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1
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 The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse.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.School of Music
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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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陳厚如. "Ottorino respighi:Violin sonata in B minor." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/39145951685901075629.
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Ko-Hsiang, Liao, and 廖可翔. "Robert Schumann: Piano Sonata No.3 in F Minor, Op.14 (“Grande Sonata”)." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/77088258008389707093.
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碩士臺北市立師範學院
音樂藝術研究所
91
During the rise of the French Revolution, industrial and commercial business in the end of the eighteen century, consciousness of freedom and civil rights were increasing in an unprecedented manner. Citizens were fighting for their human rights, and thus, Romanticism took off. Romanticism focused on human beings and emphasized on the sensibility and imagination. The music style during this period of time was formless and one could freely express his ideas and composers preferred “Program Music” and tried to personify their compositions. As for stylized sonata, it was not popularly introduced as it was during the Classical period. The Piano Sonata No.3, Op.14 of Robert Schumann was rare music made by extensive format and its content was much more fullness than structure. The structure of sonata form had been out of the typical way of Classical period and one of its features was to recall the development completely after the recapitulation. To let the “Clara” motive over through this composition, both of the harmony and syntax appeared Schumann’s individual and unique style. This article is included of music connotation、composition analysis and performing interpretation、comparing the 1st edition with the 2ed edition and so on. music connotation is the explanation about the background of creating and the conclusion of Schumann’s used composition techniques such as subjects、keys、harmonies、counterpoints、rhythms、melodies. Composition analysis is to analyze、compare with others and point out the different of the 1st edition and the 2ed edition according to forms、structures、subjective motives、melodies、harmonies、rhythms、keys、phrases and Schumann’s special creative way. As to performing interpretation, expect the musical style in the period of Romanticism and Schumann’s musical specialty，it also research to the use in practical such as dealing with the tone color of playing, choosing the tempo, interpreting the music style, dividing the phrase, the main points of breath, choosing the fingering, pedal assistance, performing dynamics and the contrast between forte and piano, etc. Comparing edition is to take some piano players’ CD and various scores to analyze and research. Wish to use more adaptable, apt words and languages to interpret this composition through analysis, research and results of playing practically.
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Hsu, Wei-Ying, and 許偉瑛. "Brahms Violin Sonata No.3 Op.108 D minor." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/15081789512614413721.
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Liao, Chin-Yi, and 廖謹儀. "A Study of Brahms Cello Sonata in E Minor." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/8t724x.
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碩士國立中山大學
音樂學系研究所
96
During the prosperous period of romanticism and phenomenon of freedom, Brahms confined himself as a composer of classicism. He integrated the classical structure and the contemporary music language into his works. Brahms created his own style by using the powerful harmony and heavy texture with the form of baroque and classical music. The particular style was highly praised by the complicated rhythm pattern and the development of motive and theme. He left many kinds of works, including chamber music, piano pieces, and symphonies, etc., as a greatly significant legacy for the future generations. Cello Sonata in E Minor was one of Brahms’ most important chamber works created in his middle period of life. In this piece, there was a specific arrangement for cello in order to emphasize on the thick and solid lower timbre of this kind of instrument. His mature style developed later on from the patterns of rhythms and motives. Although this sonata was not composed in the golden period of his life, it still became one of the most important masterpieces in today’s history. This essay can be divided into two parts. The first part is focusing on the Brahms’ background, works sorted, style, and the significant effective position in the music history. The second part uses the music structure, harmony disposition, and motive development to analyze Cello Sonata in E Minor, and goes more in depth over the rhythms and motives of Brahms’ common use in the piece. Finally, it also concentrates on the dynamics, terminology, and the balance between the different pitch compasses in order to meet the hope of not only exactly following the composer’s creative thoughts but also strongly expressing the personal characters of performers.
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Kuo, Tzu-Yin, and 郭姿吟. "Piano Sonata in C Minor, D 958 by Schubert." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/97905111161661361060.
