna ontologiska grund, formuleras inom ramen för den socialkonstruktionistiska tanketraditionen. Genom detta perspektiv kan framförandet av verket identifieras som en omistlig del av verket, vilket också innebär att enbart notationen inte är tillräcklig för att definiera verket. Vidare innebär teorins betoning av kontextens betydelse att ett framförande för att vara ett framförande av verket, medvetet måste förhålla sig till verkets kontext. Detta perspektiv fördjupas i studien genom att betona den socio-kulturella kontextens betydelse i ett större perspektiv, såväl den historiska som den nutida, för framförandet. För verket innebär det att dess identitet är föränderlig, då de olika framföranden som är en del av verket inte kan vara identiska. Denna syn baseras på socialkonstruktivistiska teorier om kunskapsbyggande. Med utgångspunkt i kontextuell musikontologi formuleras också en strategi för att analysera och undersöka ett verk utifrån notationen, instrumentationen och uppförandepraktiska konventioner, tre delar av verket som griper in i varandra och som konstateras vara omistliga att förhålla sig till vid ett framförande. Studiens teoretiska del åtföljs av en fallstudie där en sonat av Johann Sebastian Bach studeras utifrån det teoretiska perspektivet. Fallstudien består av en undersökande del och en tillämpande interpretativ del. För den undersökande, och i viss mån deskriptiva delen står verkets notation hela tiden i fokus, med tyngdpunkt på notationens socio-kulturella kontext. Det avslutande kapitlet resulterar, genom de klingande gestaltningarna av sonaten, i en sammanfattning av studien som helhet. Avhandlingens slutkapitel utgörs även av en CD. Den kan beställas genom registrator på Institutionen för musik och medier vid Luleå tekniska universitet. E-post: muh-registrator(at)ltu.se
Godkänd; 2008; 20081113 (ysko)
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18

Velasco, Daniel. "Master's thesis recital (flute)." 2011. http://hdl.handle.net/2152/16569.

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Olsen, Alison. "Master's thesis recital (flute)." 2011. http://hdl.handle.net/2152/16432.

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Sonata in G major, HWV 363b / George Frederic Handel -- Suite for flute and piano op. 34 / Charles-Marie Widor -- Duo for flute and piano / Aaron Copland -- Sequenza I for flute solo / Luciano Berio -- Fantasie on C. M. Weber's Der Freischutz / Claude-Paul Taffanel.
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Ryan, Brendan. "Master's thesis recital (flute)." Thesis, 2014. http://hdl.handle.net/2152/24401.

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Hagen, Timothy M. "Doctoral thesis recital (flute)." Thesis, 2014. http://hdl.handle.net/2152/24398.

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Run before lightning / Jonathan Harvey -- NoaNoa / Kaija Saariaho -- Sonata: motion / Lawrence Dillon -- Rocket / Timothy Hagen -- Aria, op.48, no.1 / Erno Dohnanyi -- Sonata for flute and piano / Walter Piston.
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Slottow, Mackenzie. "Master's thesis recital (flute)." 2011. http://hdl.handle.net/2152/17033.

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Sonata in E major BWV 1035 / Johann Sebastian Bach -- Suite for flute and piano, op. 34 / Charles-Marie Widor -- Sonatine for flute and piano / Walter Gieseking -- Fractus III: Aerophoneme for flute and supercollider / Eli Fieldsteel.
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Blakely, Brandy L. "Jean-Marie Leclair's flute & violin sonatas comments & controversies /." 2002. http://catalog.hathitrust.org/api/volumes/oclc/50407396.html.

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Minaux, Francois. "Doctoral thesis recital (flute)." 2011. http://hdl.handle.net/2152/16458.

