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1
Kim, Seong Ae. "Sonata for Violin and Piano." Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.
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My dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances.
The formal shape and material intentions of the piece— the fast-slow-fast tempo profile of the three movements, typical of so much Western music, is anchored conceptually in Korean ideas of "Heung" (communal joy-exploding energy) and "Han" (suffering-repressed energy). Each movement will make reference to a different folk music genre, the first movement alluding to "Sanjo," the second to "Gut," and the third from "Pungmul" (see chart). In addition, each movement will contain gestures from the Korean folk dances "Taepyongmu," "Sal puri," and "Sangmo Dolighi," all of which have different ceremonial functions in traditional Korean society. Each movement will also have its own characteristic folk rhythm pattern. The first movement will be based on an explicit Korean folk tune, while the overarching emphasis thematically in the three movements respectively will be "Garak" (melody), "Puri" (loosening), and "Nori" (fun).
2
Ritchie, Anthony Damian. "The influence of folk music in Three Works by Béla Bartόk: Sonata No. 1 for violin and piano, Sonata (1926) for piano, and 'Contrasts' for violin, clarinet and piano." Thesis, University of Canterbury. Music, 1986. http://hdl.handle.net/10092/4608.
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It is well known that the compositions of Béla Bartόk are influenced by folk music. Until recently, however, musicologists in the West have treated this aspect of Bartόk's music superficially. By avoiding the folk music influence, their analyses are based on a partial knowledge only of Bartόk and consequently, the conclusions they make are severely limited. The purpose of this study is to delve deeply into the folk music influence on Bartόk's compositional style and to take full account of his ethnomusicological knowledge when analysing his music. In order to do this, I have limited my study to three of Bartόk's works, Sonata No.1 for Violin and Piano (1921), Sonata (1926) for piano and Contrasts for violin, clarinet and piano (1938). These compositions were chosen for three main reasons: first, there is only a relatively small amount written about them to date; second, they represent three different periods in Bartόk's creative life; third, they exhibit a rich variety of folk music sources, not only in terms of genre or nationality, but also in terms of the degree or level of influence.
The study is in two parts, together with an introductory section. Part One is concerned with the direct influence of folk music on Bartόk's compositions and includes the imitation of folk genres, vocal and instrumental, and a variety of regions or nationalities. In the works under study, Hungarian folk song is the most prominent resource; this also reflects its foremost position in Bartόk's total output. Although of secondary importance, the instrumental repertoire and idiom has a significant role in all three finales from the Violin Sonata, Piano Sonata and Contrasts. A separate chapter is devoted to the verbunkos idiom in Contrasts, a type of Hungarian art music with roots in folk music. A chapter on the possible influence of the peasants 'sound-world' on Bartόk's style concludes Part One. This term describes the peculiar tonal qualities which Bartόk experienced in folk music. In addition, a section looks at 'mistakes' in the performance of folk music, and Bartόk's imitations of these in his compositions.
In Part Two, the indirect influence of folk music is discussed. This concerns general features of Bartόk's style - melody, harmony, tonality, rhythm and form – features that derive from his knowledge of folk music but which do not imitate specific genres or idioms. From intensive analysis of the works under study, it can be concluded that Bartόk's mature compositional language is pervaded with aspects of folk music. This mature language is well displayed in the Piano Sonata and Contrasts (although there are stylistic differences between these two), but in the Sonata No.1 for Violin and Piano (the earliest of the three), a dichotomy still exists between the elements of folk music and art music.
In reaching this conclusion, it has been necessary to take into account non-folk influences in Bartόk's music. It has also been essential to examine other theoretical approaches, especially as they pertain to the works under study. Although some concepts and terminology have been adopted from other analysts, I have chosen to work mainly from the music itself rather than follow a particular method of interpretation.
3
Baldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.
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Prevost, Roxane. "A transformational analysis of Ruth Crawford Seeger's Sonata for Violin and Piano (1926)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ58007.pdf.
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Chung, Eui Young. "Bartók's sonata no. 2 for violin and piano : structural functions of polymodal combination /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983122.
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Harper, Nelson Owen. "John Ireland's first Sonata for violin and piano : an introduction to its study /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu148776035782379.
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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
8
Kubik, Cécile. "Penser l’interprétation des sonates françaises pour piano et violon au XIXe siècle (1800-1870) : des sources au concert." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040145.
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La thèse considère la double inconnue d’un répertoire et d’un jeu violonistique encore inexplorés. Elle dévoile les sonates françaises pour piano et violon de la période 1800-1870, mais questionne aussi leur interprétation. Une étude historique est menée sur le jeu des violonistes français : la base de données Mélos, deux inventaires inédits, l’analyse de maintes sources et témoignages, notamment un imposant corpus de traités pédagogiques de violon publiés en France au XIXe siècle et les partitions annotées du fonds Baillot de la Bibliothèque nationale de France (BnF), apportent des éclairages originaux sur ce sujet. L’ambition est de construire aujourd’hui, violon en main, une interprétation de ces sonates méconnues et, avec la création d’outils destinés aux interprètes et aux scientifiques, d’œuvrer à leur diffusionThis dissertation addresses the twofold issue of a violin repertoire and a performance practice, both of which had yet to be explored. French sonatas for piano and violin ranging from the 1800s to the 1870s are unveiled. Their interpretation is also discussed. The performance practices of French violinists are studied from a historical perspective. The Melos database, two previously unpublished inventories, the analysis of numerous sources and testimonies, including an extensive corpus of 19th-century French violin methods and the annotated scores from the French National Library’s Baillot collection are used to tackle this question in the light of multiple criteria. The final purpose of this thesis is to combine theory and practice to bring about an interpretation of these little-known sonatas and to foster new tools for interpreters and scientists with a view to promulgate these works
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Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.
