Relevant bibliographies by topics / Sonajas

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Sonajas'

Author: Grafiati
Published: 5 June 2025
Last updated: 16 July 2025

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Journal articles on the topic "Sonajas"

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Adje Both, Arnd. "Las sonajas y otros instrumentos de percusión de Teotihuacan, México." Revista de Arqueología Americana, no. 39 (February 2, 2022): 121–50. http://dx.doi.org/10.35424/rearam.v0i39.1131.

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Con base de los hallazgos de los artefactos sonoros de Teotihuacan y sus representaciones en la iconografía musical revisamos los instrumentos de percusión (idiófonos y membranófonos) de la urbe, entre los cuentan varios tipos de sonajas, raspadores, caparazones de tortuga, posibles tambores y xilófonos de lengüeta. Principalmente, nos enfocamos en la organología de los instrumentos, los contextos arqueológicos de los hallazgos y, según la información presente, sus posibles contextos de empleo en la música ceramonial de Teotihuacan.
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Zalaquett, Francisca. "Conocimientos acústicos prehispánicos mayas y su relación con la manufactura de instrumentos sonoros / Pre-Hispanic Mayan Acoustic Knowledge and its Relationship with the Manufacture of Sound Instruments." Technophany, A Journal for Philosophy and Technology 1, no. 1 (2022): 77–101. http://dx.doi.org/10.54195/technophany.12606.

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Este trabajo es una síntesis comentada sobre el uso y simbolismo de las sonajas en los mayas, lo cual forma parte del libro Instrumentos sonoros prehispánicos mayas. Tomo I Idiófonos, editado por el Centro de Estudios Mayas de la UNAM, que se encuentra actualmente en prensa y será publicado en 2021. Los instrumentos idiófonos mayas prehispánicos (cuya etimología proviene del griego antiguo, ídios = propio y phoné= voz, sonido, capacidad del habla), cuya materia oscila debido a su solidez y elasticidad, lo que genera sonidos sin tener la necesidad de emplear membranas o cuerdas en tensión[1]. S
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Pérez Guarnieri, Augusto. "Ugulendu: tambores, sonajas, cantos y sonofanías de la espiritualidad garífuna guatemalteca." Resonancias: Revista de investigación musical 27, no. 53 (2023): 13–40. http://dx.doi.org/10.7764/res.2023.53.2.

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En este texto presento un análisis simbólico de la música de la espiritualidad de la población garífuna de Livingston, Guatemala desde la antropología de la experiencia y la perspectiva de sonido-en-el-mundo. A tal efecto comienzo con una presentación de este grupo étnico, el marco teórico-metodológico que sustenta la investigación y una breve revisión sobre los antecedentes referidos a esta población. Luego describo el chugú –ceremonia de culto a los ancestros– y los aspectos clave referidos a la musicalidad de estos rituales, explorando sus materiales, prácticas y performers. Sostengo que el
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Divine, Ebong-Pende Epie, Kingsley Lyonga Ngange, and Stephen N. Ndode. "Perceptions of SONARA’S Corporate Reputation by the Host Community, Limbe II Council Area, Cameroon." Advances in Social Sciences Research Journal 11, no. 4 (2024): 133–65. http://dx.doi.org/10.14738/assrj.114.16820.

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This study examines how the population of Limbe II council area perceives the Cameroon National Refining Company Ltd (SONARA) in terms of its business activities, its relationship with this major stakeholder group, its respect for environmental ethics, and the contribution of the company to the socio-economic development of the area. The population under study is the Limbe II council area, made up of 11 communities with 42300 inhabitants. Two methods of data collection are used: survey and qualitative content analysis of SONARA’s corporate policy documents. The questionnaire was administered t
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Sunza Ordoñez, Yanine Betzabel, Esmeralda Martínez Alonzo, and Alejandro Jesus Barrera Medina. "Inclusión de un niño con discapacidad visual en la clase de educación física." I.C. Investig@cción 26 (November 29, 2024): 159–77. http://dx.doi.org/10.69986/gtih8597.

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El presente artículo tuvo por objetivo desarrollar estrategias de inclusión para que un niño con discapacidad visual pueda lograr la independencia de movilidad durante las clases de educación física en una escuela primaria pública del estado de Campeche, México. Se llevó a cabo una investigación acción, bajo un paradigma cualitativo y alcance descriptivo, donde se realizó una revisión documental con énfasis en intervenciones y recomendaciones para la inclusión de personas con discapacidades visuales en actividades físicas, lo que permitió la formulación de estrategias de intervención. Se diseñ
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Jusot, Jean-François. "The change in Beethoven’s music composition: Is there a role of his mental distress?" 4open 5 (2022): 13. http://dx.doi.org/10.1051/fopen/2022015.

