Relevant bibliographies by topics / Minor sonata

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Academic literature on the topic 'Minor sonata'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Minor sonata"

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Jackson, Barbara Garvey, and Florence Price. "Sonata in E Minor." American Music 6, no. 4 (1988): 484. http://dx.doi.org/10.2307/3051716.

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Dickinson, Nigel. "Bowen: The Piano Sonatas: Piano Sonata no. 1 in B minor op. 6; Piano Sonata no. 2 in C sharp minor op. 9; Piano Sonatas no. 3 in D minor op. 12; Short Sonata in C sharp minor op. 35 no. 1; Piano Sonata no. 5 in F minor op. 72; Piano Sonatas no. 6 in B flat minor op. 160. Danny Driver pf." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 150–51. http://dx.doi.org/10.1017/s1479409811000152.

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Brown, David. "The B Minor Sonata Revisited: Deciphering Liszt." Musical Times 144, no. 1882 (2003): 6. http://dx.doi.org/10.2307/1004702.

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Frățilă, Lioara. "An Analysis of the Piano Sonata in C Minor, Op. 4 by Frédéric Chopin." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 245–72. http://dx.doi.org/10.24193/subbmusica.2021.1.16.

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"The aura of the composer Frédéric Chopin penetrated the Western European musical culture, touching massively other cultures as well, up to the Chinese one; the certainty through which we recognize the thrill of this aura is mostly due to the fact that ”Chopin’s compositions have opened a new era in the piano’s history”. Being present in the Parisian salon with Rossini and Liszt, the great Pole achieved an organic interweaving between the tradition of Austro-German and French music. The analysis of the sonata No. 1 in C-minor op. 4 builds the core of the present study and relevantly denotes the connection of its architecture together with the set of conventions belonging to the format of the sonata-genre coming from Beethoven. As we know, the Sonata-pattern designed by Beethoven was expanded throughout the Romantic period as well as the conditions under which the aesthetics of Romanticism found a specific corridor reaching its maximum of expression. In a way of an idiomatic, natural model of transmission, the Chopin’s style of conceiving music played its predominant role. Taking into account in this approach theories belonging to the aesthetics field and some theoretical applications with significance for understanding the levers of construction concerning this sonata, op. 4 (composed when the composer was only eighteen (1828)) and Chopin’s approach of the other stages of emancipation within the genre, I will highlight its rules which emphasize implicitly the dialogue with the ”Sonata-Fantasy” genre, as this construct appears (for instance) in sonata op. 58. Keywords: language, two themes sonata, polyphony, form, evolution "
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Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (September 21, 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.

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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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Sholikhah, Jamitul Nihayatus. "Concerto in C Minor for Viola Karya Henri Casadesus dalam Tinjauan Bentuk Musik dan Teknik Permainan." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 2, no. 1 (June 28, 2019): 15. http://dx.doi.org/10.26740/vt.v2n1.p15-27.