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La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violonA great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin
10
Bolshakova, Natalia. "Georgy L'vovich Catoire his life and music for piano, with special emphasis on Poem, second sonata for violin and piano, op. 20 /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9127.
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HÖHMANN, REIKO CHRISTINE. "FOUR TWENTIETH-CENTURY SONATINAS FOR VIOLIN AND PIANO." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1171310483.
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Clarke, Simon. "A critical study of Ravel's orchestral technique with a transcription of his sonata for violin and piano." Thesis, University of Manchester, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548668.
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Amorim, Éverton Rodrigo. "Sonata Op. 61 para violino e piano de Glauco Velásquez: processos para construção de interpretação." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05052017-120438/.
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A presente dissertação apresenta um estudo que teve por objetivo buscar subsídios para a construção da performance da Sonata Op. 61 para violino e piano do compositor ítalo-brasileiro Glauco Velásquez (1884-1914). Primeiramente realizamos um breve estudo biográfico do compositor e das influências musicais a que foi exposto, destacando sua colaboração com a violinista Paulina d\'Ambrósio. Foram comparados elementos de sua Sonata Op. 61 com as sonatas de Franck e Lekeu, por apresentarem tais compositores relações diretas de semelhança e influência sobre Velásquez. Por fim, através de estudo da partitura, evidenciamos os elementos relevantes para a compreensão e performance da Sonata Op. 61, com sugestões de execução e comentários resultantes da experiência do preparo da obra e sua apresentação pública em recital.This dissertation presents a research that has as goal find elements to the musical interpretation of the Sonata Op.61 for violin and piano by the italian-brazilian composer Glauco Velásquez (1884-1914). Firstly we present a brief research about the biography of the composer and the musical influences that he was exposed, highlighting his partnership whit the violinist Paulina d\'Ambrósio. Elements from the Sonata Op. 61 has been compared whit the sonatas by Franck and Lekeu, since these works have a close relationship of similarity and influence on Velásquez. Finally, through study of the score, we highlight the important elements for understanding and performing the Sonata Op.61, whit suggestions and comments resulting from the rehearsals and public performance of the work in a recital.
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Ko, Nai-Hsin, and 柯乃心. "The Analysis and Piano Collaborative Interpretation of Poulenc’s Sonata for Violin and Piano." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/udcz6x.
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碩士國立臺灣師範大學
表演藝術研究所
105
Francis Poulenc (1899-1963) was a representative French composer in the first half of the Twentieth-century. He did not attend any music school, yet, he was considered as the member of Les Six that regarded Erik Satie (1866-1925) as their mentor. He was also influenced profoundly by Igor Stravinsky’s (1882-1971) works in Neo-Classical style.For his partner baritone Pierre Bernac (1899-1979), Poulenc wrote numerous fine art songs. Thus, he was acclaimed as one of excellent French art-song composers after Gabriel Fauré (1845-1924). Poulenc’s two hundred and ninety-three works include choral music, operas, ballet, concerto, piano solo, artsongs and chamber music.Sonata for Violin and Piano was dedicated to the memory of the Spanish poet Federico Garcia Lorca (1899-1936),a victim of the Spanish Civil War.Many writing skills can be traced to Stravinsky’s influence, like frequent meter changes, repeating rhythmic patterns and tonal instability in three movements.Besides, Poulenc also wrote with elements of French popular music, such as songlike melody and quick rhythm. This paper contains five chapters: introduction, the background of Poulenc and his style of writing music, structural analysis, piano collaborative interpretation of Sonata for Violin and Piano and conclusion. The author wishes to reach detailed understanding and collaborative performing techniques of this sonata and let another collaborative pianist interpret the composer and the main points of playing through this study.
15
"Guillaume Lekeu's Sonata for Piano and Violin: A Performance Guide." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49157.
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abstract: This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.
Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.Dissertation/Thesis
Doctoral Dissertation Music 2018
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"A Study of Two Nationalistic Puerto Rican Compositions: Hector Campos Parsi's Sonatina No. 2 for Violin and Piano, and Jack Delano's Sonata for Violin and Piano." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.51703.
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abstract: Puerto Rican composers Hector Campos Parsi (1922-1998) and Jack Delano (1914-1997) form an integral part of the nationalistic school of composition that revolutionized the island during the mid to late twentieth century. They both sought to combine Western Classical composition techniques with folkloric and traditional musical elements from Puerto Rico. In doing so, not only did they transform the way Western Classical music was made on the island, but they also brought validation and recognition to Puerto Rico’s culture as well as folkloric and popular musical heritage. Furthermore, both of these composers wrote works for violin and piano that form an important part of Puerto Rico’s musical legacy.