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Background: During his life, Beethoven faced a lot of personal problems and diseases that could lead to a prolonged period of serious mental disorder. The aim of this work is to study the link between the distribution of pitch frequencies observed in 101 movements of 32 sonatas and four periods of his compositional style. Methods: The 32 sonatas for piano were chosen because they were composed during the three periods usually considered to reflect Beethoven’s career. A hierarchical generalized additive model was performed to regress the frequency of pitches with Musical Instrument Digital Inte
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Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.

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In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided wi
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Kozyra-Paulska, Beata. "mystery Sonatas by Heinrich ignaz Franz Biber as an example of metatextuality in instrumental music from the Baroque era." Notes Muzyczny 1, no. 15 (2021): 9–23. http://dx.doi.org/10.5604/01.3001.0014.9569.

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The article is devoted to Mystery Sonatas (also known as Rosary Sonatas) by Heinrich Ignaz Franz Biber and the aspect of metatextuality in these pieces. The text includes an outline of the composer’s biography, a description of the origin and circumstances in which the Sonatas were written, and an explanation of the essence of metatextuality and its connections with Biber’s works, taking into consideration rhetoric, symbolism and scordatura. Referring to Polish and foreign literature on the subject, the author finds interesting dependencies between sonatas and emblems, she describes sound resu
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Kang, Min-Jung. "The Sonata in Restoration England: From Fantasia Suites to Early English Trio Sonatas." Journal of Musicological Research 39, no. 4 (2020): 276–300. http://dx.doi.org/10.1080/01411896.2020.1809393.

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Kemova, Ksenia S. "Sonatas for Piano Four Hands by Muzio Clementi." Observatory of Culture 18, no. 5 (2021): 506–19. http://dx.doi.org/10.25281/2072-3156-2021-18-5-506-519.

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The article considers seven sonatas for piano four hands by Muzio Clementi. The relevance of the research is accounted for by the attention paid by performing piano duos to the four-hand repertoire in its diversity. In this connection, there is a necessity of a theoretical analysis of this topic, which has not yet been discussed in music science. The article aims to trace the evolution of Clementi’s sonatas for piano four hands, outline the historical context of their creation, and identify their typical features. The research suggests a two-aspect approach to the analysis of the sonatas: they
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Dissertations / Theses on the topic "Sonajas"

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Yáñez, Navarro Celestino. "Nuevas aportaciones para el estudio de las sonatas de Domenico Scarlatti. Los manuscritos del Archivo de Música de las Catedrales de Zaragoza." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/394016.

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Tradicionalment, s’ha donat per descomptat que la difusió de la música de Domenico Scarlatti durant el segle XVIII a Espanya fou escassa. Es creia que la circulació de música de tecla es va circumscriure a la cort de Madrid i la seva propera àrea d’influència, sobretot, per dues raons. La primera, pel fet que el nombre de còpies manuscrites trobades als arxius espanyols era reduïda, cosa que ha canviat en els darrers últims anys. La segona, pel desconeixement de que podria existir a Espanya una gran col·lecció de sonates realitzada en vida de Domenico Scarlatti. No obstant això, el descobri
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Yang, Eun-Kyoung. "The Piano Sonatas of Carl Vine: A Guideline to Performance and Style Analysis." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1048801477.

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Thesis (D.M.A.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains ix, 97 p.: ill., music. Includes abstract and vita. Advisor: Caroline Hong, School of Music. Includes bibliographical references (p. 96-97).
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Kavaliauskas, Marius. "Ultragarsinių sistemų taikymo aklųjų orientacijai galimybių tyrimas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050530_130442-53781.

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Analysis of existing computerized obstacle avoidance systems has shown that all systems have important limitations: dependency on one sensor type; limited communication capabilities; and failure to reduce the user’s navigation-related physical and mental fatigue. Most of analyzed systems use binaural method or it’s modified version. The model of sutrasonic sonar was defined and programmed during this study. The results of analysis of environment using the model have shown that ultrasonic sonars can be used to help blind and visually impaired people.
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Combs, Julia C. (Julia Carolyn). "Six Oboe Sonatas by Giuseppe Sammartini (Sibley Manuscript S. 189): With Critical Commentary and a Performing Edition of Sonata Five, a Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc330905/.