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Foliage op. 8 for flute and piano / Daniel Carr -- Sonata in A minor "Arpeggione" for flute and piano / Franz Schubert -- Around, awry for flute doubling picc. and organ / Ethan F. Greene -- Fantasiestucke op. 73 for alto flute and piano / Robert Schumann -- Sonata in A minor for flute and piano / Cesar Franck.
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Chou, Hsiang-Wen, and 鄒湘雯. "Study on J.S. Bach sonatas for Flute and Basso Continuo—BWV1033､BWV1034､BWV1035." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/4tmsvs.

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Bazala, Alison Andrist Audrey Vadala Kathleen Newman Edward Boyle Tara. "Bohuslav Martinů's chamber music for violoncello and piano." 2005. http://hdl.handle.net/1903/9747.

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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Hsieh, Lan-li, and 謝蘭莉. "Neo-Classicism in Hindemith’s Flute Sonata, First Movement." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/73939953313540074990.

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Siegel, Merrie R. "Samuel Zyman's Concerto for Flute and Small Orchestra and Sonata for Flute and Piano." Thesis, 2000. http://hdl.handle.net/1911/19556.

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The compositional style of Samuel Zyman's two flute works, Concerto for Flute and Small Orchestra and Sonata for Flute and Piano , is examined through formal and stylistic analyses, as well as interviews with the composer and with the flutist who commissioned both works, Marisa Canales. The two Neo-Romantic works make use of clear formal structures, such as sonata allegro and rondo forms. These traditional structures are greatly expanded, mainly through the use of highly active and extended development sections. Rhythmic drive is an essential element of both of these works. These aspects, along with highly contrapuntal writing, cyclical elements, and the expansive use of melody allow for two very cohesive but complex works. Modal inflection also adds a very original and interesting musical flavor to the works.
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Chen, Mei-Chu, and 陳美筑. "Analytical of C. P. E. Bach: Sonata for Flute and Piano, Wq. 86. H. Büsser:“Andalucia” for Flute and Piano, Op. 86. E. Schulhoff: Sonata for Flute and Piano." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/49udw3.

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碩士
國立清華大學
音樂學系所
106
The full text is the analysis of the concert performance. Altogether divides into three chapters: the first chapter analyzes the Carl Philipp Emanuel Bach∶ Sonata for Flute and Piano in G major¸ Wq. 86; the second chapter analyzes the Henri Büsser：“Andalucia”for Flute and Piano, Op.86; the third chapter analyzes Erwin Schulhoff Sonata for Flute and Piano .This article briefly describes the composer's life, creation background and music analysis and interpretation, hoping that this paper can help readers to have a deeper research and performance practice on these works.
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Au, Yang Chen, and 歐陽真. "Chromaticism and Tonal Conflicts in Lowell Liebermann's Flute Sonata." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/04417620853593024149.

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Garner, Lisa Michelle. "Lowell Liebermann: A stylistic analysis and discussion of the Sonata for Flute and Piano, op. 23, Sonata for Flute and Guitar, op. 25, and "Soliloquy" for flute solo, op. 44." Thesis, 1997. http://hdl.handle.net/1911/19160.

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The compositional style of three chamber works for flute by Lowell Liebermann is explored through harmonic and formal analyses, an interview with the composer, Lowell Liebermann, and interviews with the flutists who commissioned the works, Paula Robison and Katherine Kemler. Liebermann's musical style, as represented in three chamber works, is explained as a continuation of Classical and Romantic traditions. Variants of the classic Sonata Allegro and Rondo forms are employed. Traditional techniques such as augmentation, diminution, retrograde and sequence are utilized. Contrast is provided by the composition of dramatically contrasting thematic material and frequent changes in texture. Works are tightly organized with cyclic material as well as thematic overlapping, fusion, and transformation. Tonally, Liebermann has combined functional harmony with polytonality. Although the tonal areas employed in these works are almost always closely related, each is usually combined with a second tonal region. For example, in the Sonata for Flute and Guitar, E major is usually superimposed on E minor. In the case of the Soliloquy, tonalities are combined to stress the important intervallic relationship of the tritone. The expressive abilities of the flute are drawn upon in Liebermann's approach to melody. The long, sustained lines of the lyrical sections are colored with a wide range of dynamics and therefore demand a high level of musical maturity from the performers. This is contrasted with fast, intensely rhythmical sections or movements which showcase technical virtuosity. All three works are well-constructed, sophisticated works of art, yet they are accessible to any audience. The Sonata for Flute and Piano and the Soliloquy for Flute Solo have already made their way into the standard flute repertoire. Liebermann has made a major contribution to the contemporary flute repertory.
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Hsu, Chi-han, and 徐繼涵. "A Study of Flute Sonata op.167"Undine" by Carl Reinecke/Chi-han Hsu Flute Recital." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/18018587005746979770.