This research document presents biographical studies of both composers, as well as studies of Hector Campos Parsi’s Sonatina No. 2 for Violin and Piano, and Jack Delano’s Sonata for Violin and Piano. In addition, this document includes the first ever printed edition of Jack Delano’s Sonata for Violin and Piano, as well as a copy of the out of print Peermusic edition of Campos Parsi’s Sonatina No. 2 for Violin and Piano. This document also presents detailed charts of discrepancies and corrections to both scores.
With the gathering and presentation of this biographical and musical information, this research document seeks to bring international recognition to two important Puerto Rican nationalistic composers, Hector Campos Parsi and Jack Delano; spark an interest in their two little-known works for violin and piano (Campos Parsi’s Sonatina No.2 for Violin and Piano and Jack Delano’s Sonata for Violin and Piano); as well as make these two works more accessible to performers, educators, and the general public alike.Dissertation/Thesis
Doctoral Dissertation Music 2018
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Horng, Shih-Ting, and 洪士婷. "The reappearance of 20th century Baroque Sonata- Prokofiev Sergei Violin Sonata No.1 in F minor for Violin and Piano." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/96943606877846188811.
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碩士東吳大學
音樂學系
94
The reappearance of 20th century Baroque Sonata – Prokofiev Sergei, Violin Sonata No.1 in F minor for Violin and Piano Prokofiev, Sergei is one of the renowned representative composer in the 20th century. He has created two Violin Sonatas in his whole life. This “ Sonata No.1 in F minor for Violin & Piano” is following the form of 18th century Baroque Sonata as its guide of tunes also using the unique music grammar together with the incisive sound effect and ingeniously combined the music technique of the two centuries. Besides it has also echoed the creation period and the cultural inheritance. Chapter 1 – Foreword Chapter 2 – Music creation background and the structural of musical form Chapter 3 – Music analysis and discussion Chapter 4 – Performance annotation Chapter 5 – Conclusion Bibliography
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Beavers, Jennifer Putt. "Ravel in a new key : harmony in the chamber works, 1914-1927." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2407.
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This dissertation analyzes the first movements of three chamber works -- the Piano trio (1914), the Duo for violin and cello (1920-22), and the Sonata for violin and piano (1923-27) -- and situates their harmonic procedures in relation to important developments within Parisian musical culture. Chapter 1 explores Ravel's early harmonic style, in particular, how he blends nontonal harmonic procedures and tonality within the framework of the sonata as seen in the first movements of his String quartet and Sonatine. Chapter 2 analyzes the Piano trio, which culminates the early phase of Ravel's career with a sophisticated amalgamation of pre-war musical trends, such as extended harmonies and formal inventiveness, with an early wartime emphasis on reduced textures and melodic primacy. In the post-war years, Ravel was forced to adjust to a new role, in which he was no longer at the forefront of musical developments, but rather the follower of a group of young, avant-garde composers. His two post-war compositions, the Duo for violin and cello and the Violin sonata, articulate the struggles he faced with composition in the 1920s. Criticized for having an out-moded aesthetic, he modified his compositional style by incorporating and adapting new harmonic techniques. Drawing on Peter Kaminsky's theory of monotonality and dual pitch organization, chapter 3 examines Ravel's harmonic language in the Duo through linear analysis. Ravel's attempt to incorporate contemporary harmonic procedures however was not sufficient to compete with the more progressive works of Les Six or Stravinsky's burgeoning neoclassicism. As a result, Ravel re-evaluated his craft by rethinking his engagements with the musical avant-garde. The analysis of the Violin sonata in chapter 4 reveals that harmonically, deeper levels of dissonance require pitch prioritization intimately bound to formal function. Unlike the Duo, Ravel presents a more innovative formal design in the Violin sonata, where boundaries are blurred and formal functions are juxtaposed. Chapter 5 concludes with a comparative analysis of the first movements of Ravel's Piano trio, Duo and Violin sonata and their evolving harmonic practices.text
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Wang, Wei-ting, and 汪微庭. "Bohuslav Martinů’s Sonata for Violin and Piano No.3, H.303." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/uv8te8.
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碩士國立中山大學
音樂學系研究所
106
Bohuslav Martinů was a Czech composer in the 20th century. He was influenced by many musical styles throughout his life and composed different genres of music. However, Martinů''s works were less popular and rarely recognized among the audience when comparing to other composers in the same era. Martinů wrote five violin sonatas. His Sonata for Violin and Piano No.3, H.303, completed in 1944, is the only one composed in the United States. This essay is divided into four chapters. The first chapter introduces the life, the compositional periods, as well as the music style of Martinů. The second chapter talks about the five compositional techniques and characteristics of Martinů. The third chapter analyzes the form of Sonata for Violin and Piano No.3, H.303 and exemplifies the compositional techniques Martinů employed. The final chapter discusses the use of rhythmic motives and how it is further developed and organized in Sonata for Violin and Piano No.3, H.303.
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Cheng, Chih, and 鄭智. "A Study of Sonata for Violin and Piano by Maurice Ravel." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/js7wr9.