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Chen, Pei-i., and 陳姵怡. "Musical Analysis On Debussy Violin Sonata in g minor." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/jr4qk8.
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Lin, Hsin-Ying, and 林欣穎. "Musical Analysis On Grieg Cello Sonata in a minor." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/dxnka6.
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Wu, Yu-Ping, and 吳玉萍. "Sergei Rachmaninoff Cello Sonata in G minor, op.19." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/vq9jtd.
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碩士國立臺北藝術大學
管絃與擊樂研究所碩士班
99
Sergei Vasilievich Rachmaninoff1 April was a Russian composer, pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom that included a pronounced lyricism, expressive breadth, structural ingenuity, and a tonal palette of rich, distinctive orchestral colors. The piano is featured prominently in Rachmaninoff''s compositional output. He made a point of using his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works he revealed a sure grasp of idiomatic piano writing and a striking gift for melody.
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HSIEH, HSIAO-HSI, and 謝効羲. "A Study of Scriabin’s Piano Sonata No. 2 in G-sharp Minor “Sonata-Fantasy”, Op. 19." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/zuhya6.
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Wang, Hsin-Yi, and 王心怡. "A Study of Schubert''s Sonata in A Minor “Arpeggione”." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/26326506077336952969.
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碩士國立中山大學
音樂學系研究所
90
The arpeggione is an instrument invented and built in1823 by the Viennese instrument maker Johann Georg Staufer. This instrument has the shape of guitar but bowed like a cello, thus it’s called the “guitar violoncello”. During its short life lasted for no more than a decade, we are fortunate there survived an “Arpeggione Sonata, D821” composed by Franz Schubert in 1824. This thesis discusses on the style of this composition and the historical background of arpeggione, with more focus on the interpretation and technique in the arrangement for cello. After arpeggione had vanished from the musical scene, several arrangements for different instruments of this work had published. The Spanish cellist Gasper Cassadó even expanded this work as a cello concerto, which is more suitable for cello playing. From these aspects, we can build up a more insight into this charming piece.
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Tzu-Ai, Liu, and 劉慈愛. "Research for Chopin's cello sonata in G minor Op.65." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/18414430785689465780.
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碩士國立臺中教育大學
音樂學系碩士班
98
The cello sonata was composed by Polish composer Frédéric François Chopin in 1845-1846 which was dedicated to the French cellist, Auguste Joseph Franchome. This music piece was composed in his later period, it’s also one of his representative chamber music. These four movements in the cello sonata had their own individual styles. The Construction of Musical form is very clearly, which its character was built by rich harmonies, colorful voices, continuously cantabile melodies, and folk-like rhythm. This cello sonata is the classical work which cello performer must learn. This article will discuss on the challenges and varieties between music analysis and interpretation. In order to express its unique value of the arts. Hoping to match the composer’s thoughts, and also be able to express my music style.
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Wu, Pei-Shan, and 吳佩珊. "A Study of Liszt ''s Piano Sonata in B minor." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/st8k4e.
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碩士國立中山大學
音樂學系研究所
96
Sonata had gone through the development of Baroque and Classical Era and reached the high point in the beginning of 19th century. Liszt’ s Piano Sonata in B minor is an important work. It is also an arguable piece in the sonata literatures. Its musical form or content are both the issues of which is considered to carry on the past musical heritage and opened up the future. This thesis starts from the introduction of the composing background of Piano Sonata in B minor. It then focuses to the significance of this work in Romantic Era. After that, many pianists’ and scholars’ view points are collected and analyzed for discussing how this work has the characteristics of absolute music and program music. The relationship between Liszt’s Faust Symphony and this sonata is also explored. Finally, the structure of this sonata is analyzed for understanding how the technique of thematic transformation works in this piece.
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Liu, Chen-Chun, and 劉貞君. "Robert Schumann Piano Sonata in F-sharp minor, Op.11." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/hk949a.
