Log in

Relevant bibliographies by topics / Sonajas / Journal articles

To see the other types of publications on this topic, follow the link: Sonajas.

Journal articles on the topic 'Sonajas'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Sonajas.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

11

Rothstein, William. "Piano Sonata in E Major Op. 109. Beethoven’s Last Piano Sonatas: An Edition with Elucidation. By Heinrich Schenker; trans., ed., and annotated by John Rothgeb Piano Sonata in A flat Major Op. 110. Beethoven’s Last Piano Sonatas: An Edition with ElucidationPiano Sonata in C Minor Op. 111. Beethoven’s Last Piano Sonatas: An Edition with ElucidationPiano Sonata in A Major Op. 101. Beethoven’s Last Piano Sonatas: An Edition with Elucidation." Music and Letters 97, no. 4 (2016): 661–63. http://dx.doi.org/10.1093/ml/gcw094.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Del Real Barreto, Cristian Job. "Las sonatas woo 47 de beethoven. su importancia en el conjunto de las sonatas para piano." Ricercare 2017, no. 7 (2017): 43–67. http://dx.doi.org/10.17230/ricercare.2017.7.3.

Full text

Abstract:

El objeto de estudio de la presente investigación, en este caso, las sonatas tempranas para piano de Ludwig van Beethoven, como piezas esenciales en el repertorio pianístico de la historia de la música académica. El tema de investigación surge por la reciente publicación (2007) del conjunto completo de ellas, en una edición crítica, de las 35 sonatas para piano por el profesor Barry Cooper, reconocido especialista en Beethoven. Ésta es la única edición moderna que incluye, desde el principio, las tres sonatas WoO 47 y las siguientes 32 ya conocidas. Nuestra revisión está orientada a recopilar

APA, Harvard, Vancouver, ISO, and other styles

13

WHEELDON, MARIANNE. "Debussy and La Sonate cyclique." Journal of Musicology 22, no. 4 (2005): 644–79. http://dx.doi.org/10.1525/jm.2005.22.4.644.

Full text

Abstract:

ABSTRACT In 1915, Debussy returned to the genre of chamber music for the first time since the String Quartet of 1893 and composed the only sonatas of his career. What draws these early and late chamber works together is that they are all cyclic in construction. While Debussy's quartet clearly bears the imprint of Céésar Franck's cyclic procedures, his sonatas engage with this tradition more cautiously. Comparing the string quartet with the sonatas elucidates Debussy's uneasy rapprochement with a style he had formerly embraced. Debussy's underplaying of the cyclic tradition was motivated by wha

APA, Harvard, Vancouver, ISO, and other styles

14

Talbot, Michael. "The Cheney Flute Sonatas Manuscript: An Early Collection for the Traverso, Containing Music by Pepusch and Others." Royal Musical Association Research Chronicle 52 (April 2021): 63–89. http://dx.doi.org/10.1017/rrc.2020.4.

Full text

Abstract:

AbstractThis article describes and evaluates a manuscript album of English provenance from the early eighteenth century containing 24 anonymous solo sonatas for the transverse flute (traverso) and continuo. These are especially interesting in that they date from a period when this still rather novel instrument had, in England, very little purpose-written repertory within that genre. A study of concordances and contextual factors reveals that a large number of them, plus some movements in pasticcio sonatas, are by J. C. Pepusch, whose musical style in solo sonatas is examined in detail. The art

APA, Harvard, Vancouver, ISO, and other styles

15

Pittenger, Elise. "Perspectives on Beethoven’s Middle and Late Periods: Developments in his Writing for Cello in the Op. 69 and Op. 102 Sonatas." Revista Música 20, no. 2 (2020): 223–38. http://dx.doi.org/10.11606/rm.v20i2.176085.

Full text

Abstract:

This article explores the developments in Beethoven’s writing for the cello in the Op. 69 and Op. 102 sonatas, with the premise that they reflect the overall shift in his style from his Middle to Late Periods. In order to place the cello sonatas in context, the traditional framing of Beethoven’s work into three phases is described and well as the current state of cello writing at the turn of the century. The cello part in the Op. 69 sonata is then discussed, with attention to the role of the cello as compared to the piano and to the interaction between the two instruments. The Op. 102 sonatas

APA, Harvard, Vancouver, ISO, and other styles

16

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Martianova, Alina. "“New life” of little-known Piano Sonatas by Felix Mendelssohn-Bartholdy." Aspects of Historical Musicology 37, no. 37 (2024): 116–37. https://doi.org/10.34064/khnum2-37.06.

