Relevant bibliographies by topics / Sonata

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

Academic literature on the topic 'Sonata'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Sonata"

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ÇAĞLAK EKER, Tuğba, and Prof dr nezihe ŞENTÜRK. "SONAT FORMUNUN TARİHİ SÜREÇ İÇİNDEKİ GELİŞİMİ: JOAQUIN RODRIGO PİYANO SONATI ANALİZİ." Turkish Online Journal of Design Art and Communication 13, no. 1 (January 1, 2023): 240–55. http://dx.doi.org/10.7456//11301100/016.

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Bu araştırmanın amacı Joaquín Rodrigo’nun Album Centanario Piano (Yüzyıllık Piyano Albümü) kitabında yer alan Cinco Sonatas de Castilla (Beş Kastilya Sonatı) olarak bilinen Sonata, Sonata en fa sostenido menor, Sonata en Re, Sonata como un Tiento, Sonata en La isimli piyano sonatlarının form ve armonik analizini yaparak piyano eğitimi repertuarına çalışma rehberi niteliğinde bir bilgi kaynağı olarak katkı sağlamaktır. Çalışmada sonatın ve sonat formunun tarihsel süreç içindeki gelişimi farklı örnekler üzerinden ele alınmış, ardından Rodrigo’nun piyano sonatları analiz edilmiştir. Sonuç olarak araştırmanın form analizi basamağında Rodrigo’nun sonatlarında sonat allegrosu, şarkı formu ve tiento biçimi ile neo-klasik yaklaşımının görüldüğü söylenebilir. Armonik analiz doğrultusunda Sonata Sonata en Re ve Sonata en La’nın Klasik dönem sonat allegrosu armonik yapısını yansıttığı; armonik çeşitliliğin görüldüğü Sonata en fa sostenido menor ve Sonata, como un Tiento’da ise bir 20. Yüzyıl bestecisi olarak Rodrigo’nun çağdaş stilini göstermiş olduğu belirtilebilir. Ulaşılan sonuçlardan hareketle, piyano derslerinde eser seçiminde Rodrigo’nun piyano eserlerine yer verilerek, bestecilik stilinin tanıtılması ve öğrencinin farklı kültürlere ilişkin bilgi sahibi olması; Rodrigo’nun Cinco Sonatas de Castilla eserindeki sonatları çalışacak veya öğrencilerine çalıştıracak piyano eğitimcilerinin araştırma kapsamında yer alan analizler doğrultusunda eserleri tanımaları önerilir.
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Solecka, Joanna. "Sonate per uno o due Cembali con il basso cifrato Bernarda Pasquiniego – błaha rozrywka czy kunsztowna szarada?" Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 27–69. http://dx.doi.org/10.4467/23537094kmmuj.20.017.13203.

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Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini: A Simple Entertainment or an Elaborate Charade? The 14 Sonatas for two harpsichords from Sonate per uno o due Cembali con il basso cifrato by B. Pasquini (British Library of London, position: Ms. Add. 31501, I) are unique examples of double partimento. So far, not many performers have referred to these works; therefore, they deserve much more attention. Employing contrapunctual techniques in their realisation seems highly interesting. The author describes and provides her own poliphonic realisation of selected pieces from this collection: Sonata II ms. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 ms. I and II. This material may be an encouragement for farther studies and performance these works. They are worthy to be a part of the widely known performance of these works.
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Solecka, Joanna. "Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?" Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 25–68. http://dx.doi.org/10.4467/23537094kmmuj.20.042.13915.

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The fourteen sonatas for two harpsichords from the collection Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini (British Library of London, shelf mark: Ms. Add. 31501, I) are unique examples of double partimento. Few performers have taken up these works so far; they deserve much more attention. Employing contrapuntal techniques in their execution offers very interesting possibilities. The author describes and presents her own polyphonic interpretations of selected pieces from this collection: Sonata II mm. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 mm. I and II. This material may serve as encouragement for further studies and performance of these works. They are worthy of becoming part of staple concert repertoires.
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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.

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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.
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FRĂȚILĂ, Lioara. "Development of the Sonata genre in Frederic Chopin’s creation." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 65–74. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.7.