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碩士
東吳大學
音樂學系
97
Carl Reinecke is a German composer, pianist, as well as conductor. He is a diverse composer who expresses rich emotions in a strict classic form, emphasizing both form and the spirit of the music. Romanticism arises from German Sturm and Drang movement in the 19th century, thus the important distinction of music during this period is the close integration of literature and music. Many literary giant provide vivid drama and lyric works which turn out to be important inspiration for composers. This Undine Sonata is the creation inspired by the literature piece “Undine” at that time, combining the content of a touching love story and delicate trait of Reinecke’s music. This thesis not only analyzes the structure and components used in this work, but integrates the content of the story to discuss the union of music and literature, and the relationship between the story, composing techniques, and music scenario under Romanticism in the 19th century. Hopefully after thorough study, one can interpret this piece with more imagination on the music background so as to fully express the sentiment of the music. 【Chi-han Hsu Flute Recital】 W.A.Mozart:Sonata in F major for Flute and Piano, K. 13 C.Reinecke:Ballade op.288 C.P.Taffanel:Fantaisie Sur Le Freischutz A. Piazzolla：Histoire du Tango A. Jolivet: Concerto pour fl�矌e et orchestre �� cordes
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Walker, Deanne Elaine. "An analysis of Debussy's "Sonata for Flute, Viola, and Harp"." Thesis, 1988. http://hdl.handle.net/1911/17024.

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The Sonata for Flute, Viola, and Harp, written in 1915, is an excellent example of Claude Debussy's later style. The purpose of this thesis is to discuss the elements of this later style and represent them graphically. In particular, the intermovemental motives, both harmonic and melodic, and the manipulation and development of the phrases are closely examined. Also discussed is the impact of the interaction, and orchestration, and equal use of the three instruments on the effectiveness of the piece. Upon study of the analysis and the accompanying discussion, one will have a greater understanding of the individual parts which together make up a unique and fascinating whole; one of Debussy's finest compositions.
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Cheng, I. Shih, and 史正怡. "The Expressive Nature of Feld's Sonata for Flute and Piano." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/19299708986636757756.

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Chiang, Ting-yi, and 江亭儀. "The Analysis and Interpretation ofFirst Sonata for Flute and Piano byBohuslav Martinu/ Ting-yi Chiang Flute Recital." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/41558394589453833085.

