Relevant bibliographies by topics / Sonata a tre

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Academic literature on the topic 'Sonata a tre'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Sonata a tre"

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Schicker, Wolfgang. "Mischdrucke aus 'Sinfonie/Sonate e Concerti'." Die Musikforschung 65, no. 1 (September 22, 2021): 25–41. http://dx.doi.org/10.52412/mf.2012.h1.142.

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Der Aufsatz beschäftigt sich mit einer Sonderform des Notendrucks zwischen 1692 und 1729: mit Mischdrucken, in denen zwei verschiedene Gattungen zusammen veröffentlicht wurden, nämlich mehrfach besetzte Konzerte (Concerti a quattro) und einfach besetzte Sonaten (Sinfonie/Sonate a tre). Giuseppe Torelli kann hier mit seinen "Sinfonie a tre e concerti a quattro" op. 5 von 1692 als Initiator einer verlegerischen Randtradition gelten, die sich bemerkenswerterweise gerade über jene Zeit erstreckte, in der eine noch ganz junge Gattung, das norditalienische Instrumentalkonzert, erstmals in gedruckter Form an die Öffentlichkeit trat und ihren eigenen Platz gegenüber den älteren Gattungen der Instrumentalmusik wie etwa der Sonata da chiesa suchte. Der Aufsatz zeigt, dass sich die Sonderform des Mischdrucks als Korrelat dieser gattungsgeschichtlichen Situation interpretieren lässt, die geprägt ist vom Emanzipationsprozess des Instrumentalkonzerts norditalienischer Provenienz gegenüber Sonata und Sinfonia und von der daraus resultierenden Stiftung einer eigenständigen Gattungsidentität.
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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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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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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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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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Ergasheva, Yu Yu, and N. T. Mukhsinov. "Characteristics Of The Clinic And The Course Of Sonata Addiction Preceding The Formation Of Complicated Alcoholism." American Journal of Medical Sciences and Pharmaceutical Research 02, no. 12 (December 31, 2020): 92–96. http://dx.doi.org/10.37547/tajmspr/volume02issue12-15.

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The clinical characteristics and the course of alcohol dependence, preceding the formation of a complicated sonata were studied in 60 patients. A study of the clinical characteristics and the course of alcohol dependence preceding the formation of a complicated sonata was carried out in 60 patients. It has been established that in most cases, the introduction to sonatas occurs against the background of an expanded stage of previous alcoholism, characterized by a rapid rate of development and high progression.
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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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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.

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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Sch&#252;tz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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Dissertations / Theses on the topic "Sonata a tre"

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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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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.
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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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 of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.
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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 Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.
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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 Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.
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Solomons, John. "The six piano sonatas of James Sellars aspects of form, rhythm, texture and style /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/solomons%5Fjohn/index.htm.

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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 come. The analytical approach in this paper is based on the correlation between each of the elements of the musical material (form, rhythm, sound, etc.) and its contextual meaning in terms of musical dramaturgy. Set-theory is applied to the analysis of motivic components of the work. The traditional form is just the basis for the original intonational structure within a modern musical idiom. Varieties of rhythmic patterns, as well as an unconventional sound production, make this work breath with an impetuous power. The examination of the Sonata's musical language and content should give some insight not only into Guabaidulina's piano music, but also into a consequent development of her compositional thinking.
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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music
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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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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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Books on the topic "Sonata a tre"

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Husa, Karel. Sonata a tre: For violin, B flat clarinet, piano. [New York]: Associated Music Publishers, 1987.

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Sonata a tre, 1867-1871: Verdi, Wagner e Bologna, 1813-2013. Lucca: Libreria musicale italiana, 2013.

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The piano sonatas of Carl Loewe. New York: P. Lang, 1996.

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The early keyboard sonata in Italy and beyond. Turnhout: Brepols, 2016.

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1958-, Sly Gordon Cameron, ed. Keys to the drama: Nine perspectives on sonata forms. Burlington, VT: Ashgate, 2009.

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1944-, Woodsworth John, ed. The outcast's sonata. New York: Legas, 1995.

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Strindberg, August. The ghost sonata. Schulenburg, TX: I.E. Clark, 1991.

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Banks, Iain M. The hydrogen sonata. New York: Orbit, 2012.

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The murder sonata. Bath, England: Chivers Press, 1991.