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Penelitian ini bertujuan untuk mendeskripsikan bentuk musik dan teknik permainan Concerto in C Minor for Viola Karya Henri Casadesus. Concerto in C Minor for Viola termasuk karya musik klasik, dimainkan dalam format solo viola diiringi strings orchestra. Dasar teori yang digunakan dalam meneliti bentuk musik dan teknik permainan dalam Concerto in C Minor for Viola karya Henri Casadesus yakni analisis bentuk musik Concerto, yang didalamnya menganalisis bentuk musik sonata, analisis bentuk lagu tiga bagian, analisis bentuk musik rondo dan terakhir, menganalisis teknik permainan pada solo viola. Metode penelitian ini menggunakan penelitian deskriptif kualitatif karena tidak menggunakan angka-angka sebagai sumber datanya dan hasil penelitian memfokuskan penjabaran pada bentuk musik dan teknik permainan solo viola. Data dalam penelitian diperoleh dengan cara observasi, wawancara dan dokumentasi. Dan dianalisis dengan cara reduksi data, penyajian data dan penarikan kesimpulan. Adapun untuk menguji keabsahan data menggunakan triangulasi data. Concerto in C Minor for Viola Karya Henri Casadesus dimainkan dalam tangga nada C Minor dan memiliki 3 movement. Movement I Allegro molto ma maestoso memiliki bentuk musik sonata (sonata allegro form) yang terdiri dari bagian eksposisi, development, dan rekapitulasi yang terdiri dari 157 birama. Movement II Adagio molto espressivo memiliki bentuk lagu 3 bagian yaitu ABA’ yang terdiri dari 80 birama. Movement III Allegro molto energico memiliki bentuk musik rondo yaitu ABA’CA’’ yang terdiri dari 175 birama dan terdapat cadenza ad libitum pada bagian A’’. Teknik permainan pada Concerto in C Minor for Viola terdapat teknik staccato, legato, detaché, vibrato, accent, tremolo dan multiple stops, serta terdapat ornamen appogiatura, acciacatura.
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Granot, Roni Y., and Nori Jacoby. "Musically puzzling II: Sensitivity to overall structure in a Haydn E-minor sonata." Musicae Scientiae 16, no. 1 (November 23, 2011): 67–80. http://dx.doi.org/10.1177/1029864911423146.

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Previous studies have suggested that listeners are insensitive to the overall tonal structure of musical pieces. In Part I of this report ( Granot & Jacoby, 2011 ) we reexamined this question by means of a puzzle task using 10 segments of Mozart’s B flat major piano sonata K. 570/I. As expected, subjects had difficulty in recreating the original piece. However, their answers revealed some interesting patterns, including (1) Some sensitivity to the overall structure of A–B–A’ around the non-stable B section; (2) Non-trivial sensitivity to overall “directionality” as shown by a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; and (4) Sensitivity to opening and closing gestures, thematic similarity, and surface cues. In the current paper we further validate these findings by comparing the results obtained from a new group of participants who performed an 8-segment puzzle task of Haydn’s E minor piano sonata Hob. VXI-34/I. The similarity of our results to those obtained with the Mozart sonata validates our methods and points to the robustness of our findings, despite the differences in the music contexts (composer and key), and despite some methodological caveats.
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Granot, Roni Y., and Nori Jacoby. "Musically puzzling I: Sensitivity to overall structure in the sonata form?" Musicae Scientiae 15, no. 3 (July 6, 2011): 365–86. http://dx.doi.org/10.1177/1029864911409508.

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Previous studies have suggested that listeners are not sensitive to the overall tonal structure of musical pieces. This assumption is reexamined in the current study in an active musical puzzle task, with no time constraints, focusing on the presumably most directional musical form – the sonata form. In our first study (reported here, and referred to as “the Mozart study”), participants with varying levels of musical training were presented with disordered sections of Mozart’s piano sonata K. 570/I in B flat major and asked to rearrange the ten sections into a musically logical coherent whole. A second study (to be reported in Musicae Scientiae issue 16[1]) replicated the task in a different group of participants who listened to Haydn’s piano sonata, Hob: XVI-34/I in E minor. In contrast with previous studies, we do not focus on listeners’ ability to recover the original sonatas. Rather, we explore emergent patterns in their responses using new types of analysis. Our results indicate that listeners show: (1) Some sensitivity to the overall structure of A-B-A’ around the non-stable B section; (2) Non- trivial sensitivity to overall “directionality” through a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; (4) Sensitivity to opening and closing gestures, thematic similarity and surface cues and; (5) No sensitivity to global harmonic structure.
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GABOR, Elod, and Ignac-Csaba FILIP. "Johann Georg Pisendel: “Sonata for violin solo in A minor”." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 71–76. http://dx.doi.org/10.31926/but.pa.2019.12.61.30.

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Dissertations / Theses on the topic "Minor sonata"

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Treber, Stefan L. "A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28486/.