Full text

Abstract:

Statement of the problem. Felix Mendelssohn-Bartholdy occupies a distinguished place in the history of German music as a celebrated composer, pianist, conductor, and teacher. However, his early, little-known piano Sonatas, written in 1820, remained unpublished for decades and have been largely overlooked by both performers and music scholars. These sonatas represent a unique synthesis of Classical and Romantic elements, yet their potential remains untapped in contemporary piano practice. This study examines how contemporary interpretations breathe life into these compositions and contribute to

APA, Harvard, Vancouver, ISO, and other styles

18

D'Ávila, Humberto. "Domenico Scarlatti e a Cultura Portuguesa." Revista Música 3, no. 2 (1992): 105. http://dx.doi.org/10.11606/rm.v3i2.55043.

Full text

Abstract:

O Libro di Tocate per Cembalo do Instituto Português do Patrimônio Cultural - IPPC (FCR 194.1), onde se copiam 60 sonatas, é por si mesmo um exemplar único no espólio do compositor Domenico Scarlatti e até agora desconhecido. Ao se proceder ao cotejo do incipit de cada peça com o das Sonatas reconhecidas do mestre napolitano, de todas as sonatas compiladas, uma havia, a nº 25 da série, que não coincidia com qualquer outra, era desconhecida e podia, pois, considerar-se inédita. O achado era de festejar, pois se verificava no próprio ano de 1985, o dos centenários do nascimento de Bach, Händel e

APA, Harvard, Vancouver, ISO, and other styles

19

DECKER, TODD. "‘SCARLATTINO, THE WONDER OF HIS TIME’: DOMENICO SCARLATTI’S ABSENT PRESENCE IN EIGHTEENTH-CENTURY ENGLAND." Eighteenth Century Music 2, no. 2 (2005): 273–98. http://dx.doi.org/10.1017/s1478570605000382.

Full text

Abstract:

Domenico Scarlatti played a consistently significant role in English musical life from 1738 to the end of the century, even though he never travelled to England. His ‘absent presence’ was mediated by the eighty-three Scarlatti sonatas available in print in the eighteenth century. Scarlatti’s ‘English’ sonatas – defined here as those pieces available in print or manuscript to an eighteenth-century English player – display common compositional traits, in particular the frequent use of virtuoso techniques that appeal to the eye as well as the ear, such as crossed-hand passagework and leaps. Engli

APA, Harvard, Vancouver, ISO, and other styles

20

Zhuxiang, Ding. "CLAVIER URTEXT AS AN ENSEMBLE SCORE IN THE ARTISTIC CULTURE OF BAROQUE." Baltic Journal of Legal and Social Sciences, no. 3 (October 17, 2024): 152–59. http://dx.doi.org/10.30525/2592-8813-2024-3-15.

Full text

Abstract:

This study explores the adaptation of Domenico Scarlatti’s keyboard sonatas into Baroque ensemble music, emphasizing their transformation into quasi-partitures. Utilizing a detailed chronological framework, historical context, and stylistic analysis, the research draws upon key scholarly sources to examine how Scarlatti's keyboard works can be reinterpreted for various instrumental combinations. The study highlights that Scarlatti’s sonatas, when analyzed through the lens of Baroque ensemble practices, reveal significant opportunities for adaptation into ensemble settings, offering new insight

APA, Harvard, Vancouver, ISO, and other styles

21

Talbot, Michael. "A Thematic Catalogue of the Instrumental Music of Martino Bitti (1655/6–1743)." Royal Musical Association Research Chronicle 46 (2015): 46–94. http://dx.doi.org/10.1080/14723808.2014.986256.

Full text

Abstract:

Martino Bitti (1655/6–1743) was the leading violinist-composer working in Florence during a long period stretching from Corelli's first published works to the mature years of Vivaldi. Ironically, his nine sonatas for wind instruments are better known today than the 27 solo sonatas for his own instrument, the violin, which constitute a corpus of great technical accomplishment and musical expressiveness. Since the publication of a critical edition of Bitti's violin sonatas is currently in progress, the moment is right to present a thematic catalogue of his instrumental music, which forms the sec

APA, Harvard, Vancouver, ISO, and other styles

22

Porizko, Ekaterina I. "The Infl uence of the Polyphonic Technique of the Organ Sonatas, Opus 65, on the Oratorio “Elijah” by F. Mendelssohn-Bartholdy." Университетский научный журнал, no. 77 (December 25, 2023): 128–40. http://dx.doi.org/10.25807/22225064_2023_77_128.

