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Dissertations / Theses on the topic 'Sonajas'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

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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2

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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4

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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5

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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6

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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7

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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10

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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11

Andrade, Liliana Michelsen de. "O primeiro movimento da Sonata II para piano solo de Bruno Kiefer : uma análise interpretativa." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10551.

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Este estudo do primeiro movimento da Sonata II para piano de Bruno Kiefer parte do ponto de vista do executante. Reunindo cartas, documentos e outras evidências do arquivo do compositor, apresenta uma análise que expõe uma concepção pessoal dos significados referenciais transmitidos pela obra. O entendimento da linguagem musical do compositor, obtido através dos processos composicionais e dos ambientes emocionais constituem-se em ferramentas de suporte para a interpretação.<br>This study approaches the first movement of Bruno Kiefer’s Piano Sonata II from the performer standpoint. Based on let

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Ćojbašić, Ivana. "Content and Musical Language in the Piano Sonata of Sofia Gubaidulina, and Three Recitals with Works by Bach, Beethoven, Mozart, Chopin, Schumann, Debussy, and Rachmaninov." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935565/.

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Sofia Gubaidulina is one of the leading composers in the contemporary music world. Her compositional interests have been stimulated by the exploration of and improvisation with rare folk and ritual instruments, and by a deep-rooted belief in the mystical properties of music. Gubaidulina is the author of orchestral and choral works, compositions for solo instruments, chamber music, as well as electronics music. Gubaidulina's Piano Sonata sums up the composer's thinking within her piano music, and at the same time projects the development of her spiritual vision within other genres that are to c

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Polk, Kristin Marie. "An analysis of form and tonality in Arnold Cooke's Sonata for oboe and piano (1957)." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6061.

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Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 7, 2005, Oct. 10, 2005, Mar. 6, 2006, and Feb. 4, 2008. Includes bibliographical references (p. 29-30).

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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Da

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Rosenbaum, George G. (George Gene). "Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278956/.

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These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).

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Freitas, Stefanie Grace Azevedo de. "Marlos Nobre - sonata para piano sobre tema de Bartók Op. 45 : uma abordagem analítica do fenômeno intertextual." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17708.

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Este trabalho apresenta uma análise da Sonata para piano sobre tema de Bartók op.45 (2003) do compositor Marlos Nobre (1939) com o objetivo de identificar os elementos apropriados do primeiro movimento do Concerto para Orquestra (1943) do compositor húngaro Béla Bartók (1881-1945) e investigar como esses elementos são inseridos e metamorfoseados na linguagem de Nobre. Foram utilizados como referenciais teóricos os autores Straus (1990) e Hyde (1996) que estudam o fenômeno da intertextualidade na música. Este trabalho divide-se em duas etapas: a primeira consiste em uma revisão da literatura so

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Kleinmann, Johannes. "Polystylistic Features of Schnittke's Cello Sonata (1978)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30478/.

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Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The d

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Cifrino, Emma A. ""Tentative and Feminine": Viola Sonatas by British Women." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467237993.

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Cord, John T. "Francis Poulenc's Sonata for Horn, Trumpet and Trombone: A Structural Analysis Identifying Historical Significance, Form and Implications for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12104.

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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 ou

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Magarotto, Matteo. "The Interaction of Sonata Form and Schemata Derived from Galant Practice in the First Movements of Mozart's Keyboard Sonatas." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470754875.

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Cheung, Ching-Loh. "Cyril Scott's Piano Sonata, Op. 66: A Study of His Innovative Musical Language, With Three Recitals of Selected Works by Mozart, Schumann, Scriabin, Debussy, Ravel and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277674/.

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The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.

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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,

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Yoon, Hyekung. "An Introduction of Carl Vine’s Three Piano Sonatas with Emphasis on Performance and Practice Suggestions for Sonata No.2 (1997)." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291218628.

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Adduci, Kathryn James. "An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/adduci%5Fkathryn/index.htm.

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Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.

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This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. Th

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Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.<br>Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).

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Powell, Timothy J. "Saxophone sonatas| 1980--2010." Thesis, University of Maryland, College Park, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3557684.

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<p> The purpose of this dissertation project identifies contemporary solo saxophone literature, specifically sonatas between the years 1980 and 2010. The overwhelming majority of repertoire written during these thirty years consisted primarily of either multi-movement or through-composed character pieces. By limiting the selected repertoire to sonatas one can still investigate the breadth of the literature that has helped validate the saxophone in the realm of classical music in a format that has seemingly fallen out of favor with composers. </p><p> The saxophone had developed a unique voice

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Fitenko, Nikita. "Sonata for Piano (1963) by Sergei Michailovich Slonimsky: Musical Analysis and Discussion on Interpretation and Performance." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3147/.

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The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combin

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Proctor, Jordan. "The solo piano sonatas of Cipriani Potter (1792-1871): An analysis, reappraisal, and historical performance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2411.

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The solo piano sonatas (Op. 1, 3, and 4) of once eminent English pianist/composer Cipriani Potter (1792-1871) are a collection of works that have for the most part fallen into obscurity. Potter produced three such sonatas in his lifetime, each at approximately the same time during his educational trip to Vienna between 1817 and 1818. Potter was much celebrated in his own time as a virtuoso pianist, teacher, and eventual principal at the Royal Academy of Music, and as an editor of the works of Mozart and Beethoven amongst others. This study examines Potter’s sonatas in light of both modern and

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Lee, Jeong-A. "Benjamin Britten's Sonata in C for Cello and Piano, Op. 65: A Practical Guide for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9841.

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Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.

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There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through

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Caldas, Inês Moz. "As sonatas opus I de Mercy e o second set of sonatas de Pepusch." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/9392.

