Relevant bibliographies by topics / Sonata in D

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Academic literature on the topic 'Sonata in D'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Sonata in D"

1

Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.

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Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531, 462, 463; y además, que debido a numerosas revisiones editoriales específicas llevadas a cabo por Clementi para ser interpretadas al piano, presenta cambios significativos en el texto musical respecto a los manuscritos equivalentes. A través del estudio de estas revisiones editoriales, se pretende aportar información sobre la práctica interpretativa de los instrumentos de tecla de finales del siglo XVIII, sobre las características de los pianos ingleses para los que Clementi realizó dicha revisión y sobre el avance del lenguaje idiomático específico del piano en esa época.
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2

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. Schütz, 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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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.

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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.
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Steele, Kenneth M. "Unconvincing Evidence That Rats Show a Mozart Effect." Music Perception 23, no. 5 (June 2006): 455–58. http://dx.doi.org/10.1525/mp.2006.23.5.455.

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F. H. Rauscher, J. D. Robinson, and J. J. Jens (1998) reported that rats learned to complete a T-maze more quickly if they had been reared listening to a Mozart piano sonata. They interpreted this result as a demonstration of a “Mozart effect” in rats. Steele (2003) compared rat and human audiograms, in the context of piano note frequencies, and suggested that rats were deaf to most of the notes (69%) in the sonata. Steele concluded that the learning differences among the groups were not due to a Mozart effect. Rauscher (2006) argued for the use of a different rat audiogram which would increase the number of notes potentially heard to 57%. This is not a refutation of Steele’s conclusion that rats would not hear major portions of the sonata. These missing portions will deform the music structure heard by the rats. Whatever the rats hear, it is not the sonata written by Mozart. Additional comments are made about the current status of the Mozart-effect literature with human subjects.
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Renat, Maryla. ""Sonata in D minor", Op. 9 by Karol Szymanowski. Genesis – reception – compositional technique." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 10 (2015): 29–58. http://dx.doi.org/10.16926/em.2015.10.02.

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Kim, Joonhee. "Schubert Sonata D.960. - Interpretation Focused on Life and Death." Korean Society of Culture and Convergence 40, no. 6 (October 30, 2018): 47–76. http://dx.doi.org/10.33645/cnc.2018.10.40.6.47.

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Vartanov, Sergei. "The “from despair to immortality of soul” concept in the interpretation of Beethoven’s Sonata op.111." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 85–104. http://dx.doi.org/10.7256/2453-613x.2020.4.33070.

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The research subject is Beethoven’s view of life of the late period - the topical issue for a performing musician: without understanding of the fundamental changes in his style, it is impossible to adequately interpret the late piano sonatas. The last of them - Sonata op.111 - has been an object of discussion not only among musicians, but also among writers for almost two centuries. The author detects the following types of dialogue in Sonate op.111: a) a dialogue with Beethoven’s previous compositions; b) a dialogue - within the latest period - with Ninth Symphony op.25 and Missa Solemnis op.123; c) a dialogue with the music of predecessors; d) an imaginary dialogue of Beethoven and Goethe (of the period of “Faust” completion); e) a dialogue op.111 with the world culture. The author arrives at the following conclusions: whilst the formation of the concept of interpretation is usually related to the performance activities of romanticists - Paganini and List, the prerequisites of the phenomenon of interpretation can be found already in the works and ideas of Beethoven - he is a precursor of romanticists of the 19th century. Each of his works is individualized, and doesn’t contain patterns or cliches. To play his compositions outside of the concept means to be not able to adequately convey the spirit of Beethoven’s music. With all their strict architectonics, Beethoven’s works appeal to spontaneity of self-expression - a pianist, as an actor, should experience this music “in the here and now”.   
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Berehova, Olena, and Mariia Kara. "Features of the individual interpretation of the cello sonata genre in the creation by Gyorgy Ligeti." Музикознавча думка Дніпропетровщини, no. 18 (November 16, 2020): 167–78. http://dx.doi.org/10.33287/222027.

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The purpose of this scientific article is characterization of the individual approach concerning the outstanding Austrian composer of Hungarian origin Gyorgy Ligeti to the genre of sonata for cello solo, which was successfully made by this composer. To achieve this goal, the role of this genre in the composer’s work is determined, the stylistic features of the only cello sonata in the composer’s work are discovered, and the composition of the work is analyzed. The methodology research as is in applying a holistic musicology analysis that allows deeply penetrate into the essence of the intonational drama of the work, to reveal the individual features of the author’s interpretation by the composer of the sonata genre for solo cello. The scientific novelty. The sonata of Gyorgy Ligeti, namely, the consideration of the features of the individual interpretation of the instrumental sonata genre, has not yet become the object of domestic musicological research, so addressing this topic is relevant and has a novelty factor. Conclusion. Throughout the long career of Gyorgi Ligeti, his composer style experienced a significant evolution from experiments in the field of electronic music and micropolyphony to a gradual return to classical romantic traditions. It was facilitated by the composer’s focus on the constant search for a new musical language and ways to express it. In the Sonata for cello solo, D. Ligeti pays great attention to the timbre features and technical characteristics of the instrument, seeks to diversify its sound by introducing modern techniques and means of sound extraction. A detailed examination of the artistic and technical techniques used by the composer along with analysis of performing difficulties will facilitate the work of artists on this work and its popularization in contemporary concert and performing practice.
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Fisk, C. "Schubert Recollects Himself: The Piano Sonata in C Minor, D. 958." Musical Quarterly 84, no. 4 (January 1, 2000): 635–54. http://dx.doi.org/10.1093/mq/84.4.635.