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This thesis examines the history and origins of Beethoven's E minor Piano Sonata and examines the possibility of the programmatic conception of the work. Dedicated to Beethoven's friend Count Moritz Lichnowsky, the sonata may have been inspired by the Count's illicit affair with his future wife, the singer and actress Josefa Stummer. Providing a thorough Schenkerian analysis of both movements, the inner harmonic structure of the composition is revealed and explained. The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse. Both English and German language sources are incorporated into a comprehensive examination of Beethoven's Piano Sonata, op. 90.
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Jancewicz, Peter. "Four piano recitals and an essay, Franz Liszt's Sonata in B-minor : interpreting articulation markings." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23104.pdf.

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Hur, ChungHwa. "Schubert's 'Wanderer' Fantasie: A creative springboard to Liszt's sonata in B minor." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282346.

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This study explores the 'Wanderer' Fantasie by Schubert, seeking to understand how its unique attributes may have been emulated by Liszt in his major piano work, the Piano Sonata in b minor. The intent of this paper is to study the compositional characteristics common to Schubert and Liszt, and to trace the relationship between the musical styles of the works through detailed examination of shared formal characteristics and similar compositional device, i.e., the technique of thematic transformation and affinities in formal relationships. Liszt was fond of Schubert's songs, and he transcribed many of them for piano. He especially loved the Fantasie, and called it "Schubert's splendid Wanderer-Dithyramb." He made an arrangement of this piece for piano and orchestra in 1851. At about the same time that Liszt transcribed the Fantasie, he composed the monumental piano work, the Sonata in b minor. The 'Wanderer' Fantasie and the Sonata in b minor have many common aspects in their form and compositional technique. Both piece are large, continuous works which consist of several movements. Notable economy of thematic ideas prevail in the whole of each work through transformation and development. It seems very likely that Liszt's idea of compositional technique in his Sonata in b minor was derived from Schubert's 'Wanderer' Fantasie.
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Tanner, Mark. "The Liszt Sonata in B minor : an analytical study of recorded performances." Thesis, Birmingham City University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310606.

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Arjona, Alfredo. "Learning From the Autograph: a New Critical Approach to Performing Liszt’s Sonata in B Minor." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804866/.

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The Sonata in B minor occupies a hallowed position in Liszt’s oeuvre, according to scholarly assessment. Despite the plethora of literature on this consummate work, the vast majority of writings on the sonata have focused almost exclusively on formal innovation, thematic transformation, and programmatic speculation, and there is a dearth of interpretative analysis of the sonata based on its fascinating autograph manuscript, even though it has been publicly accessible and widely available in facsimile for some four decades now. In view of the fact that the autograph manuscript has never been examined for the express purpose of improving performance of the sonata, this dissertation proposes to approach this problem with the direct examination of the autograph and its numerous additions and deletions, and the analysis of the many interpretive implications stemming from the surprising insights offered by the autograph itself, which is on deposit at the Pierpont Morgan Library in New York City. The goal of the dissertation is to make readily accessible a comprehensive performance-oriented study of this summit of pianism, offering solutions to the many discrepancies among its various published editions, from the first Breitkopf & Härtel in 1854 to the most recent Peters Urtext in 2011, and including photographic reproductions of the unpublished material obscured behind and beneath the collettes (idiosyncratic terminology for additional pieces of paper pasted over the manuscript) together with the author’s engraved transcriptions thereof. In sum, the dissertation provides guidance and solutions for the various forms of virtuosic and interpretive problems that earn the sonata its reputation for being one of the most difficult works in the repertoire to understand and perform.
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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
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Hendrickson, Tyler John. "John Blackwood McEwen Sonata in A minor for viola and piano (1941): a critical performance edition." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6762.