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碩士
東吳大學
音樂學系
98
Bohuslav Martinue (1890-1959) was a representative composer and an outstanding educationist as well in Czech in the 20th century. He grew up at the time when the history was moving from the 19th century to the 20th century during which politics, society, culture and art were all in turbulence. Such situation brought him some impact on his multiple and innovative styles or forms upon creation. Martinue lived in a foreign country and was unable to return to his hometown for most of his life due to the transitions of the environment. Therefore, his works often revealed Czech melodies and styles which reflected his homesickness. In addition, he was one of those who further developed the nationalist school in Czech following Bedich Smetana, Anton Dvorak and Leos Janacek. He was good at absorbing and fusing various musical materials. He kept trying and applying different combinations in his works. The subject matters of his works ranged from Jazz in America, Impressionism by Claude Debussy, Neoclassicism to English madrigals during the Renaissance period.“First Sonata”was completed by Martinue in America in 1945. This composition was particularly dedicated to Georges Laurent, French chief flute player of Boston Symphony Orchestra. This was the only sonata for flute among his works. In this work, Martinue fully applied his Czech style and characteristics. There were ballad rhythms and special tempos. These characteristics made the sonata to be considered an important work among those for flute in the 20th century. The author hopes that the in-depth research and analysis on this work may help achieve better interpretation closest to the original composition. It is also expected that this study may be more helpful to the people who desire to know this sonata for flute. 〈Ting-yi Chiang Flute Recital〉 Beethoven: Sonate in F Major op.17 for flute and piano Hindemith: Sonate for flute and piano Reinecke: Ballade op.288 Piazzolla : Histoire du Tango pour flute et piano
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Wang, Shang-Fang, and 王上芳. "The Analysis and Interpretation of Mouquet’s Sonata for Flute and Piano, “La Flute de Pan” , Op.15." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/00809634438401536633.

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Jelle, Lisa A. "The flute and piccolo music of Martin Amlin: An introduction, discussion, and analyses of the Sonata for Flute and Piano; "Trio Sonatina" for flute, clarinet, and piano; and Sonata for Piccolo and Piano." Thesis, 2000. http://hdl.handle.net/1911/19514.

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The compositional style of music for flute and piccolo by Martin Amlin is examined through formal and harmonic analyses and through interviews with the composer and the musicians most closely associated with the works, flutist Leone Buyse and piccoloist Zart Dombourian-Eby. Amlin's compositional style as represented in these pieces may be described as combining characteristic twentieth-century American driving rhythms and perpetual motion, symmetry on multiple levels, and a unique blend of French use of color and phrasing. Complex rhythms and constantly-shifting meters and timbres give the music a kaleidoscopic effect. The composer's fascination with symmetry is reflected both formally and harmonically, in both the often-used arch form and the frequent use of serialism based on symmetrical tone rows. Symmetrical division of meter often produces jazz rhythms, and major and minor 7th chords are featured due to their symmetrical sound. Amlin's style of serialism appeals to many because of its unusual, almost-tonal sound. This effect is due to the structure of the rows, in which half of the intervals are perfect 4ths; many major and minor 7th chords are produced internally. This is intentional on the part of the composer, who is not so much intent on abandoning all tonality as on producing music that finds favor with both the ear and the mind. All three pieces exhibit use of the full range of the instruments, a quality that both Buyse and Dombourian-Eby mentioned as appealing to them. Yet, as in the style of the best sonatas of the repertoire, the parts are balanced; lines interweave, rise, and fall in a balanced whole. As more flutists become aware of the quality of these works, they will become a strong and vibrant staple of the body of flute and piccolo literature.
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Wang, Bing-Cheng, and 王稟程. "Analysis and Interpretation of Francis Poulenc's Sonata for Flute and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/69696299060878563744.

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碩士
國立臺灣藝術大學
音樂學系
99
This dissertation contains five chapters. The first chapter displays the frame and the aspect of the research by revealing the purpose of selecting the topic, the range of the study, and the methods used to complete the dissertation. The second chapter introduces the composer, Francis Poulenc (1899-1963) who was active in the twentieth century. Poulenc is a representative of French Neoclassicism. His most famous compositions are the chamber music. The Sonata for Flute and Piano is one of his well-known creation which is also a very important repertoire of flutes. Moreover, the chapter explains the influences of society and environment upon the music style and the composers. The third chapter includes two parts. The first part shows the background of The Sonata for Flute and Piano. The second part compares the differences between various editions of the scores, and also analyzes the factors that affect the performance. The forth chapter clarifies the theme, the characteristics of The Sonata for Flute and Piano, the connection of distinct performing ways of interpretation, and the suggestions of performing from the author of the dissertation. In the final chapter the author discusses the impression on the composition and his conclusion for the readers’ reference.
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Lee, Tzu-Jung, and 李姿蓉. "A Study of Liebermann’s Sonata for Flute and Piano Op. 23." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/80227659921135294253.