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Tsai, TAI-Yen, and 蔡岱晏. "Program Notes on H.Eccles's Violin Sonata in G Minor, L. v. Beethoven's Violin Sonata No. 5 in F Major Op. 24,and J.Brahms's Violin Sonata No. 3 in D Minor Op. 108." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/37601956919686557370.
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碩士東海大學
音樂系
97
The program notes include Henry Eccles ： Violin Sonata in G Minor, Ludwig van Beethoven ： Violin Sonata No. 5 in F Major Op. 24, “ Spring ", and Johannes Brahms ： Violin Sonata No. 3 in D Minor Op. 108. The writer tries to study the background and the style of each composer’s work.
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Jian, Cih-Huei, and 簡慈慧. "The Interpretation of Grieg's Violin Sonata in C Minor, Op.45." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/15787379683426540959.
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碩士國立臺灣藝術大學
音樂學系碩士班
97
The Norwegian musician Grieg wrote three violin sonatas in total, the last one, the c minor violin sonata, op.45 was one of Grieg’s mature works. In comparison to the other two violin sonatas finished in earlier period, the maturity and richness of the composing techniques and sound quality of the c minor violin sonata is evident and among the paramount. That is the reason why it has become the research topic for this thesis. The main focus of this thesis includes the composer’s life, the analysis on the composition as well as the interpretation for the performance. The thesis will start with the background and life of the composer, through the understanding of the history of the composer’s time, background, and musical training, one will be able to understand why and how the composer wrote a certain work. With the analysis of the formal structure and harmony, one can fully understand the work in detail and search deeper into the question of how to perform and interpret Grieg’s Violin Sonata in C Minor. In the end of the thesis, some personal experiences and insights on how to interpret and perform will be added as suggestions or references for fellow musicians or readers.
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Lu, Kuan-Yi, and 呂冠儀. "An Analysis and Interpretation on Liszt’s “Piano Sonata in B Minor”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/k4qgv6.
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碩士國立臺北藝術大學
音樂學系碩士班鋼琴組
103
The analysis of Liszt’s “Piano Sonata in B Minor” starts from how his life experience affected his character development, and then describes his different composing style in different period. Chapter II focuses on not only the development of sonata and the main influencing factor of Liszt composition, but also the background of “Sonata in B minor”. By means of the understanding of the background, I expect to give better interpretation which is closer to the composer’s heart when performing. Chapter III contains the analysis and my personal interpretation, relating to my own life experiences. Resources are mainly in chinese and english, along with some in german. The edition of the score is Barenreiter Urtext.
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CHIA, CHOI YIE, and 徐瑜嘉. "A Study of Piano Sonata in B Minor by Franz Liszt." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9ek3p9.
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LAI, YEN-CHEN, and 賴彥辰. "An Analysis and Interpretation of Liszt's "Piano Sonata in B Minor"." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/2w6cpd.
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碩士國立臺灣藝術大學
音樂學系
108
Franz Liszt 1811-1886 （Hungarian）, a famous composer, his extremely miraculous skills of playing piano has taken the Europeans by storm in 19th century, his piano works, has its depth and character are well-known in the world, pushing the technique of playing piano to a new limited. This thesis is based on Franz Liszt’s Piano Sonata in B minor S178,1852-1853 research topic. This is the only sonata he composed, although he named it as Sonata but it is quite different with the traditional style. He composed it as Single movement, at the same time, most of his piano works are Programme Music but only without Piano Sonata in B minor S178. As a result of this, causing many players has their own perspectives when playing this piano work. For more persuasive, the author study this work by reading, analyzing, listening expert’s playing to absorbing the best to become his own style. This article is divided into five chapters. The first chapter is about the author's research motivation, purpose and method of study. The second chapter takes Liszt's more artistic connotation from his life, his specialty of his music. The third chapter is analyzing his works and composing background. The fourth chapter is author's interpretation, based on analyzing this work to give author’s opinions. The last chapter is the conclusion, which presents the author's research results.
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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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Huang, Yu-Wen, and 黃郁文. "The Analysis and Interpretation on Liszt’s 《Piano Sonata in b minor》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/8vye6c.