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The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the class
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Stoltzfus, Andreas M. "Was There a Trumpet Sonata Before the Trumpet Sonata? an Investigation of Girolamo Fantini’s Trumpet Sonatas with Respect to Other Stile Moderno Solo Instrumental Sonatas." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804954/.

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In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moder
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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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Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.

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Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments
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Skinner, Myles. "Sonatina for trombone and piano." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ30692.pdf.

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Seidel, John A. (John Allen). "The Trombone Sonatas of Richard A. Monaco." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330825/.

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This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Qui
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Solomons, John. "The six piano sonatas of James Sellars aspects of form, rhythm, texture and style /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/solomons%5Fjohn/index.htm.

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Books on the topic "Sonajas"

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Meléndez, Armando Crisanto. Adeija sisira gererun aguburigu garinagu =: "el enojo de las sonajas : palabras del ancestro". [s.n.], 1997.

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Koliner, I. L. Sonaṭat epel: The apple sonata. Geṿanim, 2013.

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Beethoven, Ludwig van. Sonaten für Klavier =: Piano sonatas = Sonates pour piano. Wiener Urtext Edition, 1997.

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Iser, Jhany Lara. Sonatas cubanas para piano: Patrimonio musical de la Gran Cuenca del Caribe. Ediciones Uninorte, 2010.

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Ivanova, Alʹbertina. Sonaat viiulisoolole =: Solo skripkalan sonata = Sonata for a violin solo. Kirjastuskeskus, 2008.

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Ivanova, Alʹbertina. Sonaat viiulisoolole =: Solo skripkalan sonata = Sonata for a violin solo. Kirjastuskeskus, 2008.

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Kämper, Dietrich. Die Klaviersonate nach Beethoven: Von Schubert bis Skrjabin. Wissenschaftliche Buchgesellschaft, 1987.

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Marcus, Deon. Sonatas. 'amaBooks, 2005.

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Beethoven, Ludwig van. Klaviersonaten, op. 49/1, 2 =: Piano sonatas, op. 49/1, 2 : deux sonates faciles. Schott/Universal Edition, 1986.

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Herre-Jan, Stegenga, and Entremont Philippe, eds. Cello sonatas. Brilliant Classics, 2008.

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Book chapters on the topic "Sonajas"

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Lester, Joel. "The Middle Movements." In Brahms's Violin Sonatas. 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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"SONATA SONANS." In Pensamientos poéticos. Herder, 2012. http://dx.doi.org/10.2307/j.ctvt9k1wz.11.

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Lester, Joel. "First-Movement Sonata Forms." In Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0003.

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Chapter 3 studies in detail the first movements of Brahms’s three violin sonatas. Each first movement is cast in sonata form—the most exalted structure of the Classical Era. But Brahms did not fill a “sonata-form mold” with formulaic music. Just like his great predecessors whose music he so dearly loved and esteemed, Brahms adapted the outer aspects of the form and the contents of each section to express that movement’s unique musical narrative. The discussions of each movement explore the traits they all share as well as their individual Romantic features. The A-major Sonata’s first movement also provides an opportunity to explore musical allusions to other pieces and how that might affect our interpretations—both as performers and analysts.
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Rowland-Jones, Anthony. "French Style, and Inequality: Lavigne’s Sonatas." In Playing Recorder Sonatas. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198790020.003.0005.

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Abstract As J. R. Anthony says in his book on French Baroque Music (p. 320), the French sonata was an ‘ultramontane importation’ from Italy. According to Franc;ois Couperin, the first French sonatas (called ‘sonades’ by Couperin) were composed by him in about 1692, and were an outcome of his admiration for Corelli. Baroque ‘French style’ had been powerfully established by Lully and his contemporaries, and French composers cultivated the kinds of music associated with the glories of Louis XIV’s reign and with the rich musical life of the salons of Paris and their ‘concerts spirituels’. French involvement with Italian musical taste as it developed in the early eighteenth century at different levels of music, most especially through the Opera Comique (see Anthony, 152 ff.), was for some time rather ambivalent, particularly with regard to the sonata.
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Lewis, Nora Anderson. "Antonio Vivaldi, Oboe Sonata in C Minor, RV 53 (c. 1720)." In Notes for Oboists. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197546581.003.0003.