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"The paper herein highlights those aspects of Chopin’s sonata that demonstrate the strong connection with the classical-type sonata, as well as the fact that the piano poet took inspiration from some German composers’ themes, which he afterwards developed and transformed into genuine chefs-d’oeuvre – Sonata op 4, Sonata op 35, Sonata op 58 and Sonata for cello and piano op. 65. By analyzing piano sonatas composed by Frederic Chopin, one can notice how the composer perceived the sonata form, the compositional procedures resorted to and the level wherefrom the sonata form in Chopin’s conception began to evolve."
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Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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Swack, Jeanne R. "On the Origins of the Sonate auf Concertenart." Journal of the American Musicological Society 46, no. 3 (1993): 369–414. http://dx.doi.org/10.2307/831926.

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This article traces the development of the Sonate auf Concertenart-a type of sonata that imitates the Vivaldian concerto in at least one of its movements-in Germany in the first half of the eighteenth century. While such sonatas had been considered to be the special property of Johann Sebastian Bach, the article shows that such works of Vivaldi were performed at the Dresden court; that composers from Dresden and its environs especially cultivated the genre at the time that Bach wrote his sonatas; and that such works, as well as Vivaldi's concertos, probably served as Bach's models.
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Toma, Iulia, Elena Amaricai, Roxana Ramona Onofrei, and Mihai Popean. "The Impact of Piano Styles on Muscle Force in Pianist Students." Symmetry 14, no. 9 (September 15, 2022): 1927. http://dx.doi.org/10.3390/sym14091927.

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The study of the consequences of different sonata styles (baroque, classical and romantic piano repertoire) on pianists’ upper limbs represents a research topic for both the musical and medical fields. Twenty piano students were examined using a MicroFet2 dynamometer after playing three sonatas (Scarlatti K. 1 Sonata as a representative of the baroque style, Haydn Sonata no. 60 for the classical style and Chopin second Sonata for the romantic style). The phase sequence was randomised for each subject: firstly, continuous interpretation of 10 bars of a sonata was conducted 10 times, with the metronome tempo set by the investigator; secondly, the subject interpreted 10 bars of a different sonata continuously, standardised by tempo, which was carried out 10 times; finally, the continuous interpretation of 10 bars of the remaining third sonata, standardised by tempo, was carried out 10 times. After each performance of the 10 bars, the elbow extensor’s isometric muscle force was measured. Significant differences were found between the elbow extensor’s isometric muscle force assessed after playing Scarlatti’s sonata and Haydn’s sonata (p = 0.005 for left arm, p = 0.03 for right arm), between Scarlatti’s sonata and Chopin’s sonata (p < 0.0001 for both left and right arms) and between Haydn’s sonata and Chopin’s sonata (p = 0.01 for left arm, p < 0.0001 for right arm). In healthy piano students, the dynamometric assessment of elbow extensors’ isometric muscle force after playing three different sonatas (baroque, classical and romantic) showed that the lowest values were recorded after playing the baroque style. Our results showed bilateral symmetry in the elbow extensor’s isometric muscle force for all three piano styles. The testing of arm muscles, besides that of the fingers, should be considered as a regular evaluation for future professional pianists with regard to the prevention of musculoskeletal complaints.
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Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.

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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz. It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration. It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out. Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level. It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”). The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”. In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).
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Kuźniar, Marcin. "The Development of the Modern Guitar Sonata." Edukacja Muzyczna 17 (2022): 175–91. http://dx.doi.org/10.16926/em.2022.17.06.

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This article explores the directions of development of the guitar sonata after the year 1950. The development of any given form is a highly dynamic process with each period bringing a wide variety of, frequently contradictory, points of view. In this context, the author performed a formal analysis of four guitar sonatas representative of the period in question: Sonata in A major Op. 17 by F. Werthmüller, Sonata Op. 47 by A. Ginastera, The Blue Guitar by M. Tippett and Royal Winter Music by H.W. Henze. The criterion for selecting the works was to allow a thorough overview of the main trends and views on the sonata cycle form present in guitar music of the second half of the 20th and the beginning of the 21st century. During the research, an image of the sonata as a cycle emerged which presents the contemporary composers with tools that allow them to pur-sue their artistic vision while maintaining certain immutable features of the form in question. This article attempts to define this immutable identity of the sonata.
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Dissertations / Theses on the topic "Sonata"

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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 moderno trumpet sonatas.
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Dejos, Virginie. "Analyse et interprétation des six dernières sonates pour piano d’Alexandre Scriabine." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040224/document.