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De, Castro Martins Amaro Olga Maria. "An orchestration of the Sonata no. 3 in F-sharp minor, Op. 23 by Alexander Scriabin." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2705.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.
The work presented herewith is an orchestration of one of the most idiomatic piano pieces composed by Alexander Scriabin: the Sonata no.3 in F‐sharp minor, Op. 23. This particular orchestration involved a process of profound examination and comprehension of the form of the sonata, as well as understanding the role of each instrument of the symphony orchestra, and how they could contribute to an orchestral reconstruction of Scriabin’s work. The re‐creation of the piano part, and the whole experience that supported this challenge, resulted in the individual production in which my particular interpretation of Scriabin’s music reflects the maturity of an absorbed investigation of his style of composition.
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Nelson, Anne Marie. "Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4150/.

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The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's performance style documented in recordings of his own compositions and of works by Chopin, Schumann, Liszt, and Beethoven. Consideration is given to various aspects of interpretation, including counterpoint, asynchrony, tempo rubato, rhythmic variance, and pedaling. Each of these aspects of Paderewski's performance style is illustrated with transcriptions of excerpts from Paderewski's recordings. The author proposes examples of application of these aspects to Paderewski's Sonata, Op. 21. Chapter 5 provides a summary of the project. Appendix A contains an analysis of the rhythmic grouping that performers may find useful, and Appendix B contains the recital programs required for the degree program.
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Lang, Matthias. "Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271851/.

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Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.
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Books on the topic "Minor sonata"

1

Hamilton, Kenneth. Liszt, Sonata in B minor. Cambridge: Cambridge University Press, 1996.

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2

G, Williams J. Liszt: Sonata in B Minor. Leeds: Mayflower, 1991.

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Williams, Graham. Liszt Sonata in B minor. Leeds: Mayflower Enterprises, 1991.

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Mendelssohn-Bartholdy, Felix. Sonata in C minor for viola and piano. Boca Raton, FL: Masters Music Publications, 2000.

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Eccles, Henry. Sonata in G minor for violin and piano. New York City: International Music Co., 1989.

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Blavet, Michel. Sonata in G minor op. 2, no. 4. New York, NY: G. Schirmer, 1990.

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Reger, Max. Sonata in G minor for violoncello and piano. Boca Raton, Fla: Masters Music Publications, 1995.

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Chubb, Frederick. Sonata in C minor: With appendices and notes. Ottawa, ON: Clifford Ford Publications, 2005.

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Handel, George Frideric. Sonate E-moll (HWV 359b) =: Sonata E minor (HWV 359b) ; Sonate E-moll (HWV 379), für Flöte und Basso continuo = Sonata E minor (HWV 379), for flute and basso continuo. Wien: Universal Edition, 1988.

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10

Indy, Vincent d'. Sonata in E minor, op. 63, for solo piano. Miami Lakes, Fl: Masters Music, 1989.

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Book chapters on the topic "Minor sonata"

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Bergé, Pieter. "A step to the ‘Wanderer’. Schubert’s early Fantasia-Sonata in C minor (D. 48) 1." In Musical Improvisation and Open Forms in the Age of Beethoven, 134–48. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315406381-8.

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Hepokoski, James. "The Minor-Mode Sonata." In A Sonata Theory Handbook, 136–53. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0008.

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Minor-mode sonatas constitute a special case within classical—and later—sonata practice. In part this is because of the special affective quality historically assigned to the minor mode, along with many of the characteristic moods and colors associated with it. This chapter elaborates the “extra burden” of sonata forms in the minor mode, which often entails its drive—often thwarted—to be converted into the major, a drama that rose to central importance only in the last two or three decades of the eighteenth century, with Haydn playing a large role in it. Supplementing and updating the consideration of minor-mode sonatas in Elements of Sonata Theory, this chapter also incorporates new information gleaned from Riley’s and Graves’s separate studies of eighteenth-century minor-mode practice. Issues covered include the affective range of the minor mode; standardized minor-mode styles and “topics”; characteristic intervallic figures (like the “pathotype” figure); the aspiration and techniques of “escape into the major,” whether locally or permanently; the eighteenth-century convention of the “mediant tutti”; and the evolving concept of “tragic plot/comic plot,” relating to whether the sonata will end in minor or overcome that minor by a modal reversal into the major.
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Lester, Joel. "The Middle Movements." In Brahms's Violin Sonatas, 168–236. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0004.