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Luo, Fei-Tsuei, and 羅翡翠. "A Study of Honegger’s Cello Sonata in d minor, H. 32." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/g39n24.
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Chuo, Yi-Jung, and 卓易蓉. "An Analysis and Interpretation of Liszt's "Piano Sonata in B Minor"." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/11590510713065386712.
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碩士臺北市立教育大學
音樂學系碩士班
99
The Piano Sonata in B Minor has been one of Franz Liszt’s important piano works. It was published in 1854, and dedicated to Robert Schumann. In this piano sonata, Liszt used some of the composed technique —Symphonic poem, thematic transformation, and cyclic form—typical of Romanticism . In addition, Liszt broke the traditional rules of piano sonatas, and used single movement structure. Therefore, a lot of musicologists and pianists researched on this work. And the technique of “four- movement in one” form influenced many later composers. In this thesis, the first chapter is the introduction of this research. Chapter Two further explores Franz Liszt’s life and notable piano works, as well as composed style of the Piano Sonata in B Minor. Chapter Three explores the view of the single long, continuous movement with many sections by many distinguished musicologist and pianist. Chapter Four provides an in-depth analysis and interpretation of the Piano Sonata in B Minor. Lastly chapter Five concludes this thesis in a more objective perspective.
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鄭雅尹. "The Discussion and Interpretation of Liszt’s Piano Sonata in B Minor." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/96583976823494367226.
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Yun-Shan, Lu, and 陸昀姍. "The Research and Interpretation of Liszt’s Piano Sonata in B Minor." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/06487596152206797820.
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碩士國立臺北教育大學
音樂教育學系碩士班
94
This thesis mainly discusses Liszt’s sonata in B minor. The paper is divided into three chapters and nine sections. The first chapter is Liszt’s live. In 1884,the letter of two years before Liszt passing away, he mentioned that the most important performance and composition are not classical, but they are similar to classical tragedy divides which is separated into five sections and divided his life into five phase: “primitive development”, “the affect of N. Paganini, H. Berlioz, and F. Chopin”, “Liszt’s best period”, “the Weimar period”, and the sunset of Liszt’s age.The secondary chapter is an analysis of Liszt’s sonata in B minor, which is divided into two sections. The first section is the background of its creation. It mainly discusses Liszt’s creation of the background of sonata in B minor-the Weimar period, which is dedicated to Schumann, when this creation represents, it is described by turmoil and argument and quotes contemporary comments to testify. The secondary section is the structure of this piece, which is one of important parts in this thesis. This sonata, strictly in the perspective of classical music, is the first sonata, which only has one movement. However, the whole melody does not only distribute into three sections-faster, slower, and faster, but also it is the same as the sonata before which has three movements. Therefore, many musicians and scholars, according to this portion, have different thought, and the author cites the different views of many predecessors, extracts the theories that are acceptable, and combines all materials to develop the perspective of his own. The third chapter enters the interpretation of Liszt’s sonata in B minor. In this chapter, we will discuss the content of this sonata’s cultivation in the first section, and this part induces a lot of arguments as structure. Liszt was a musician who advocates program music, but composed this piano sonata, which has no program. Nevertheless, this composition teems with the imagination, whether it makes the competition of “Program Music”, or not, according to this, the author mentions his evidence and thought in this section. The secondary section primarily enters into the interpretation, the author does not merely emphasize the change of subject and the unique paragraph but also he intensify the diversity of tune and timbre. Liszt largely used the technique of the change of subject in this sonata. As a result, the same motivation or subject has diversity of aspects and characters, and how to interpret it becomes an important proposal. On the other hand, how to interpret and perform in timbre, according to the change of harmony and tune, is a necessary point. Therefore, the compositions, in the period of romance, having the most appealing and beautiful part, are in the change of harmony and tune. Moreover, if we carefully cope with tune, we can make the music more vivid and alive. I hope that this thesis can provide further discussion and pragmatic contribution and aspire the new interpretation of Liszt’s sonata in B minor.