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Abstract This chapter offers historical context and musical analysis of Antonio Vivaldi’s Oboe Sonata in C Minor, RV 53. As the foremost Italian composer of his generation, Vivaldi’s innovative style and orchestration laid the foundation for the mature Baroque concerto. Born in Venice in 1678, Vivaldi’s journey began as a virtuoso violinist, later expanding into composition. The sonata reflects his time at the Pio Ospedale della Pietà, an orphanage where he served as a violin teacher and house priest. Composed for the highly skilled figlie di coro, female musicians in the orphanage, this work exemplifies Vivaldi’s prolific output during this period. The sonata’s historical significance lies in its blurring of boundaries between church and chamber sonatas, characteristic of the Italian Baroque era. Moreover, its exploration of diverse tempos, harmonic shifts, and innovative use of the oboe as a solo instrument highlights Vivaldi’s experimental and influential approach to composition.
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Wilson, Miranda. "Serge Rachmaninoff (1873–1943)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0030.

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Abstract The new and diverse styles of early to mid-twentieth century composition did not prevent some of the major composers of the era from continuing to write in “traditional” genres such as the sonata. Three twentieth-century sonatas for cello and piano, one each by Rachmaninoff, Barber, and Prokofiev, combine multi-movement sonata structures inherited from the great Romantic sonatas with more modern ways to use melody and harmony. These include heightened chromaticism, frequent dissonance, and octatonic language. Each of these sonatas also retains a sense of intense lyricism in the cello writing, an aspect that creates the impression of looking back to Romanticism.
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Hepokoski, James. "The Type 2 Sonata." In A Sonata Theory Handbook. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0011.

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The Type 2 sonata is a “double-rotational” (or “binary”) sonata: (1) exposition (P TR’ S / C); and (2) developmental space (P and/or TR) plus tonal resolution (S / C). The Type 2 lacks the “double return” of P and the tonic at the onset of other sonata types. For that reason Sonata Theory does not use the term “recapitulation” for Type 2s. This format was widely used in sonatas c. 1740–70, after which its use began to wane sharply, though several examples of it persist throughout the nineteenth century. Because the Type 2 has been the most frequently misunderstood sonata type (sometimes misread through ahistorical claims of a supposed “reversed recapitulation”), this chapter is devoted to building a case for the Type 2 sonata, beginning with the simplest, prototypical examples in early Mozart and then moving through more extended, complex examples from later years, including toward the end, a look at two deformational Type 2s by Mozart: K. 311/i and the Overture to La clemenza di Tito. At its conclusion the chapter lays out an argument on behalf of Sonata Theory’s case for the persistence of the Type 2 and double-rotational sonatas into the nineteenth century (these include both Type 2s and expanded Type 1 sonatas, which under some conditions are almost indistinguishable) and responds to some recent critics of the Type 2 concept for romantic works, along the way presenting an overview of Wagner’s (expanded Type 1) Overture to Tannhäuser, which in this case presents the same structural questions as those of a Type 2 sonata.
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Rowland-Jones, Anthony. "Introduction." In Playing Recorder Sonatas. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198790020.003.0001.

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Abstract This book concentrates on the sonata repertoire for treble (or sometimes descant) recorder with keyboard or thorough-bass. It is intended for players who may have embarked upon this repertoire and who wish to extend their understanding and enjoyment of a wide range of accompanied solo sonatas from Handel and Telemann to eighteenth-century French compositions, then forward to twentieth-century sonatas and sonatinas, and back to early seventeenth-century Italian sonatas and canzonas.
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Rowland-Jones, Anthony. "Dynamics, and Italian Style Telemann’s Sonata in D Minor." In Playing Recorder Sonatas. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198790020.003.0004.

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Abstract Most Baroque recorder sonatas have Italian origins. The earliest instrumental ensemble pieces entitled ‘sonata’ were those of Giovanni Gabrieli (Newman, 95-101) published in Venice in 1597. About thirty-six of Gabrieli’s polychoral or other multivoice instrumental pieces were termed ‘canzona’ and seven ‘sonata’, but there is no great difference between them.
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Lester, Joel. "The Finales." In Brahms's Violin Sonatas. 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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Conference papers on the topic "Sonajas"

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Gode, Samiran, Akshay Hinduja, and Michael Kaess. "SONIC: Sonar Image Correspondence using Pose Supervised Learning for Imaging Sonars." In 2024 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2024. http://dx.doi.org/10.1109/icra57147.2024.10611678.