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Chapter 4 explores the different ways that Brahms organized each of his violin sonatas’ middle movement(s) so as to contribute to the overall narrative of that sonata as a whole. The G-major Sonata has a single middle movement. A letter that Brahms sent to Clara Schumann concerning that slow movement provides an opportunity to explore in more detail the relationship between this sonata and the death of Brahms’s godson at age 24. The A-major Sonata’s single middle movement combines a slow movement with a scherzo. The D-minor Sonata is the only one of Brahms’s violin sonatas to have two middle movements—a slow movement and an intermezzo.
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"Liszt’s B-minor Sonata." In Two-Dimensional Sonata Form, 35–58. Leuven University Press, 2009. http://dx.doi.org/10.2307/j.ctt9qf14r.6.

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Hepokoski, James, and Warren Darcy. "Sonata Form in Minor Keys." In Elements of Sonata Theory, 306–17. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195146400.003.0014.

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Lester, Joel. "The Finales." In Brahms's Violin Sonatas, 237–328. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0005.

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Chapter 5 is a detailed study of the final movements of Brahms’s three violin sonatas. How do the finales function as separate movements? How do the finales complete the musical narratives of each entire sonata? Concerning the G-major Sonata, the chapter explores how the finale wraps up the sonata-long narratives, and how the sonata as a whole relates to the death of Brahms’s godson Felix Schumann. Concerning the A-major Sonata, the analysis looks at the ways the last movement wraps up the sonata-long narratives of how the personas of the violinist and pianist interact. In the case of the D-minor Sonata, attention is on the ways that the final movement differs dramatically yet relates to the earlier movements in the sonata.
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"Understanding the Sonata in B minor." In Liszt: Sonata in B Minor, 28–48. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511620133.004.

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"6. Liszt’S Sonata In B Minor." In Reflections on Liszt, 128–49. Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501717031-009.

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9

Hepokoski, James. "Beethoven, String Quartet in E Minor, op. 59 no. 2/i (Allegro)." In A Sonata Theory Handbook, 154–77. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0009.

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Chapter 9 combines features of chapters 7 and 8—Beethoven’s middle-period music as intensely hyperdramatized narrative and the conventions and implications of the minor-mode sonata—by closely examining the first movement of the second of his “Razumovsky” Quartets, op. 59 no. 2. The analysis of Beethoven’s quartet movement also throws into high relief that composer’s different concerns and style from those found in Haydn’s quartets (chapter 6). An initial backdrop sets Beethoven’s op. 59 into its historical context, again stressing the new demands placed by such music on both performers and listeners, and once more reminding the reader that Beethoven often approached and treated the classical “default” procedures of the preceding century with distortions or unusual harmonic swerves for effects both eccentric and dramatic. The chapter also considers some of the problems involved with cadential identification: what counts, for instance, as a “structural cadence,” and how might a decision along these lines affect our larger reading to the piece? In play, as always in Beethoven’s minor-mode sonatas, is the charged, dark-and-light tension between the negatively valenced minor and the ongoing struggle to escape from that minor into a contrasting major.
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Lester, Joel. "The Siciliana of the G-minor Sonata." In Bach's Works for Solo Violin, 87–107. Oxford University Press, 1999. http://dx.doi.org/10.1093/acprof:oso/9780195120974.003.04.

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Conference papers on the topic "Minor sonata"

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Wang, Xiao. "An Analysis of the Composing Elements of the First Movement of Shubert’s “Piano Sonata in C Minor” D958." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.010.

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