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LIANG, YI-NI, and 梁旖倪. "The Analysis of Alexander Nikolayevich Scriabin’s Piano Sonata No. 2 “Sonata-Fantasy” in G-Sharp Minor, Op. 19." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/dck8um.
Full textAbstract:
碩士國立高雄師範大學
音樂學系
105
This article will take Scriabin’s “Piano Sonata No. 2, Op. 19” as the research target. This is one of the most important works of Scriabin’s. Besides, at the moment when the composer completed the work, he attached “Sonata Fantasy” as the title of it. When it comes to the works of Scriabin, they are always associated with the change of color. Is this related to his individual trait-synesthesia ? And his early works were influenced by Chopin；therefore, the author will focus on the work, “Sonata Fantasy” , to find out whether his fantasy inspiration had been affected by Chopin or not, and that what actually made Scriabin combine the fantasy style with sonata. In addition, the author will aim at exploring the evolution of “Sonata Fantasy” in order to deal with the composer’s ideas more exactly in the performance level. The full text is divided into five chapters. The first chapter is the introduction, which describes the motivation of research, the purpose, the area of research and the methods and literature review. The second chapter will state the definition and the features of “Sonata Fantasy” , especially focus on the historical origin and the development of “Sonata Fantasy” in the 18th and 19th centuries. The third chapter will discuss the composer’s background characteristics of times and his life story. In this chapter, it includes the exploration on the composer’s early works and the personal trait about synesthesia. The fourth chapter is the musical analysis of Scriabin’s “Piano Sonata No. 2, Op. 19” .The author will explore the structure of the work, the motivation and texture, which help to provide the reference for people when playing Scriabin’s works. The fifth chapter is the conclusion.
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歐佩怡. "The interpretation and analysis of Ottorino Respighi Violin Sonata in B Minor." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/96428701468500997380.
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I-Hsien, Chen, and 陳以先. "The Interpretation and Analysis of Edvard Grieg''s C minor Violin Sonata." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/06370521842062695261.
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Ou, shu-yu, and 歐書妤. "The Research and Analysis ofAntonin Dvorak《Violin Sonata in G Minor,Op100》." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/19491137869909028311.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
98
Abstract Dvorak composed his“Violin Sonata in G Minor,Op100” in 1893. The musical structure is similar to classic sonata, but many topics of this music are composed by pentatonic scales, vibrant sound-type and unique Mandolin. The whole music is with folk in its speed and style because its variable topics are made from the folk music of U.S. and Czech. There are five chapters in this research. The first chapter is introduction, which includes the purpose, range and method of this research. The second chapter is the comments of Dvorak which includes the background, life and music style of Dvorak. The third chapter is the background and analysis the structure. Moreover, the author focuses on the structure, tone, melody, harmony, tempo, background, the method and motivation. In the fourth chapter, the author analyzes “Violin Sonata in G Minor,Op100” according to the style of Dvorak. The fifth chapter is the conclusion of this research.
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Kuo, Chia-lun, and 郭家綸. "A Study of Edvard Grieg’s “Piano Sonata in E Minor, Op.7”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/36026501569945119142.