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碩士實踐大學
音樂學系碩士班
107
Joseph-Maurice Ravel (1875-1937) was a French composer between the late 19th and 20th centuries that his works were famous for their innovative and attractive harmonies. In the early 20th century, the tonal music got more sterile. Composers in the time made a lot of experimental compositions to fight against the bottlenecks, and so as Ravel. In this environment, Ravel actively looked for possibilities in music and combined them with his unique musical styles. Finally, many of his creations had become masterpieces and he was regarded as a model of musicians in the later generation to follow up. The subject of this interpretive research was “Sonata for Violin and Piano, 1927, Ravel”. It was the last chamber music of Ravel’s late period. In this sonata, he presented his concept of “incompatibility” at various levels, including the independence of the sounds, pitches organization, selection of the tonalities, and the opposition of tone-colors shown between violin and piano.
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Chang, Man-Chen, and 張曼珍. "The Stylistic Studies of Violin and Piano Sonata by Francis Poulenc." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/45064173243282577102.
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碩士國立臺南藝術大學
音樂表演與創作研究所
98
Francis Poulenc (1899-1963) was a French composer and pianist of the twentieth century. In 1943, he published Sonata pour violon et piano, which is one of the most important violin music of modern times. Although this music is not among great violin sonatas, it is counted as a masterpiece of a modern French composer. This work was published during the Second World War, when French was in a state of national calamity due to the aggression of Nazi German; perhaps, it is why the work displays the distinct and vehement emotions of the composer. In order to display these intense emotions, there are many sections in the work required a skillful performer, and especially the first and third movement. In 1949, the third movement was revised when the French violinist, Ginette Neveu (1919-1949), who requested Poulenc to compose this music, was died of air crash. Its expression mark is “PRESTO TRAGICO,” from urgent to slow, and it apparently displays deep and profound emotions; thus, it may be said that, the movement is the mixture of double emotions—the emotion of country and individual. This thesis intends to explore the styles of the sonata according to the historical background of the times and the background knowledge of Poulenc’s life; through analyzing the musical structure and musical factors of the wok, the thesis intends to present the musical style of the work—the style is so-called “Neo-Classicism,” which is the fusion of the peculiarities of classical, romantic and modern music.
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Yang, Hsin-Wei, and 楊欣暐. "The Analysis and Performance of Poulenc's sonata for violin and piano." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/46391648594239594642.
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碩士國立臺灣師範大學
音樂學系在職進修碩士班
100
Francis Poulenc was an important composer in 20th century. His creations are so graceful, natural, and elegant that touches the audience deeply. Poulenc composed this sonata during 1942-1943, which is also the most famous and still be performed until now. This sonata includes three movements, and it is so interesting and friendly to the audience. This thesis will first discuss the life of Poulenc, his composition style, the feature of his creations, and concept. It will be followed by an analysis of each movement form, and elements whole the piece. Then the technical aspects and interpretation will be discussed. At last, the goal of this thesis is to benefit and improve the technique and interpretation of the violin performance.
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HSU, YEN-JUNG, and 許晏榕. "The Equal Partnership of Piano and Violin – Beethoven’s Sonata for Piano and Violin in D Major, Op. 12 No.1." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/g84dj7.
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碩士東吳大學
音樂學系
107
The theme of this research paper explores the equal partnership between piano and violin in the sonata, which mainly analyzes the－ Beethoven’s Sonata for piano and violin in D Major, Op. 12 No.1. Beethoven’s Op.12 compose with three sonatas for piano and violin, and this work is the first of them, composed of three movements. Three of Violin Sonatas Op.12 were published in 1799 by Artaria of Vienna, and are the only works of ten violin sonatas dedicated to his teacher Antonio Salieri (1750-1825). This article will start with the classical music sonatas, and the composers creative style and historical background. Finally, analyze and interpret the content of this movement to help the performer to have the correct concept when performing such a combination. Keywords: Ludwig van Beethoven, Sonata, The equal partnership.
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"A Performance Guide of Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.18000.
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abstract: There are a significant number of musical compositions for violin by composers who used folk songs and dances of various cultures in their music, including works by George Enescu, Béla Bartók and György Ligeti. Less known are pieces that draw on the plethora of melodies and rhythms from Turkey. The purpose of this paper is to help performers become more familiar with two such compositions: Fazil Say's Sonata for Violin and Piano and Cleopatra for Solo Violin. Fazil Say (b. 1970) is considered to be a significant, contemporary Turkish composer. Both of the works discussed in this document simulate traditional "Eastern" instruments, such as the kemenҫe, the baðlama, the kanun and the ud. Additionally, both pieces use themes from folk melodies of Turkey, Turkish dance rhythms and Arabian scales, all framed within traditional structural techniques, such as ostinato bass and the fughetta. Both the Sonata for Violin and Piano and Cleopatra are enormously expressive and musically interesting works, demanding virtuosity and a wide technical range. Although this document does not purport to be a full theoretical analysis, by providing biographical information, analytical descriptions, notes regarding interpretation, and suggestions to assist performers in overcoming technical obstacles, the writer hopes to inspire other violinists to consider learning and performing these works.Dissertation/Thesis
D.M.A. Music 2013
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Lun, Chen You, and 陳右倫. "The Analysis and Performance of Debussy''s Sonata for Violin and Piano." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/46886494539654217615.
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Hsu, Tzu-Ying, and 許慈纓. "The Analysis and Performing Collaboration of Ravel's Sonata for Violin and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/63565966367337383210.