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La thèse porte sur les six dernières sonates de Scriabine. L’analyse des œuvres a été pensée en relation avec l’interprétation pianistique. L’univers de référence et l’imaginaire sonore de Scriabine sont reconstitués à partir de la perception des œuvres et des indications d’interprétation présentes dans les partitions. Une méthode inspirée par l’analyse schenkerienne est développée pour étudier les logiques d’écriture d’un langage dans lequel la notion de tonalité est considérablement élargie. La dernière partie, plus directement liée à l’interprétation, étudie les spécificités de l’écriture pianistique et des paramètres du timbre et du temps en s’appuyant sur l’étude d’enregistrements historiques
The following thesis focuses on the six final piano sonatas by Alexander Scriabin from the point of view of pianistic interpretation. The first part reconstitutes Scriabin’s unique musical and image-oriented universe from the basis of the listener’s perspective. The second part analyses the works from a musicological stand-point, taking into consideration indications on interpretation found in the scores. In order to more clearly identify the logic and structure of the musical language, which is marked by the usage of extended tonality, the analyses presented are inspired from Schenkerian traditions. The third part, directly linked to performance practises, explores the pianistic writing style as well as the timbral and temporal parameters, with an important place given to historical recordings
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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 classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.
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Ahlbäck, Pontus. "Sonata III : fingersättning och frasering i samverkan." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2093.

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Manuel M. Ponce skrev Sonata III 1927. Ponce var startkt influerad av kompositörer som Ravel och Debussy och i Sonata III:s första sats märks detta väl. Den är komponerad i en stil som liknar Ravels och Debussys impressionism, full med dramatiska harmonier, överlagringar och polytonalitet, med stora ackord följt av flytande arpeggion och sångbara melodier. Allt skrivet av en man som själv inte kunde spela gitarr, men förstod instrumentet väl. I detta arbete går jag igenom Sonata III:s första sats, genom en analys av formen och verket samt genom att gå igenom hur jag valt att tolka den och varför jag gjort dessa val.

Konsertrepertoar:

Manuel M. Ponce - Sonata III

Dionisio Aguado - Andante et Rondo Nr 2, Opus 2

Benjamin Britten - Nocturnal after John Dowland for guitar, Opus 70

Medverkande: Pontus Ahlbäck, gitarr.

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Gebel, der Jüngere Georg. "Sonata Es-Dur." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70100.

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Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.
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Gebel, der Jüngere Georg. "Sonata Es-Dur." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149779.

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Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.
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Skakun, Roman. "Sonata for Orchestra." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1123.

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Martinson, Benjamin. "Sonata for Piano." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337287364.

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Hayashida, Mami. "FROM SONATA AND FANTASY TO SONATA-FANTASY: CHARTING A MUSICAL EVOLUTION." Lexington, Ky. : [University of Kentucky Libraries], 2007. http://lib.uky.edu/ETD/ukymuar2007d00612/HayashidaDMADoc.pdf.

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Thesis (D.M.A.)--University of Kentucky, 2007.
Title from document title page (viewed on August 7, 2007). Document formatted into pages; contains: viii, 135 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 127-133).
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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 detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.
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Books on the topic "Sonata"

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

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

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Kay, Jackie. Sonata. London: Picador, 2006.

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Jaëll, Marie. Sonata. Edited by Schmidt-Rogers Lea. Bryn Mawr, PA: Hildegard Pub. Co., 1996.

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Valle-Inclán, Ramón del. Spring Sonata =: Sonata de primavera. Mineola, N.Y: Dover Publications, 2005.

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Liebermann, Lowell. Piano sonata no. 2: (sonata notturna). Bryn Mawr, Pa: T. Presser Co., 1993.