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Beagle, Peter S. The unicorn sonata. Atlanta: Turner Pub., 1996.

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Book chapters on the topic "Sonata a tre"

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Walezak, Emilie. "Conclusion: The Gustav Sonata." In Rose Tremain, 201–10. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57129-4_10.

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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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Hepokoski, James. "The Type 2 Sonata." In A Sonata Theory Handbook, 198–232. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0011.

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The Type 2 sonata is a “double-rotational” (or “binary”) sonata: (1) exposition (P TR’ S / C); and (2) developmental space (P and/or TR) plus tonal resolution (S / C). The Type 2 lacks the “double return” of P and the tonic at the onset of other sonata types. For that reason Sonata Theory does not use the term “recapitulation” for Type 2s. This format was widely used in sonatas c. 1740–70, after which its use began to wane sharply, though several examples of it persist throughout the nineteenth century. Because the Type 2 has been the most frequently misunderstood sonata type (sometimes misread through ahistorical claims of a supposed “reversed recapitulation”), this chapter is devoted to building a case for the Type 2 sonata, beginning with the simplest, prototypical examples in early Mozart and then moving through more extended, complex examples from later years, including toward the end, a look at two deformational Type 2s by Mozart: K. 311/i and the Overture to La clemenza di Tito. At its conclusion the chapter lays out an argument on behalf of Sonata Theory’s case for the persistence of the Type 2 and double-rotational sonatas into the nineteenth century (these include both Type 2s and expanded Type 1 sonatas, which under some conditions are almost indistinguishable) and responds to some recent critics of the Type 2 concept for romantic works, along the way presenting an overview of Wagner’s (expanded Type 1) Overture to Tannhäuser, which in this case presents the same structural questions as those of a Type 2 sonata.
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Lester, Joel. "The Finales." In Brahms's Violin Sonatas, 237–328. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0005.

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Chapter 5 is a detailed study of the final movements of Brahms’s three violin sonatas. How do the finales function as separate movements? How do the finales complete the musical narratives of each entire sonata? Concerning the G-major Sonata, the chapter explores how the finale wraps up the sonata-long narratives, and how the sonata as a whole relates to the death of Brahms’s godson Felix Schumann. Concerning the A-major Sonata, the analysis looks at the ways the last movement wraps up the sonata-long narratives of how the personas of the violinist and pianist interact. In the case of the D-minor Sonata, attention is on the ways that the final movement differs dramatically yet relates to the earlier movements in the sonata.
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Lester, Joel. "First-Movement Sonata Forms." In Brahms's Violin Sonatas, 89–167. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0003.

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Chapter 3 studies in detail the first movements of Brahms’s three violin sonatas. Each first movement is cast in sonata form—the most exalted structure of the Classical Era. But Brahms did not fill a “sonata-form mold” with formulaic music. Just like his great predecessors whose music he so dearly loved and esteemed, Brahms adapted the outer aspects of the form and the contents of each section to express that movement’s unique musical narrative. The discussions of each movement explore the traits they all share as well as their individual Romantic features. The A-major Sonata’s first movement also provides an opportunity to explore musical allusions to other pieces and how that might affect our interpretations—both as performers and analysts.
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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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Hepokoski, James. "The Minor-Mode Sonata." In A Sonata Theory Handbook, 136–53. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0008.

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Minor-mode sonatas constitute a special case within classical—and later—sonata practice. In part this is because of the special affective quality historically assigned to the minor mode, along with many of the characteristic moods and colors associated with it. This chapter elaborates the “extra burden” of sonata forms in the minor mode, which often entails its drive—often thwarted—to be converted into the major, a drama that rose to central importance only in the last two or three decades of the eighteenth century, with Haydn playing a large role in it. Supplementing and updating the consideration of minor-mode sonatas in Elements of Sonata Theory, this chapter also incorporates new information gleaned from Riley’s and Graves’s separate studies of eighteenth-century minor-mode practice. Issues covered include the affective range of the minor mode; standardized minor-mode styles and “topics”; characteristic intervallic figures (like the “pathotype” figure); the aspiration and techniques of “escape into the major,” whether locally or permanently; the eighteenth-century convention of the “mediant tutti”; and the evolving concept of “tragic plot/comic plot,” relating to whether the sonata will end in minor or overcome that minor by a modal reversal into the major.
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"The Garden." In Sonata, 173–78. University of Texas Press, 2020. http://dx.doi.org/10.7560/322239-046.