Full text

Abstract:

The author of the article reviews the development of the organ sonata and oratory genres in the works of composers of the 19th–21st centuries, which was driven by the Organ Sonatas, opus 65, and oratorio creativity of F. Mendelssohn. The author also considers the polyphony technique of the composer’s Organ Sonatas, opus 65, and their infl uence on the “Elijah” oratorio. These features belong to the composer’s creative style and represent innovation in form and content. It is revealed that elements of the composer’s technique of the organ sonatas penetrate into the oratorio compositions, and an

APA, Harvard, Vancouver, ISO, and other styles

23

TALBOT, MICHAEL, Legrenzi, and S. Bonta. "Italian Sonatas." Musical Times 127, no. 1715 (1986): 35. http://dx.doi.org/10.2307/965358.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Schott, Howard. "Soler Sonatas." Musical Times 131, no. 1772 (1990): 546. http://dx.doi.org/10.2307/966509.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Hopkins, Robert, and Alexander Reinagle. "Four Sonatas." American Music 3, no. 2 (1985): 246. http://dx.doi.org/10.2307/3051648.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Smith, Richard Langham, Paul Goodwin, Susan Sheppard, Nigel North, and John Toll. "Vivaldi: Sonatas." Musical Times 135, no. 1811 (1994): 45. http://dx.doi.org/10.2307/1002845.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Smith, Richard Langham, Biber, Romanesca, Matteis, and The Arcadian Academy. "Violin Sonatas." Musical Times 136, no. 1825 (1995): 162. http://dx.doi.org/10.2307/1004013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Tilmouth, Michael. "Sonatas, Divisions." Musical Times 126, no. 1707 (1985): 290. http://dx.doi.org/10.2307/961321.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

TILMOUTH, MICHAEL. "Purcell's Sonatas." Early Music 13, no. 1 (1985): 154b—155. http://dx.doi.org/10.1093/earlyj/13.1.154b.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Whittall, Arnold. "Representing Sonatas." Journal of the Royal Musical Association 133, no. 2 (2008): 318–33. http://dx.doi.org/10.1080/02690400809480705.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Whittall, A. "Representing Sonatas." Journal of the Royal Musical Association 133, no. 2 (2008): 318–33. http://dx.doi.org/10.1093/jrma/fkn005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.

Full text

Abstract:

Alun Hoddinott has written music steadily for 50 years and, as a constantly prolific composer, has amassed an impressively wide-ranging body of work: six operas, ten symphonies, 20 concertos, a dozen piano sonatas, five violin sonatas, with vocal, choral, orchestral and instrumental works of equal abundance – in all, an output of about 300 works with which even his most ardent admirer will have found it difficult to keep up.

APA, Harvard, Vancouver, ISO, and other styles

33

Barbieri, Patrizio, and Michael Talbot. "A GENTLEMAN IN EXILE: LIFE AND BACKGROUND OF THE COMPOSER JOHN RAVENSCROFT." Early Music History 31 (2012): 3–35. http://dx.doi.org/10.1017/s0261127912000034.

Full text

Abstract:

John Ravenscroft (1664/5–1697) is today best known for the fact that in 1695 he published a set of church sonatas that closely imitate Corelli in their style. The discourse around Ravenscroft has ever since focused on these twelve sonatas and the significance of their relationship to their illustrious model, to the exclusion of a later set of sonatas of different kind but equal merit. Ravenscroft's fascinating and unusual biography has likewise been totally ignored. The article examines the background of his distinguished, Catholic-leaning family in England during a long, turbulent period when

APA, Harvard, Vancouver, ISO, and other styles

34

Borshuliak, Alona. "Interpretation of Musical Topos in W. A. Mozart’s Sonata Cycles." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (2024): 135–48. http://dx.doi.org/10.24193/subbmusica.2024.1.10.