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碩士國立臺南大學
音樂學系碩士班
98
Edvard Grieg (1843~1907) was one of the most representative composers of the 19th century Norwegian nationalist music. He was fond of creating piano piece works, depicting his emotions and thoughts through terse composing style. The “Piano Sonata in E Minor, Op.7,” composed in 1865, is his only piano sonata. The piece is filled with youthful spirit and enthusiasm, and has become one of his most essential works. In this research, first the direction and scope of study is defined, followed by a literature review on the course of the development of sonata and the essence of Nationalism music in Grieg’s time. Second, the author investigates the origin of Grieg’s piano music by looking into his life stages and music learning. Moreover, the author discusses the structural aspects of the “Piano Sonata in E Minor, Op.7,” including harmony, melody, tempo, and motives. Finally, the author considers the aspects of octave, fingering, dynamics, expression, and pedaling along with opinions from experts and scholars, while investigating into applied research in the interpretation and performance of the piece, helping performers get a grip of the suggested interpretation of the piece. It is found that although the “Piano Sonata in E Minor, Op.7” is one of Grieg’s earlier works, it demonstrates his attempts to integrate Norwegian music elements and break through traditional techniques. For example, Grieg added Lydian and Dorian modes that emphasize Norwegian music style, specializing in continuously repeating the same melody, but expresses different styles with each repeat. By changing the tempo, range, harmony or tonality, diverse streams of melody are presented; even more essential, in regard to Grieg’s creation technique, is the development of his short motives. Moreover, Grieg often uses four elements such as chromatic, dominant, ostinato and perfect fifth, to generate distinctive effects of harmony. Ostinato and perfect fifth are specific features in the Halling and Springar of Norwegian dance music. In addition, long pedaling is the most distinctive pedaling feature of Grieg’s. By carrying out long pedaling, the lingering sound generates the beautiful vagueness emphasized by the Impressionists, presenting a dissonance effect. With the “Piano Sonata in E Minor, Op.7” Grieg expresses his passion and enthusiasm for his nation’s traditional music. The piece presents features of Norwegian folk music, which makes it a nice option for learners who learn Norwegian music. The “Piano Sonata in E Minor, Op.7,” which contains traditional Norwegian music features, is a recommended practice piece to learners.
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Kuo, Chin-Hua, and 郭靜樺. "An Analysis and Interpretation of Schumann’sPiano Sonata in g minor, Op.22." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/01483314220065855434.
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碩士國立臺北教育大學
音樂學系碩士班
101
Robert Schumann, one of the great composers in the Romantic period, whose piano works played a significant role in the 19th century. He emphasized the expression of feeling in his music creations and treated music as one form of language, so that more literature tastes could be blended in his works. Piano sonata No.2 in g minor, accomplished in the time of his richness in piano works in 1830-1840s, is the most famous one among his three sonatas and performed most often. This thesis is organized as follows. Chapter 1, an introduction, includes the research motivation, purpose, method, and literature review. Next, Schumann’s biography and his music style is introduced in Chapter 2. In Chapter 3 the creation background and composition analysis of Piano sonata No.2 in g minor is discussed via the music form, melody, harmony. Rhythm of the four movements are also studied. In Chapter 4 interpretations of his compositions are provided following the analysis. Finally, a conclusion is given in Chapter 5. While Schumann’s creations were rich and innovative, they were nevertheless not unauthodox. He blended his love in literature and the feeling expression into music, giving vivid elements in Piano sonata No.2 in g minor with consecutive themes, which is worth further study and exploration.
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Ying-Chii, Chen, and 陳盈綺. "L. V. Beethoven: Piano Sonata No. 32 in c minor, Op. 111." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/48654787194185895165.
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Yin, Chen Chi, and 陳姬尹. "The Interpretation and Analysis of Ottorino Respighi's Violin Sonata in B minor." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/41768770309219570733.
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Chen, Pei-Wen, and 陳姵妏. "The Analysis of Robert Schumann’s Piano Sonata in F Minor, Op. 14." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/17164129820117687177.
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Chuang, Chien-Yi, and 莊千儀. "Analysis and Interpretation of Achille-Claude Debussy’s Violin Sonata in G Minor." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/51103281365845737993.