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碩士
國立臺南藝術大學
鋼琴伴奏合作藝術研究所
99
Lowell Liebermann, born in 1961, is one of the most active and sought after composers in the United States. Over the recent years, there are researches on many of his compositions gradually. The Flute Sonata, Op. 23 is his first composition for flute and piano. It consists of Libermann’s typical and traditional writings in terms of musical structures, which are also integrated with modern techniques. The objective of this thesis is to better understand Libermann’s compositional philosophy. This thesis is organized as follows: Chapter 1 introduces Op. 23 and the basic contents of this paper in general. Chapter 2, we will discuss about Libermann’s life and his specific compositional methods to further understand the composer’s writing styles. Chapter 3 is unfolded to understand the flute sonata and its compositional background, followed by the cross-analyses of musical structure, thematic material and tonal usage of the work. Textural comparison and discussion on Libermann’s compositional method upon the sonata will be made. The performing technique of the flute and piano, as well as the interpretation and other performance-related issues of the work will be explored from an artistic point of view in final section. Then the conclusion will be made in Chapter 4.
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Lin, Tz-Lin, and 林紫琳. "J.S.Bach Flute Sonata BWV 1034 in e minor Analysis and Interpretation." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/73009177704008132004.

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碩士
台南應用科技大學
音樂研究所
100
The primary purpose of this thesis is to thoroughly discuss analysis and interpretation of J.S. Bach flute sonata BWV1034 in e minor. In 1724, Bach completed this flute sonata during the climax of his composition career. The goal of this document is to analyze and introduce the interpretation of this flute sonata which is divided into six chapters. Chapter One includes Baroque history, introduction of the solo sonata form and J.S.Bach’s life. Chapter Two, Three, Four, Five includes the analysis and the interpretation of this four-movement flute sonata. In these chapters, the construction of “Fortspinnung” ,the contrasts of dynamic between flute and piano, and the sequence inpacts of harmony will be discussed. Chapter Six is the conclusion with suggestions and references for flutists who perform this work.
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Hung, Shu-Ying, and 洪淑瑩. "Study on J.S. Bach’s flute and harpsichord sonata—BWV1030、1031、1032." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/r63ac5.

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Yeh, Jou-ching, and 葉柔青. "Development and Comparison of Flute Sonata - from Baroque to Modern times." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/22835688170290344283.

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碩士
國立臺中教育大學
音樂學系碩士班
98
Sonata is an important performance genre of instruments, so does flute. Styles of the flute sonata are very different in each period in western music history due to the development of flute. The study aims to explore the characteristics and differences of flute sonata in different periods as well as the development of flute sonata. This study includes three sections: a) history of sonata, including its development and musical form, b) development of flute sonata, c) comparison of musical forms of representative flute sonatas in each period, furthermore, analysis of profound compositions. The following repertoires are chosen in the study: Johann Sebastian Bach’s “Sonata in b minor for flute and obbligato harpsichord, BWV 1030,” François Devienne’s “Sonata in D major,” Carl Reinecke’s “Flute sonata op.167 “Undine,” Francis Poulenc’s “Sonata for flute and piano,” and Pierre Boulez’s “Sonatine for flute and piano.” Finally, the researcher compares and explains skills in different periods with discoveries and gains in the practices. Moreover, the researcher analyzes the phrasing interpretation in various periods. The research concludes five characteristics of flute sonata as importance, unity, extension, difference, and prevalence.
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Chen, Yun-Lan, and 陳韻嵐. "The Performance of Prokofiev''s Flute Sonata in D, Op.94." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/12020442479077038090.