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Estellés, Vicent Andrés. Sonata d'Isabel. València: E. Climent, 1990.

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Myers, Paul. Deadly sonata. New York: Doubleday, 1990.

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Baksa, Robert F. Oboe sonata. N[ew] Y[ork], NY: Composers Library Editions, 1993.

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Chopina, Narodowy Instytut Fryderyka, ed. Sonata Norwidowska. Warszawa: Narodowy Instytut Fryderyka Chopina, 2019.

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Book chapters on the topic "Sonata"

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Santa, Matthew. "Sonata Forms." In Hearing Form, 57–74. 3rd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003146018-4.

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Turek, Ralph, and Daniel McCarthy. "Sonata Form." In Theory for Today’s Musician, 478–94. Third edition. | New York ; London : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351246262-34.

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Santa, Matthew. "Sonata Forms." In Hearing Form, 57–73. 2nd ed. Second edition. New York, NY; Abingdon, Oxon: Routledge, 2016. | “2016 Includes: Routledge, 2021. http://dx.doi.org/10.4324/9781003187653-4.

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Benarroch, Joanna. "Beethoven’s Last Sonata." In An Ode to Joy, 21–24. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-28229-4_4.

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Beach, David. "Sonata Form 1." In Schenkerian Analysis, 195–230. Second edition. | New York ; London : Routledge, 2019. | Previous edition published under title: Advanced Schenkerian analysis.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453793-8.

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Beach, David. "Sonata Form 2." In Schenkerian Analysis, 231–51. Second edition. | New York ; London : Routledge, 2019. | Previous edition published under title: Advanced Schenkerian analysis.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453793-9.

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"SONATA SONANS." In Pensamientos poéticos, 149–54. Herder, 2012. http://dx.doi.org/10.2307/j.ctvt9k1wz.11.

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Lester, Joel. "The Middle Movements." In Brahms's Violin Sonatas, 168–236. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0004.

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Chapter 4 explores the different ways that Brahms organized each of his violin sonatas’ middle movement(s) so as to contribute to the overall narrative of that sonata as a whole. The G-major Sonata has a single middle movement. A letter that Brahms sent to Clara Schumann concerning that slow movement provides an opportunity to explore in more detail the relationship between this sonata and the death of Brahms’s godson at age 24. The A-major Sonata’s single middle movement combines a slow movement with a scherzo. The D-minor Sonata is the only one of Brahms’s violin sonatas to have two middle movements—a slow movement and an intermezzo.
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"Sonata." In Springer Reference Medizin, 2182. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-48986-4_313479.

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Kantarci, Burak, Kevin G. Carr, and Connor D. Pearsall. "SONATA." In The Internet of Things, 278–99. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1832-7.ch013.

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With the advent of mobile cloud computing paradigm, mobile social networks (MSNs) have become attractive tools to share, publish and analyze data regarding everyday behavior of mobile users. Besides revealing information about social interactions between individuals, MSNs can assist smart city applications through crowdsensing services. In presence of malicious users who aim at misinformation through manipulation of their sensing data, trustworthiness arises as a crucial issue for the users who receive service from smart city applications. In this paper, the authors propose a new crowdsensing framework, namely Social Network Assisted Trustworthiness Assurance (SONATA) which aims at maximizing crowdsensing platform utility and minimizing the manipulation probability through vote-based trustworthiness analysis in dynamic social network architecture. SONATA adopts existing Sybil detection techniques to identify malicious users who aim at misinformation/disinformation at the crowdsensing platform. The authors present performance evaluation of SONATA under various crowdsensing scenarios in a smart city setting. Performance results show that SONATA improves crowdsensing utility under light and moderate arrival rates of sensing task requests when less than 7% of the users are malicious whereas crowdsensing utility is significantly improved under all task arrival rates if the ratio of malicious users to the entire population is at least 7%. Furthermore, under each scenario, manipulation ratio is close to zero under SONATA while trustworthiness unaware recruitment of social network users leads to a manipulation probability of 2.5% which cannot be tolerated in critical smart city applications such as disaster management or public safety.
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Conference papers on the topic "Sonata"

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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. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3230543.3230555.