Full textAbstract:
碩士國立臺南藝術大學
鋼琴伴奏合作藝術研究所
98
Abstract The paper discussed “Sonata for Violin and Piano” composed by famous Maurice Ravel in his late age. It was also his last chamber work including a string instrument. In the music, Ravel emphasized horizontal melodic lines, the independency of each voice, various rhythmical motives and applied some characteristics of Jazz and Blues. It reflected what a period of mixture of Neo-Classicism and popular Jazz Ravel was in, and how much he took care of contemporary styles. The author discussed four matters in this paper：（1）the background of Ravel and his general music style,（2）the important music trends influenced Ravel in the early 20th century, such as Jazz and Blues,（3）the composing background of “Sonata for Violin and Piano” and its musical analysis,（4）the interpretation and performing techniques of this work. Through the research and writing this paper, the author wished to help herself and readers understand Ravel his music language better so as to interpret the sonata with correct viewpoints and certain authority.
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Wu, Shih-Ya, and 吳詩雅. "An Analysis and Interpretation of Cesar Franck Sonata for Violin and Piano." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/7q9jw4.
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Chen, Ching-Yi, and 陳靜儀. "The Analysis of Alfred Schnittke Sonata no, 1 for Violin and Piano." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/12413462172871032905.
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Hu, Ting-Hsuan, and 胡庭瑄. "Musical Analysis and Interpretation of Leoš Janáček’s Sonata for Violin and Piano." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/37sg8m.
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"Hans Gál: Style and Writing for the Violin in the Sonata in D for Violin and Piano." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53703.
Full textAbstract:
abstract: Hans Gál is arguably one of the most underrated, underperformed and forgotten composers of the twentieth century. Once a prolific composer in the 1920s and 1930s, Gál’s career was cut short by the Nazi regime in 1933 when he was fired, and his works banned due to his Jewish heritage. Following the Second World War, his music was relegated as obsolete, belonging to a bygone era. Hans Gál is a perfect example of the intransigence, superficiality, and discrimination of the evolving musical fashion, and his life-story speaks to the misfortunes and persecution of the Jewish people in the mid-twentieth century.
Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music.
However, recent years have seen an increased interest in resurrecting the music of Gál. Recordings of his major works as well as research of his music have furthered the awareness and understating of this forgotten composer’s music. In my document, I will continue the path of recent rediscovery and celebration of this unsung hero of twentieth-century post-Romanticism with an in-depth look at his Sonata in D for Violin and Piano (1933). A light-hearted, accessible and unpretentious work, the Sonata in D distinguishes itself in the violin-piano sonata repertoire of the interwar period by its witty, clear use of form and motivic/thematic unity in the vein of the great Viennese masters. Gál’s take on traditional idioms such as tonality, coupled with masterful use of the implication/realization process, create a highly original and noteworthy style, that renders the Sonata in D an immediately appealing work for performers and listeners alike.Dissertation/Thesis
Doctoral Dissertation Music 2019
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YEH, HENG-YU, and 葉姮妤. "A Study of Performance Practices of César Frank’s Violin Sonata in A Major for Violin and Piano." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/34z973.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
105
The purpose of the reporter lies in César Franck’s Violin Sonata in A major. It was the only one violin sonata in Franck’s works, also written as a gift for the Belgian violinist Eugène Ysaÿe on the occasion of his marriage in 1886. It became Franck’s most popular because of the graceful melody and Franck’s excellent composition skills. The report can be separated into four charpters and a conclusion. The first charpter includes research motive. The second charpter starts with the life of the composer and composition motive. In the third charpter, the author analyzies the hormany and formal structures. In the fourth charpter, the author studies the interpretation and techniques by researching violinists’ performances in this work. In the final chparpter, it comes to the conclusion and the author shares the understanding of this work.
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Chan, Shu min, and 詹舒閔. "The analysis and interpretation of sonata for violin and piano by Françis Poulenc." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/55406474978408203643.
Full textAbstract:
碩士國立臺南藝術大學
鋼琴合作藝術研究所
100
This paper is divided into three parts, the first part including the first chapter to explain the motivation research, methodology, and purpose; second part of Chapter II, the record references, and the composer's life and background of the song's creation; The third part is the third chapter and fourth chapter, for the analysis and interpretation of music. Poulenc dedicated this violin sonata to the Spain patriotic poet Federico Garcia Lorca, a time when World War II, the whole of Europe being enveloped in fire, and Federico. Garcia. Lorca died in political assassinations. So Poulenc created music by expressing regret for the death of the poet's meaning. By understanding the author's life history and the creation of the background song, and music analysis as the basis, hoping to better understand the context in music, and playing in the spot to make a more appropriate interpretation.
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Wu, chia han, and 吳佳翰. "The Analysis and Interpretation of Sonata for Violin and Piano by Maurice Ravel." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/74581319390488206969.