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Sung, Yi-Lin, and 宋以琳. "The Analysis and Interpretation of César Franck’s Flute Sonata in A major." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/34404435635544634026.

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碩士
輔仁大學
音樂研究所
101
César Franck（1822-1890）is regarded as one of French’s most influential composers of the nineteenth century as well as a famous organist, and a music educator. His music style deprives from the rationality of German and Austrian music tradition and sensibility of French music, expressing rich emotions in a strictly classical form, emphasizing both form and the spirit of the music. Sonata in A Major was composed in 1886, which was the only instrumental duo sonata composed in his life. In addition, the sonata was dedicated to his bosom friend Eugène Ysaÿe（1858-1931）as a wedding gift. This thesis is divided into five chapters: The first chapter, introduction of research motivations, purposes, and methods; The second chapter, César Franck’s bibliography and compositional style. It includes setting the music environment of nineteenth century as the penetration point to study Franck’s life, and dividng three-era parts of his compositional style according to his biographies which are written by his fellows; The third chapter, analysis of Sonata in A Major; The fourth chapter, interpretation of the sonata. The research is based on structures form and arranging the performance by its speeds and dynamics of each movement; The fifth chapter, conclusion. Hopefully upon thorough study, one can interpret this piece with more imagination after familiarizing oneself with the compositional background as well as fully express the sentiment of this phenomenal piece.
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Chu, Lin Hsaio, and 林曉初. "Musical Analysis and Interpretation of Reinecke’s Sonata for Flute Undine, Op. 167." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/66921474368889258962.

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碩士
臺北市立教育大學
音樂藝術研究所
94
Abstract Romanticism in the 19th century is characteristic of the close relationship between its literature and music. Plenty of colorful and dramatic fictions and literary works were accomplished in this period. Development of the Romantic music has followed the evolution and ideas of the literature. For the flute playing, not only the techniques are highly demanded, detailed interpretation with more personal emotions is also expected. The German composer Carl Heinrich Carsten Reinecke (1824~1910), though his career almost compassed the whole Romantic period, has admired the music principles and style of the Classicism. Following the tradition of the Classicism, his compositions has emphasized on forms and contents of the music. Reinecke’s sonata for flute Undine, Op. 167 is surveyed in this article. The background, music forms, and the styles of Reinecke’s works are fully studied. Through the analysis of Reinecke’s music and studying of the metaphor of the music inside original poem, ways of interpretation are built. Music is the product of thought, craft, and inspiration. Tradition and renovation is not always contradictory to each other. Tradition records the success of renovation. Thoroughly running through the score, a new scheme of performing will be built. Contents of a composition, its relation with other arts, methods the composer adopts, and its characteristics have to be taken into surveying before the performance. This article, “Musical Analysis and Interpretation of Reinecke’s Sonata for Flute Undine, Op. 167” are divided into five chapters. The motives, methods, and goals of research are shown in first chapter. The background and life of Reinecke, setting, and synopsis of this composition are introduced in second chapter. Detailed structural analysis is accomplished in third chapter, and the results are tabled. Literary description of this composition, which goes through the whole work measure by measure and covers the tempo, dynamics, and touch is included in fourth chapters. Based on results of preceding chapters, the summary and conclusion is made in the last chapter. Keywords: Reinecke. Romanticism. Undine
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Li, Ruei-Ying, and 李瑞瑩. "A Study and Analysis on Jindřich Feld’s Sonata for Flute and Piano." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4z32rz.