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Vlahopol, Gabriela. "TYPOLOGIES OF THE SONATA FORM IN THE PIANO SONATAS OF FRANZ SCHUBERT - LANDMARKS OF CONTINUITY AND INNOVATING ELEMENTS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.028.

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Gupta, Arpit, Rob Harrison, Marco Canini, Nick Feamster, Jennifer Rexford, and Walter Willinger. "Sonata." In SIGCOMM '18: ACM SIGCOMM 2018 Conference. ACM, 2018. http://dx.doi.org/10.1145/3230543.3230555.

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Boué, Amandine. "Sonata." In SIGGRAPH Asia 2013 Computer Animation Festival. ACM Press, 2013. http://dx.doi.org/10.1145/2542398.2542400.

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Evans, Brian. "sonata (pipilo)." In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2007. http://dx.doi.org/10.1145/1280120.1280215.

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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects
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Neuwirth, Markus, Johannes Hentschel, and Martin Rohrmeier. "Perspectives of Musical Corpus Studies: The Annotated Mozart Sonatas." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.96.

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This paper discusses the potential of musical corpus studies, taking research on common-practice tonal harmony as a case in point. Based on a brief depiction of a project carried out at the École polytechnique fédérale de Lausanne (EPFL) and two novel datasets of harmonic analyses of music in the classical style, we elaborate on research questions, applications, and the need of extending the annotation standard used.
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Wang, Siwen. "A Brief Analysis of Prokofiev's Three Later Piano Sonatas." In Proceedings of the 1st International Symposium on Education, Culture and Social Sciences (ECSS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/ecss-19.2019.70.

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Saulova, Inessa. "SONATA FOR VIOLIN AND PIANO BY ZLATA TKACI COMPOSITION AND MUSICAL LANGUAGE, QUESTIONS OF PERFORMANCE INTERPRETATION." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.13.

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The article characterizes the recent achievements of the work of Zlata Tkaci, The Sonata for violin and piano, written by the author in 2005, is analyzed in detail. The author gives methodological recommendations for solving technical and artistic tasks when performing this work. The conclusion is made about the importance of the Sonata both in the educational process and in the concert repertoire of violinists and pianists.
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Begutova, Tatiana Sergeevna. "The Significance of Franz Schubert's Piano Sonatas in the Cultural Space." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530460.

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Reports on the topic "Sonajas"

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Spiesberger, John. Acoustic Tomography With Navy Sonars. Defense Technical Information Center, 2000. http://dx.doi.org/10.21236/ada610158.

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Spiesberger, John L. Acoustic Tomography with Navy Sonars. Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada627923.

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Spiesberger, John. Acoustic Tomography With Navy Sonars. Defense Technical Information Center, 2003. http://dx.doi.org/10.21236/ada629552.

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Spiesberger, John L. Acoustic Tomography with Navy Sonars. Defense Technical Information Center, 1999. http://dx.doi.org/10.21236/ada630547.

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Spiesberger, John. Acoustic Tomography with Navy Sonars. Defense Technical Information Center, 2001. http://dx.doi.org/10.21236/ada625536.

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Spiesberger, John. Acoustic Tomography with Navy Sonars. Defense Technical Information Center, 2002. http://dx.doi.org/10.21236/ada627174.

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Spiesberger, John. Coherence of Sound Using Navy Sonars. Defense Technical Information Center, 2008. http://dx.doi.org/10.21236/ada533036.

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Spiesberger, John L. Coherence of Sound using Navy Sonars. Defense Technical Information Center, 2009. http://dx.doi.org/10.21236/ada506811.

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Brewer, Charles E. Sonata á Violino Solo by Johann Heinrich Schmelzer. Society for Seventeenth-Century Music, 2022. http://dx.doi.org/10.53610/tkcn2435.

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This edition presents a sonata for solo scordatura violin by Johann Heinrich Schmelzer comprised of 99 varied repetitions of an ostinato. Included here is a detailed examination of the source, problems with the continuo, and a possible performance solution. A complete score and continuo part are included in the appendices along with a detailed formal analysis of the work.
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Spiesberger, John. Coherence of Sound using Navy Sonars: Deep Water Acoustics. Defense Technical Information Center, 2010. http://dx.doi.org/10.21236/ada542058.

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