Full text

Abstract:

The article represents an important problem of modern musicology and aims to reveal the specifics of the functioning of musical topos in the piano sonatas of W. A. Mozart. The concept of topos is interpreted as a field of abstract ideas and concrete images embodied by certain musical means. It is argued that the model of the functioning of musical topos in the sonata cycles of W. A. Mozart consists of the following main topos: gallant, heroic, pastoral, pathetic, comic, which include lesser, similar modifications. The main role in the sonatas is played by the topos of gallantry, which focuses

APA, Harvard, Vancouver, ISO, and other styles

35

Von Mayer Chaves, Peggy. "Reivindicación del modernismo en las Sonatas de Valle-Inclán." Revista de Filología y Lingüística de la Universidad de Costa Rica 21 (August 30, 2015): 165. http://dx.doi.org/10.15517/rfl.v21i0.20284.

Full text

Abstract:

Las Sonatas de Don Ramón María del Valle-Inclán se publicaron en los siguientes años: Sonata de Otoño, 1902; Sonata de Estío, 1903; Sonata de Primavera, 1904; Sonata de Invierno, 1905. Desde que fueron editadas hasta nuestros días, han sido objeto de crítica profusay constante. La abundante bibliografía que constituye el material crítico en tomo de las Sonatas es extensa; está conformada por una diversidad de estudios y monografías, publicados en librosy revistas especializados.

APA, Harvard, Vancouver, ISO, and other styles

36

Freeman, Daniel E. "Lodovico Giustini and the Emergence of the Keyboard Sonata in Italy." Anuario Musical, no. 58 (December 30, 2003): 111. http://dx.doi.org/10.3989/anuariomusical.2003.58.72.

Full text

Abstract:

Las doce sonatas para teclado, Op. 1, de Ludovico Giustini (1685-1743), constituyen la música más antigua explícitamente indicada para su interpretación en el pianoforte. Son composiciones atractivas en el estilo clásico temprano, que exhiben una interesante mezcla de influencias de la música italiana de tecla, la sonata italiana para violín y la música francesa para clave. Su inusual formato de danzas, sus excursiones contrapuntísticas, y novedades en cuatro o cinco movimientos, parecen haberse inspirado en las sonatas para violín Op. 1 del toscano Francesco Veracini. Aunque la única fuente d

APA, Harvard, Vancouver, ISO, and other styles

37

Cornelius, Nathan. "Leo Brouwer: Guitar Sonatas, Ricardo Gallén." Soundboard Scholar 6, no. 1 (2020): 67–69. http://dx.doi.org/10.56902/sbs.2020.6.12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Truett Mollis, George. "«El diablo vestido de fraile»: correspondencia entre el padre Antonio Soler y un noble español (1761-1773)." Anuario Musical, no. 54 (January 24, 2019): 155. http://dx.doi.org/10.3989/anuariomusical.1999.i54.258.

Full text

Abstract:

El 16 de marzo de 1761, el Padre Antonio Soler escribió una carta al Duque de Medina Sidonia, pidiendo con cortesía, la vuelta de un regalo del «Libro de Clavicordio». Así comenzó una correspondencia de doce años entre Soler (22 cartas) y el duque. El centro de la correspondencia era el joven clavicordista de Cataluña, Pedro Santamant (n. 1752), el cual en 1765 estaba al servicio del duque («lo he visto ejecutar maravillas en al clabe»). A solicitud del duque. Soler consintió enseñar composición a Santamant en El Escorial. La correspondencia terminó con cólera por parte de Soler demandando la

APA, Harvard, Vancouver, ISO, and other styles

39

Rodrigues, Esdras. "Francisco Mignone." Per Musi, no. 05 e 06 (January 1, 2002): 81–89. https://doi.org/10.35699/2317-6377.2002.56198.

Full text

Abstract:

After the death of Mario de Andrade in 1945, Francisco Mignone underwent a period of experimentation, which produced a very personal serial and dodecaphonic language. Between 1964 and 1966 he revisited the sonata for violin and piano genre, producing three works. Apart from their importance within Mignone's chamber music output, the sonatas are also very revealing of the techniques and aesthetic embraced by the composer during this period. This study discusses these sonatas and raises some important issues about the disguised presence of nationalism in these works.

APA, Harvard, Vancouver, ISO, and other styles

40

Dobre Ioniță, Raluca. "GEORG FRIEDRICH HAENDEL - SONATA FOR VIOLIN AND FIGURED BASS OP. 1, NO. 13." Review of Artistic Education 27 (April 1, 2024): 122–29. http://dx.doi.org/10.35218/rae-2024-0014.