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Boué, Amandine. "Sonata." In SIGGRAPH Asia 2013 Computer Animation Festival. New York, New York, USA: 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. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280120.1280215.

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Iuriev, Petru. "Concerto for oboe and orchestra in c major by W.A. Mozart: compositional and performance features." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.18.

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Mozart's Concerto for oboe and orchestra in C Major K. 314 / 271k occupies one of the leading positions in the modern artistic concert and educational repertoire. In this article, the author deals with the history of the creation of the Concerto and analyzes it in detail from the point of view of composition, musical language, as well as performance features. Cuvinte-cheie аппликатура, В.А. Моцарт, гобой, диапазон, концерт, рондо, сонатная форма, трехчастный цикл, ciclu tripartit, concert, diapazon, digitaţie, forma de sonată, oboi, rondo, W.A. Mozart, hree-part cycle, concerto, sound range, fingering, sonata form, oboe, rondo, W.A. Mozart
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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 of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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Saulova, Inessa. "Peculiarities of the performing interpretation of the Sonata for violin and piano by Leonid Gurov." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.15.

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The article analyzes L. Gurov's Sonata for violin and piano from the point of view of its performing interpretation. The author aims to reveal the original features of this work, which are manifested in particular, in the use of folklore material. The intonation-thematic structure of the composition, the ratio between the parts of the violin and piano are analyzed in detail, methodical recommendations are given. It is concluded that the Sonata for violin and piano by L. Gurov is a typical example of the genre, and its innovation lies in the synthesis of the deep philosophical content, original composition and convincing performance of the violin and piano ensemble.
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Gheorghieva, Maria. "The combination of lyrical and dramatic characteristics in the development of the imaginative world in the Sonata – remembrance op.38, no.1 by N. Metner." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.11.

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The proposed article analyzes the combination of two kinds of musical organization: lyrical and dramatic, presented in the „Sonata-Reminiscenza”, op. 38, no 1 by N. Medtner. In the composer’s creations, in general, a synthesis of lyrics and drama is clearly traced, creating a special type of piano dramaturgy, where the lyrical features provoke an in-depth knowledge of the inner world of a person, his thoughts, images, feelings, while the dramatic element, seems „to remove” the shade of subjectivity in the content, leaving it in the sphere of the objective. The idea of reminiscence embedded in the analyzed sonata is the reason for this type of combination of the above-mentioned kinds of musical organization, which directly affect the content and form of the entire creation.
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Park, Youngwook, Hyungbae Chang, Byungkyu Lee, and Unkoo Lee. "The Suspension of the Newly Developed Hyundai Sonata." In SAE 2005 World Congress & Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2005. http://dx.doi.org/10.4271/2005-01-1713.

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Kathiravan, M., S. Manohar, R. Jayanthi, R. Dheepthi, R. Vishnu Sekhar, and N. Bharathiraja. "Efficient Intensity Bedded Sonata Wiles System using IoT." In 2023 7th International Conference on Computing Methodologies and Communication (ICCMC). IEEE, 2023. http://dx.doi.org/10.1109/iccmc56507.2023.10084287.

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Miyake, Jan. "Implications of thematic reuse in Haydn's sonata forms." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0010.

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Reports on the topic "Sonata"

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Brewer, Charles E. Sonata á Violino Solo by Johann Heinrich Schmelzer. Society for Seventeenth-Century Music, December 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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Gray, Tyler, Matthew Shirk, and Jeffrey Wishart. 2011 Hyundai Sonata 4932 - Hybrid Electric Vehicle Battery Test Results. Office of Scientific and Technical Information (OSTI), July 2013. http://dx.doi.org/10.2172/1097169.

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Shirk, Matthew, Tyler Gray, and Jeffrey Wishart. 2011 Hyundai Sonata 3539 - Hybrid Electric Vehicle Battery Test Results. Office of Scientific and Technical Information (OSTI), September 2014. http://dx.doi.org/10.2172/1164856.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Pennington, D. Sonoma Persistent Surveillance System. Office of Scientific and Technical Information (OSTI), March 2006. http://dx.doi.org/10.2172/928535.

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

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

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

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

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

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