Full textAbstract:
碩士國立臺南藝術大學
音樂學系碩士班
104
Maurice Ravel, one of the most famous composers of the early 20th century French impressionism. The purpose of this thesis is to obtain an in-depth view on Maurice Ravel ”Sonate pour violin et piano”. By aggregating the literatures related to the composer’s musical background, the characteristics of his compositional style and other information, the author can comprehend the style and the form of this piece better. This thesis consists of five chapters. The first chapter is an introduction of the author’s research goal and motive, the content of this thesis, and the methods of doing this research. The second chapter is about Ravel’s background. Chapter three is the analysis of the work, the author discusses ”Sonate pour violin et piano” in detail. Important elements such as stucture, motive, phrases…etc. are examined. The fourth chapter is interpretation and technique related to performance. The author provides his interpretation perspective according to Ravel’s compositional style and the analysis of this piece. In addition, the author talks about techniques when playing the piece. The last chapter is the summary of this thesis.
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Chiao-ling, Wu, and 吳巧伶. "Study of Piano Tone Color in The Third Movement of Franck's Sonata for Flute and Piano in A Major (Transcribed from Franck's Sonata for Violin and Piano)." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/10348070758475601178.
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Watkins, Marlene Jeanette. "The pianist and the Brahms sonata for piano and violin, opus 108 in D minor." Thesis, 1989. http://hdl.handle.net/10413/8934.
Full textAbstract:
This thesis deals in particular with the pianist's
approach to the Brahms Sonata for Piano and Violin in D
Minor, Opus 108. There are two chapters, the first of
which takes the form of a bibliography in which
different theoretical aspects for consideration in the
learning of the work are presented.
One of the sections in the first chapter which is
entitled The Pianist, should prove helpful to a
prospective piano teacher, as well as a student of the
Brahms Sonata in D Minor, Opus 10 8. In this section
sources presenting different solutions to technical
problems which the pianist is likely to encounter both
generally, and specifically with regard to this Sonata,
are listed.
The other sections in this chapter include a discography
and comments concerning recordings of the Sonata in D
Minor, Opus 108, which a student of this work and its
composer may consult.
The second chapter of the thesis deals with specific
issues involved in the interpretation based on my
performance of the Sonata in D Minor, Opus 108, for the
practical examination. Three other possible
interpretations by well-known pianists are briefly
evaluated. Attached to the thesis is a cassette tape on
which recommendations for the practising of certain
passages may be heard.Thesis (M.Mus)-University of Natal, Durban, 1989.
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Bae, Hyunhee. "Doctoral thesis recital (violin)." 2010. http://hdl.handle.net/2152/15744.
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Nam, Soo Jin. "Doctoral thesis recital (violin)." 2011. http://hdl.handle.net/2152/17016.
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I-Chen, Miao, and 繆宜珍. "An analysis of lyricism, composition process, and violin techniques of sonata for violin and piano op.78 by Brahms." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/86701247482086110459.
Full textAbstract:
碩士國立中山大學
音樂研究所
86
The music style of Brahms is full of diversity. As a composer in late Romanticism period, he also advocates the traditional style of German music, while at the same time he adopts folksong or his songs as composing materials. In addition to the characteristics of Romanticism, his possesses unique style which is demonstrated in the rhythm and theme development. These facts make his music difficult for some performers and music learners. Accordingly, this thesis attempts to adopt document research and comparison analysis to study and analyze Brahms' Violin Sonata No.1. This thesis contains six chapters. The first chapter is a preface, which mainly states the motivation, methodology and scope of the research. The second chapter is a brief introduction to Brahms' chamber music in chronological order. Chapter Three serves as a linkage between Violin Sonata No.1 and a Lied. This chapter analyzes the connection between these two pieces of work. Chapter Four explores the composing techniques of Violin Sonata No.1, with a focus on rhythm alternation and variation development. Chapter Five interprets Violin Sonata No.1 and looks into its violin performing techniques. This chapter studies the performing techniques of both right and left hands. Suggestions are made as well. Through the analysis and research on Brahms' chamber music, lieder, composing techniques and interpretations, it is concluded that a composer's music can be better expressed with the understanding of the background, characteristics and spirit of the music.
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Chuang, Pei-Chun, and 莊珮君. "A study of Faure's "Sonata for Violin and Piano in A major, op.13"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/77696963562884940746.
Full textAbstract:
碩士國立臺南藝術大學
鋼琴伴奏合作藝術研究所
97
The development of French music has mainly focused on vocal music before 1870, however, instrumental music was not given fully attention until late nineteenth century. After the Franco-Prussian War (1870-71), composer Camille Saint-Saëns (1835-1922) and the poet Romain Bussine (1830-99), who shared similar ideas of nationalism and revitalizing French music, founded the Société nationale de Musique in 1871. This association emphasis on advocating and promoting French instrumental works with great effort. There were many works’ début held by this association and, many young and talented French composers introduced as well. Société nationale de Musique attempted to develop and to seek and the unique sound and music language of French music distinguishing from German and Italy, whose music has lead the musical trend impact for several decades. Under this purpose, chamber music, including sonatas and character pieces, became the main genre for composers to work. Among these works, Fauré’s Sonata for Violin and Piano in A major holds a very important stand in the early development of French instrumental music. In this Article, the First chapter introduces Fauré’s biography and his music styles. It also introduces the trend of Europe music in this period, and the influence of Salon’s on French music. The Second chapter discusses the historical background of Fauré’s Sonata for Violin and Piano in A major, and analyzes Fauré’s composing technique through developing themes, managing rhythms, canon style, and the interrelationship between the piano and the violin.