Full text

Abstract:

In the field of chamber music, Haendel is known for his six Sonatas for violin and basso continuo op. 1, creations that have kept a well-deserved place in the violin repertoire, being approached mainly for their melodic cantability, the clarity of the formal structures and the moderate technical difficulty. At G. Fr. Handel's sonata genre is distinguished by the characteristic unity of the thematic material, which bears the perfect mark of mastery. His sonatas are characterized by the breadth of the melodic line, the precise construction of the harmony and the generous sonority.

APA, Harvard, Vancouver, ISO, and other styles

41

MacDonald, Calum. "Samuil Feinberg's Piano Sonatas." Tempo 58, no. 230 (2004): 83–84. http://dx.doi.org/10.1017/s0040298204260338.

Full text

Abstract:

FEINBERG: Piano Sonatas Nos. 1, op.1 (1915)1, 2, op.2 (1915–16)2, 3, op.3 (1916)2, 4, op.6 (1918)1, 5, op.10 (1920–21)1, 6, op.13 (1923)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1413.FEINBERG: Piano Sonatas Nos. 7, op.21 (1924–28)2, 8, op.21a (1933–34)2, 9, op.29 (1939)1, 10, op.30 (1940–44)1, 11, op.40 (1952)1, 12, op.48 (1962)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1414.

APA, Harvard, Vancouver, ISO, and other styles

42

Anatolii, Tarabanov. "Performance and existential chronotope of clavier sonatas of the late Baroque and Classicism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (2021): 50–75. http://dx.doi.org/10.34064/khnum1-61.03.

Full text

Abstract:

Some spatial-time characteristics of the selected keyboard sonatas by D. Scarlatti, С. P. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi are revealed from the viewpoint of a piano performer. The term “chronotope”, used in the research, is interpreted in two main meanings: as an existence of the piano sonata phenomenon in space-time continuum in the context of listeners’ perception and comprehension, as well as a specific performer’s feeling of time and space in sonatas by the mentioned composers. The purpose of the study is to identify the peculiarities of the performance chronotope of these

APA, Harvard, Vancouver, ISO, and other styles

43

O'Loughlin, Niall. "18th-Century Sonatas." Musical Times 128, no. 1731 (1987): 278. http://dx.doi.org/10.2307/965132.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Ehrlich, Cyril, and Schnabel. "Beethoven: Piano Sonatas." Musical Times 133, no. 1787 (1992): 30. http://dx.doi.org/10.2307/966242.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Schott, Howard, and Colin Booth. "CPE Bach: Sonatas." Musical Times 134, no. 1802 (1993): 221. http://dx.doi.org/10.2307/1002496.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

O'Loughlin, Niall. "18th-Century Sonatas." Musical Times 126, no. 1708 (1985): 354. http://dx.doi.org/10.2307/964045.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Keefe, Simon P. "Mozart's piano sonatas." Early Music XXVI, no. 2 (1998): 336–37. http://dx.doi.org/10.1093/earlyj/xxvi.2.336.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Holman, Peter. "Biber's Mystery sonatas." Early Music XXVII, no. 3 (1999): 500–501. http://dx.doi.org/10.1093/earlyj/xxvii.3.500.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Araujo de Godoy, José Roberto. "Duas sonatas russas." RUS (São Paulo) 9, no. 12 (2018): 74–88. http://dx.doi.org/10.11606/issn.2317-4765.rus.2018.150299.

Full text

Abstract:

Este artigo procura investigar aproximações e diferenças entre o conto “A propósito da sonata a Kreutzer”, de Nikolai Leskov, e a novela A sonata a Kreutzer, de Liév Tolstói, quanto às suas constituições formais. Partindo da análise que Walter Benjamin realiza sobre as especificidades dos contos de Leskov, em “O narrador. Considerações sobre a obra de Nikolai Leskov”, nossa proposta é averiguar as tensões entre formas longas e breves na Modernidade, e de que maneira estas são internalizadas nas obras desses autores russos no final do século XIX.

APA, Harvard, Vancouver, ISO, and other styles

50

Kanno, M. "Biber's Mystery Sonatas." Early Music 32, no. 2 (2004): 341–43. http://dx.doi.org/10.1093/em/32.2.341.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!