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碩士
國立中山大學
音樂學系研究所
102
Jindřich Feld is one of 20th-century’s well-known Czech composers of classic music, and his compositions are recognized to have tonally based on harmonies, clarity of form, strong rhythmic pulsation and instrumental virtuosity. His work, “Sonata for flute and piano” was a masterpiece completed in 1957, in a clear-cut musical form with distinct rhymes, and instrumental virtuosity. This work was appraised as the best flute composition in the twenty century by National Flute Society in 2000, which has been a very popular choice for flute performance. This essay is going to discuss this flute sonata in three parts: First part is to discuss the composer’s biography and his three major creation periods and his flute compositions; second part is to have an in-depth analysis on his works; and the third part is to combine the contemporary flute players’ reviews on the flute works in the areas of performance, learning and teaching materials, and objective conclusions on flute musical expression as to provide further advice.
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LIAO, WEN-HSUAN, and 廖文瑄. "Analysis and Interpretation of Sonata for Flute and Piano by Otar Taktakishvili." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/x948qq.

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碩士
國立臺灣藝術大學
音樂學系
105
Otar Taktakishvili （1924-1989）is a composer and conductor the former Georgian Soviet Socialist Republic. He devoted his life to the revitalization of Georgian musical heritage and musical education.  Due to this, he contributed greatly to the development of Georgian ethnic music. This dissertation examines one of the most renowned pieces written by Taktakishvili— the “Sonata for Flute and Piano.” The three-movement work contains many elements of folk songs. The first movement is in classical sonata form. It features evocative and melodic lines that express the motivation behind this piece. The second movement is in the A-B-A form. Intense emotions are embodied in the melodies within this movement. The third movement is a Rondo scherzo.  It contains the elements of the former and yet is ingeniously manipulated in rhythm to create an ambiance different from that of the previous two movements. The composer has excelled in his adroit handling of the musical register. The timbre of his musical output emphasizes the contrasts between the movements and leads the music to its crescendo. This dissertation consists of five chapters. Chapter 1 is an overview of the study. Chapter 2 introduces the cultural background, the life, and the compositional style of Otar Taktakishvili. Chapter 3 presents an analysis of his most celebrated Sonata in terms of its structure, rhythm, melody, tonality, and harmony. Chapter 4 presents some suggestions based on the analysis done in Chapter 3. Chapter 5 concludes the dissertation.
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Shen, Chia, and 沈佳. "The Analysis and Interpretation of《Flute Sonata, Op.120》by York Bowen." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6e2hmy.

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碩士
國立臺北教育大學
音樂學系碩士班
106
Abstract Edwin York Bowen(1884-1961) was an English composer and pianist. He had shown his talente of music since he was eight. He studied at the Blackheath Conservatoire, and got an Erard Scholarship from Royal Academy of Music, where he studied piano and composition from 1898 to 1905. During his time in the Royal Academy of Music, he has won a lot of piano and composition awards. In 1909, he was appointed to be the professor of Royal Academy of Music. Bowen has composed over 160 pieces, and his works shows a blend of Romanticism and strong individuality. Camille Saint-Saëns considered York Bowen the finest of English composer of his time. To honor York Bowen, the Royal Academy of Music established a York Bowen Prize. 《Flute Sonata Op.120》is the most representative work of York Bowen. The thesis includes five chapters to research the work. Chapter one explains the motivation, purpose, scope of the study, and methods. Chapter two introduces the life of the composer and his compositional style. Chapter three analyzes the structure of each movement and presents them in table form. Chapter four is the interpretation, the personal interpretation will be demonstrated in the separated score. Chapter five is the conclusion, and I will conclude the thesis in chapter five.
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YANG, CHIH-YUEH, and 楊智越. "The Analysis and Interpretation of Mel Bonis: Sonata for Flute and Piano." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/93rmy7.

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碩士
國立臺北藝術大學
管絃與擊樂研究所
106
Mel Bonis (1858-1937), a female French composer, whose original name was Mélanie Hélène Bonis. She changed and gender-neutralized her own name in order to publish her works during the times when women are not valued. This thesis is based on Bonis’s ‘Sonata pour Flûte et Piano, Op. 64’. The discussion will divide into three chapters. The first one will introduce the composer’s background before into the next chapter which analysis the structure and motive, the final chapter is about the author’s personal point of views, combined with the arts of Western and Orient aesthetics.
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