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Che, Liu Wei, and 劉威哲. "Sonata for Violin and Piano No.2, Op.13 by Edvard Grieg（1843-1907）." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/z2qwnp.
Full textAbstract:
碩士實踐大學
音樂學系碩士班
101
Edvard Grieg (1843-1907), one of the great 19th-century Norwegian musicians, was born in magnificent mountains and rivers of the country. Grieg, a composer of the Nationalistic School of Music, often showcased the beauty of his motherland in his music. Grieg Norwegian incorporated elements of Norwegian folk dance and the ancient musical instruments Hardanger Fiddle in his three violin sonatas. Through his music, Grieg was able to clearly depict the unique sound of his home country, and allowed people to see the scenic beauty Northern Europe In this paper, the author will discuss The Second Violin Sonata in the following order: the first chapter is an introduction, a motivation for this study; The second chapter describes features of Grieg's life and creations, and is divided into four periods; The third chapter discusses the Norwegian folk dances and folk instruments Hardanger Fiddle, and also introduces Norway's surviving national dance styles and folk instruments; The fourth chapter is a detailed musical analysis and an interpretation and violin technique exploration with author’s personal style of bowing and fingerings; The final chapter is the author's conclusions which summarizes the Grieg’s unique marriage of Norwegian Dance and Hardanger Fiddle for portraying Norwegian music which made Grieg a sensation and a iconic representative of the Nationalistic Music.
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Chen, Mei-Shiou, and 陳美秀. "An Analysis and Interpretation of Francis Poulenc’s Sonata for Violin and Piano,Op.119." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/xszs6m.
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Jeng, Chen-You, and 鄭丞佑. "The Analysis and Interpretation of Respighi's Sonata in B minor for Violin and Piano." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3v87m6.
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LIN, HSIN-TZU, and 林信孜. "The Analysis and Interpretation of Edward Elgar's Sonata for Violin and Piano Opus 82." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/41649012849545713570.
Full textAbstract:
碩士輔仁大學
音樂學系
105
Edward Elgar is one of the most important British composers in Romanticism. His work can be divided into three periods: the choral music period (the 1890s), the symphony period (the 1900s), and the self-expression period (the 1910s). In the 1890s, he studied large-scale form by choral music. At the early twentieth century, he mainly composed symphonies. ; In the 1910s, after World War One, the theme of his work transformed into self-expression. Violin Sonata in E minor, Op. 82, was completed in 1918, which was in the third period. Inspired by his organist father, Elgar have learned music since childhood. With this influence, Elgar could play many kinds of instruments by self-learning. Although he had shown great talent when he was young, he became famous for composing in the late years of his life. Elgar is one of the greatest British composers after Henry Purcell’s death. His work includes choral music, symphonies, concertos, and chamber music. In the Romantic period, most of European musicians were influenced by Brahms and Wagner. Elgar’s creativity in composition enabled him to establish a new music style, which became a classic music style of the United Kingdom. This dissertation will be divided into 5 chapters. The purpose of this dissertation is to make a deep and comprehensive study of Elgar’s Violin Sonata. In the first chapter, the author will discuss the research motivation and methods. The second chapter will be brief introduction of Elgar’s life and his music style. The third and fourth chapters are analysis and interpretation of this piece. The fifth chapter is conclusion. Providing an analysis and interpretation of this piece as well as reflections on performance, perhaps this dissertation will be helpful for future references.
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WANG, LI-CHI, and 王莉淇. "An Analysis and Interpretation of Gabriel Faure’s Sonata for Violin and Piano, op.13." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/49891723996762263916.
Full textAbstract:
碩士輔仁大學
音樂學系
104
Gabriel Fauré, in full Gabriel -Urbain Fauré (born in 1824 - died in 1924), was a French composer. In the brilliant music age, composers created some new skill different to the traditional music. Nevertheless, Gabriel Fauré still insisted to pursue the pure of music in his faith. He kept the advantage of the France music, such as clear and balance and added the new music elements in his compositions. This thesis delves into the analysis of Gabriel Fauré’s Violin Sonata Op.13. The musical elements is simple but specific, and the piece centers around these elements partly or wholly in other voice parts with the music styles switching to modulation and retrograde. He add that kind of rhythm such as Polyrhythm and Cross-rhythm. Via the research of Faure’s life history and background, style of composition and analysis of music, the writer of the thesis, hopefully, can better comprehend the music piece and perfectly perform. This thesis has total of five chapters. Chapter one is the introduction. The second chapter outlined Gabriel Fauré’s life and compositions, including the compositional artifice and style. Chapter three and four are depth discussion of analysis and interpretation of Gabriel Fauré’s Violin Sonata Op.13, and the final chapter is the conclusion of this thesis.
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Yang, Ya-Ting, and 楊雅婷. "The Analysis and Interpretation of Beethoven's Sonata for Piano and Violin, Op. 30-3." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/18513198844121063390.