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Mestrado em Música - Performance<br>O presente trabalho apresenta a comparação entre duas obras dos compositores Luis Mercy e Johann Christoph Pepusch. As obras em questão são: Six Solos for a Flute with a Thorough Bass for the Harpsicord or Violoncello de Mercy e A Second Set of Solos for the Flute with A Through Bass for the Basson, Bass-flute or Harpsicord de Pepusch. Nestas obras podemos encontrar correspondências entre sete andamentos pertencentes a quatro sonatas de Pepusch e três de Mercy. Estas correspondências podem aparecer sob a forma de ornamentação de andamentos completos o

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Campbell, Grace M. "Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc279098/.

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When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982).

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Paz, Martha Costa Guterres. "Avalovara: leituras musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/33668.

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Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o

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Hsieh, Shih-Yun. "Neoclassic violin sonatas, 1922-1977." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3176.

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McCarthy, Peter Joseph. "The sonatas of Darius Milhaud /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371220263.

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Fosheim, Karen Marie. "Similarities between two dissimilar American piano sonatas of the 1960s: The second piano sonatas of Robert Muczynski and Robert Starer." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186663.

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Two significant American composers, Robert Muczynski (b.1929) and Robert Starer (b.1924), composed piano sonatas in the years 1964-66, despite the tendency of other composers of the time to utilize less traditional structures. The second Sonatas of Muczynski and Starer are intricately conceived, finely crafted, and worthy examples of mid-century trends in American composition and they give evidence of the continuing viability of the sonata form. This study will examine the stylistic similarities between two works that utilized, paradoxically, differing methods of compositional technique. These

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Seah, Stefanie Huei-Ling. "Alexander Scriabin's style and musical gestures in the late piano sonatas : Sonata No.8 as a template towards a paradigm for interpretation and performance." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6959/.

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Alexander Scriabin's piano sonatas are largely regarded as the most significant works in the genre since Beethoven. They outline the development of his compositional style from the youthful Chopinesque works, to his mature, idiosyncratic post-tonal offerings. According to his close friend, biographer, and critic Leonid Sabaneyev, despite Scriabin's philosophy suffering “from too many manifest faults”, his late music is “incomprehensible and incomplete” when “severed from his philosophy”. Consequently, this treatise focuses on Scriabin's unique compositional voice through an examination of his

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Dearden, Jennifer Lorien. "The American Trumpet Sonata in the 1950s: An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3982.

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Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded May 31, 2004, Apr. 18, 2005, Oct. 24, 2005, and June 11, 2007. Includes bibliographical references (p. 73-74).

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Perevertailenko, Dmytro Olexandrovich. "The Unpublished Works for Clarinet by Alexander Grechaninov: Preparing a Performance Edition of the Sonata No. 1 for Clarinet and Piano, Op. 161." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9052/.

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Alexander Grechaninov was one of the most important composers of the late Russian Romantic School. By the second half of the twentieth century he remained one of the few living composers who continued the traditions of the great Russian Romantic masters, such as Tchaikovsky and Rimsky-Korsakov. He is primarily known for his liturgical works, which are truly masterpieces of this genre. Because many of his instrumental works remain unpublished, particularly the chamber works, they continue to be undeservedly ignored in the concert hall. Grechaninov's unpublished works for clarinet include Septe

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Brynolf, Max. "Uppförande av Prokofjevs åttonde pianosonat : En musikalisk analys med fokus på spelteknik och interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4042.

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In this study, Prokofiev’s Eighth piano sonata was analyzed based on interpretation and technique. Prokofiev lived in the communist Soviet Union, during the middle of the Second World War, and wrote music with a lot of collected experience. The purpose of the study was to illustrate important interpretational- and technical aspects that are required to perform the sonata, based on personal experience. To accomplish this, the piece was practiced for several months, while continuously taking notes of my personal reflections based on the practice sessions and recordings. The study shows that the

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Braunig, Elizabeth M., and Elizabeth M. Braunig. "The Organ Sonatas of Josef Rheinberger." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/626224.

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Dawe, Edmund Noel. "Three piano sonatas by Friedrich Kuhlau." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/29227.

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Friedrich Kuhlau (1786-1832) ranks as a minor master of the early nineteenth century. As a composer of keyboard music he is perhaps best known for his sets of sonatinas, but the twenty-two sonatas he composed from 1809 to 1831 form a significant part of his extensive output. This study examines three of his sonatas -- Op. 4, Op. 46 No. 2 and Op. 127 -- and places them in historical context through a discussion of the importance of this genre in the repertoire of that era. A survey of contemporary keyboard performance practices is also included, as well as an introductory biographical sketch.

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譚詠基 and Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.

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Tam, Wing-Kei Ruth. "Accent markings in Schubert's piano sonatas /." Hong Kong : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14292440.

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Lee, Suan Liu. "Czerny's interpretation of Beethoven's piano sonatas." Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/czernys-interpretation-of-beethovens-piano-sonatas(feb6fd76-4266-471f-a1e0-5dd95dff5b83).html.

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The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinge

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Barany-Schlauch, Elizabeth A. "Alexander Scriabin's ten piano sonatas : their philosophical meaning and its musical expression." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1239362920.

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

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions.

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Tercero, David R. "Ernesto García de León: A Study of Sonata No. I, Op. 13, Las Campanas (The Bells)." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9732/.

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The purpose of this document is to further the current research and encourage interest in the music of the Mexican composer Ernesto García de León. This paper will advance the current research with an in-depth analysis of the first movement of Sonata No. I, Op.13, Las Campanas (The Bells) for solo guitar. The analysis will focus on the pervasive presence of the melodic and harmonic intervals of perfect fourths, perfect fifths, and tritones as constructive devises throughout the sonata. This will provide interested performers a technical understanding of the composition. In addition to the com

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