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碩士國立臺灣藝術大學
音樂學系碩士班
99
The Violin Sonata in G Minor was last work of Claude Debussy, which was composed during the First World War. As he was suffering deep pain from sickness, the complex moods were expressed in the music, thus different levels of atmosphere and emotions were included. With the combination of various techniques applied during his creation, such as the transformation between tonality and gray areas, rich timbre changes and the mysterious eastern music elements, the work has manage to resonate among performers and audiences, and therefore becoming one of the most popular selection for either concert program or music records. This thesis mainly focuses on the music analysis and the performance practice of Claude Debussy’s Violin Sonata in G Minor. The first chapter will provide the introduction, research structure and coverage, including the motive and goals wish to acquire. In the second chapter, the biography and background of Claude Debussy will be discussed. The discussion will include his effect in the 19th century and after the 20th century, effects of external music and culture on Debussy, to serve as evidence while analyzing the music. For the third chapter, the research on Debussy’s chamber music, mainly analyzing Debussy’s style of composing various creation. The introduction of his various collections of chamber music will enable further understanding with the research topic. The fourth chapter will be detailed analysis of Violin Sonata in G Minor. This analysis will mainly focus on the music analysis and performance technique, to understand how Debussy created his music, hence to be able to perform this music better. Lastly, the fifth chapter will be the conclusion and the feed back for the whole research topic.
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江琬仁. "The Interpretation of Cello Sonata No. 1 in e minor, op. 38." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/04647780474005977369.
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Horng, Shih-Ting, and 洪士婷. "The reappearance of 20th century Baroque Sonata- Prokofiev Sergei Violin Sonata No.1 in F minor for Violin and Piano." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/96943606877846188811.
Full textAbstract:
碩士東吳大學
音樂學系
94
The reappearance of 20th century Baroque Sonata – Prokofiev Sergei, Violin Sonata No.1 in F minor for Violin and Piano Prokofiev, Sergei is one of the renowned representative composer in the 20th century. He has created two Violin Sonatas in his whole life. This “ Sonata No.1 in F minor for Violin & Piano” is following the form of 18th century Baroque Sonata as its guide of tunes also using the unique music grammar together with the incisive sound effect and ingeniously combined the music technique of the two centuries. Besides it has also echoed the creation period and the cultural inheritance. Chapter 1 – Foreword Chapter 2 – Music creation background and the structural of musical form Chapter 3 – Music analysis and discussion Chapter 4 – Performance annotation Chapter 5 – Conclusion Bibliography
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Chung, Tai-Ju, and 莊岱儒. "An Analysis and Interpretation of Franz Liszt''s Piano Sonata in B Minor." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/21966371342377753350.
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shih-wei, chi, and 秦詩威. "The Analysis and Interpretation of Chopin's cello sonata in g minor, op. 65." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/69041660756795579356.
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Liao, Jen-Jou, and 廖人葇. "A Stylistic Study and Interpretation of Sonata in B minor by Franz Liszt." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/73106345209308404132.
Full textAbstract:
碩士國立臺南藝術大學
音樂學系碩士班
99
Sonata form appeared in the Baroque period, its standard form structure was established in the Classical period, and was developed to the height in nineteenth century Romantic period. Franz Liszt(1811-1886), was one of the most famous composer in Romantic period. His daring, innovative music thoughts and radical, modern point of view were esteemed and depreciated at the same time back in his time. The Piano Sonata in B Minor is the only piano sonata of Liszt, and it has been popularly performed and extensively analyzed piece ever since. This thesis consists of five chapters. The first chapter delineates the motive, process and goal of this study; Liszt's background and his legendary life story in the second. The third chapter would be the discussion of the characteristic of Liszt's piano music, and analyze in depth on the Piano Sonata in B Minor in the forth chapter; the last chapter is the conclusion, which may hopefully benefit the writer’s performance of this work in the future.
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Chiang, Chia-Hua, and 江佳樺. "The Interpretation and Analysis of Shostakovich’s 《Cello Sonata in D Minor, Op.40》." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/66529195435209185302.
Full textAbstract:
碩士中國文化大學
音樂學系碩士班西洋音樂組
100
This study focuses on Dmitri Shostakovich's Cello Sonata in D minor, composed in 1934. This work is the only cello sonata by Shostakovich, and also his first mature work in chamber music. This thesis consists of five chapters. Chapter one is an introduction, which states the motive, purpose, and researching methodology of this study. Chapter two narrates the composer's life, style, and the background of this sonata. Chapter three focuses on the musical analysis of this work. Chapter four discusses the performance issues and the interpretation of this work. Chapter five concludes with the results of my research.