Full textAbstract:
碩士國立臺南藝術大學
鋼琴合作藝術研究所
104
Ludwing van Beethoven was a great German composer, and a crucial figure in the transition between the Classical and Romantic eras in the Western music. His ten sonatas for violin and piano are considered as important works in the violin repertoire. The author would like to analyze the context of Beethoven's Sonata for Violin and Piano Op.30-3 and investigate the art of collaboration between the pianist and violinist. First, the author briefly introduces Beethoven’s background and characteristics in his music. Second, the music form, motives and harmony of three movements of Op.30-3 sonata are analyzed .In the last chapter, the interpretation and Collaborative art between pianist and violinist are discussed. Through this study, the author hope to establish a better understanding of this worthy-learning sonata, and then offers some help to other musicians when approach such kind of work.
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Yu-chi, Wang, and 汪宇琪. "The Historic Background and Composing Technique of Bartok''s First Violin and Piano Sonata." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/90498446076821211641.
Full textAbstract:
碩士國立藝術學院
音樂學系碩士班
87
Bartok had provided some significant violin works for 20th century. In view of the structure and impact, we can deem his works as the relay ensuing Bach, Beethoven and Brahms. Bartok''s violin sonatas include three violin and piano sonatas and one unaccompanied violin sonata. He did not number the violin sonata composed in 1903; consequently, this sonata for violin and piano finished in 1921 became No.1 violin sonata. In this work, Bartok successfully combined the traditional styles of West European music with the vitality of East European folk songs. He mingled the melody, rhythm and harmonies with the tradition of classical music. We can copious similarities with Beethoven''s violin sonata in his form. The same delicate development and variation are especially noted. The major difference lies in the more latitude and vagaries of his theme development. In the first chapter and the second chapter of this essay, the historical background of Bartok''s composition is explored, and the change of his music style in 1921 compared with that before 1921 is also probed. In the third chapter, the rules and axioms of the first violin and piano sonata are discovered based on the tempo, rhythm, technique, etc. In the fourth chapter, the analysis of the texture and expression of emotion are construed. Probably because of its complexity and abstruseness, the frequency of the performances of this work is limited. There is no such research about this sonata in Taiwan; the essay is expected to elicit the intrigue of the study of this work. Hopefully, the first violin and piano by Bartok will be enlisted in the repertoire as usually as those composed by Beethoven and Brahms.
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Chen, Mei-Hsiu, and 陳美秀. "Frederick Delius'' Sonata in B major for Violin and Piano, Op. posth." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/44876061359715463670.
Full textAbstract:
碩士國立中山大學
音樂學系研究所
104
Being a wool provider’s son and a composer in the 20 century, Frederick Delius(1862-1934) loves music more than trade. He collected compositional inspiration while traveling abroad on behalf of the firm. For this reason, he depicted a lot of country scenes in his orchestral works. Delius completed four sonatas for violin and piano in total. No. 1 to No.3 were composed in the 20 century and published within three years after completed. Sonata in B major was composed in 1892, and was not published until 1977. This essay is divided into four chapters. The first chapter introduces Frederick Delius’ life, as well as his compositional style. The second chapter analyses formal structure and motif development of the violin sonata in B major. The third chapter focuses on other three sonatas, including the aspects of formal structure, tonality, harmony, and the development of rhythmic motives, based on the paper of Gregory Alan Neil’s paper for reference. The final chapter compares the four sonatas, hoping to shed lights on why the B major sonata was his first composition, but was the last published work.
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Lin, Hsin-Ping, and 林心平. "An Analysis and Performing Interpretation of Mozart Sonata for Piano and Violin K. 301." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/87nwxj.
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Wang, Shu-chun, and 王淑君. "The Idioms and Interpretation of Maurice Ravel’s Sonata for Violin and Piano(1923~27)." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/6y84ts.
Full textAbstract:
碩士東吳大學
音樂學系
96
The Franco-Prussian War (1870-1871), which occurred at the end of the 19th century, led France to a heightened sense of national awareness, ultimately bringing forth a revived movement of art. Paris, which had been a city of thriving artistic activities since the Middle Ages became a city that once again took a lead in the musical world. Impressionism- a music style influenced by paintings at the time- was the last characteristic music style in the 19th century. It showed signs of changes of the coming new era that initiated important traits and ideas in music of the next century. Maurice Ravel (1875-1937) bathed in this wave, with changes of musical aesthetics and creative techniques, he renewed himself constantly, and led French music out of the confines of Impressionism. Ravel’s music reflects his various interests; “As a child, I was sensitive to music—to every kind of music.” He kept absorbing new knowledge, and equipping himself, therefore, his music can always mirror the music trend of the time. Although his music has colorful appearances, it is based on the foundation of tradition and classical music. With delicate dispositions and diverse materials, he makes music rich in tones and styles. In this dissertation, Ravel’s late work, Sonate pour Violin et Piano (1923-1927) will be discussed. This is his second violin sonata and also his last string chamber work. And the three major musical styles－French Impressionism, Jazz, Classicism, and his unique sound aesthetics of this work will be discussed in a more detailed manner, attempting to interpret Ravel’s musical aesthetic and the spirits of this piece thoroughly through this study.
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Yaniw, Todd. "Doctoral thesis recital (piano)." Thesis, 2014. http://hdl.handle.net/2152/24535.
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Sonata for violin and piano in G major, K.301 / Wolfgang Amadeus Mozart -- Sonata for violin and piano in G minor, L.140 / Claude Debussy -- Trio for violin, horn and piano in E flat major, op40 / Johannes Brahms.text