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"The Asylum." In Sonata, 15. University of Texas Press, 2020. http://dx.doi.org/10.7560/322239-006.

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"The Asylum." In Sonata, 74–76. University of Texas Press, 2020. http://dx.doi.org/10.7560/322239-017.

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Conference papers on the topic "Sonata a tre"

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

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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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Savenko, E. G., Zh M. Mukhina, and V. A. Glazyrina. "Use of experimental biotechnology for accelerated development of breeding material." In CURRENT STATE, PROBLEMS AND PROSPECTS OF THE DEVELOPMENT OF AGRARIAN SCIENCE. Federal State Budget Scientific Institution “Research Institute of Agriculture of Crimea”, 2020. http://dx.doi.org/10.33952/2542-0720-2020-5-9-10-93.

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The combination of such biotechnological techniques as experimental haploidy and molecular marking allows developing breeding material with simultaneous DNA analysis of its genetic homogeneity (obtaining microsatellite profiles). According to the results of SSR genotyping, DNA passports were obtained for androgenic cultivars ‘Sonnet’ and ‘Sonata’.
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Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." 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/10.25366/2020.73.

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In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.
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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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Yamamoto, Rei, Toshiyuki Masui, and Michiaki Yasumura. "Sonoba." In the 2013 conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2441955.2442021.

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Cheng, Yingjie. "The Music Analysis of Beethoven 's Piano Sonata qFarewellq." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.75.

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Umanski, Daniil, Yael Avni, and Michal Rinott. "Sonora." In CHI PLAY '17: The annual symposium on Computer-Human Interaction in Play. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3130859.3131324.

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Ding, Boyan, Jinghao Zhao, Zhaowei Tan, and Songwu Lu. "Sonica." In ACM MobiCom '21: The 27th Annual International Conference on Mobile Computing and Networking. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3447993.3510589.

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Sahami, Mehran, Salim Yusufali, and Michelle Q. W. Baldonaldo. "SONIA." In the third ACM conference. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/276675.276697.

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Reports on the topic "Sonata a tre"

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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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Covey, J. F., and D. B. Weaver. Sonar Dome Reliability XIX: Data Analysis of the USS Kauffman Sonar Rubber Dome. Fort Belvoir, VA: Defense Technical Information Center, November 1994. http://dx.doi.org/10.21236/ada289130.

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Darin, Michael. Geologic Map of the Sierra Bacha, Coastal Sonora, Mexico. Geological Society of America, November 2014. http://dx.doi.org/10.1130/2014.dmch021.

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Simmons, James A., Cynthia F. Moss, and Michael Ferragamo. Target Images in the Sonar of Bats. Fort Belvoir, VA: Defense Technical Information Center, October 1988. http://dx.doi.org/10.21236/ada205679.

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Fitzgerald, Raymond. Improving the Information Content of Sonar Signals. Fort Belvoir, VA: Defense Technical Information Center, September 1997. http://dx.doi.org/10.21236/ada636077.

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German, A., B. Weitzel, C. Backman, M. Hoeschele, and B. Dakin. Sonoma House. Monitoring of the First U.S. Passive House Retrofit. Office of Scientific and Technical Information (OSTI), December 2012. http://dx.doi.org/10.2172/1219868.

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Baggeroer, Arthur B., and Edward K. Scheer. Performance of Passive and Active Sonars in the Philippine Sea. Fort Belvoir, VA: Defense Technical Information Center, September 2012. http://dx.doi.org/10.21236/ada574800.

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Baggeroer, Arthur B. Performance of Passive and Active Sonars in the Philippine Sea. Fort Belvoir, VA: Defense Technical Information Center, September 2013. http://dx.doi.org/10.21236/ada598868.

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German, A., B. Weitzel, C. Backman, M. Hoeschele, and B. Dakin. Sonoma House: Monitoring of the First U.S. Passive House Retrofit. Office of Scientific and Technical Information (OSTI), December 2012. http://dx.doi.org/10.2172/1060621.

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Baggeroer, Arthur B. Performance of Passive and Active Sonars in the Philippine Sea. Fort Belvoir, VA: Defense Technical Information Center, September 2014. http://dx.doi.org/10.21236/ada617538.

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