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Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.

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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set, sonata form, character piece, Lied, and aria in Schubert. Schubert's formal integrations are made in the service of a Romantic sensibility of distance, loss, memory, and regret. He joins musical aspects of distance (from the theme, from a home key, from a home register) to distance in its poetic aspects: from the past, from home, from old loves and places. Schubert not only continues the 18th-century tradition of musical depictions of distance, he transforms and expands them in unprecedented ways. The result is a poignant intersection of formal innovation and musical poetics.
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Dissertations / Theses on the topic "Sonata in D"

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TSAI, I.-HSUAN. "THE APPROACH TO SONATA FORM IN SCHUBERT'S PIANO TRIOS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085690770.

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Pedrero-Encabo, Agueda. "La sonata para teclado : su configuración en España /." Valladolid : Universidad, 1997. http://catalogue.bnf.fr/ark:/12148/cb38986300z.

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Cho, Sujung. "Performance Challenges and Their Possible Solutions: Franz Schubert’s Piano Sonata in B-flat Major, D. 960." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1312294162.

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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.
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Roggero, Amanda Marie. "Retracing the Journey of Franz Schubert’s Wanderer: Musical Fingerprints in the B-flat Sonata, D. 960." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085535681.

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Lang, Matthias. "Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271851/.

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Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.
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Rosenbaum, George G. (George Gene). "Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278956/.

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These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).
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Smith, Jay. "An overview and performance guide to Manuel Ponce's Sonata III for guitar solo." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/smith%5Fjay%5Fthomas/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 24, 2000, Oct. 27, 2003, and Mar. 27, 2006. Includes bibliographical references (p. 41-44).
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Roggero, Amanda. "Retracing the journey of Franz Schubert's wanderer musical fingerprints in the B-flat piano Sonata, D. 960 /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085535681.

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Åhrman, Tove. "Bachs triosonat i d-moll BWV 527 : spelpraxis, analys och instudering." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2101.

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Books on the topic "Sonata in D"

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Sowerby, Leo. Piano sonata: Sonata for piano in D, H. 291. [Rochester, N.Y.]: Leo Sowerby Foundation, 1994.

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Schubert, Franz. Klaviersonate A-Dur D 664 =: Piano sonata A major D 664. Wien: Wiener Urtext Edition, 1999.

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Blavet, Michel. Sonata in D [i.e. D minor], op. 2, no. 2, for flute and piano (with basso continuo). [New York]: G. Schirmer, 1987.

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1702-1793, Besozzi Alessandro. Sonata no. 5 in D major: From six solos for flute, oboe or violin and continuo (ca. 1760). Winnipeg, MB: Classical Winds Press, 2003.

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1702-1793, Besozzi Alessandro. Sonata no. 1 in D major: From six solos for flute, oboe or violin and continuo (ca. 1760). Winnipeg, MB: Classical Winds Press, 2003.

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1702-1793, Besozzi Alessandro. Sonata no. 3 in D major: From six solos for flute, oboe or violin and continuo (ca. 1760). Winnipeg, MB: Classical Winds Press, 2003.

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Boismortier, Joseph Bodin de. Sonate D-dur für Querflöte (Oboe, Violine), Gambe (Fagott, Violoncello) und Basso continuo : op. 37/3 =: Sonata in D major for flute (oboe, violin), viola da gamba (bassoon, violoncello) and basso continuo : op. 37/3. Kassel: Bärenreiter, 1988.

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Clementi, Muzio. Celebrate Clementi: Six progressive sonatinas, op. 36, Sonata in D, op. 4, no. 1, selected preludes, waltzes, and easy arrangements with notes for study and performance. Mississauga, ON: Frederick Harris Music, 2006.

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Wordsworth, William. Sonata for cello and piano No. 2 in G minor: Op 66 ; Three songs ; four sacred sonnets (John Dowe) : op 21 ; Sonatinafor viola and piano in D : op 71. Upminster: British Music Society, 1985.

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Debussy, Claude. Sonate für Violoncello und Klavier d-moll =: D minor = ré mineur. München: G. Henle, 1998.

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Book chapters on the topic "Sonata in D"

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Bergé, Pieter. "A step to the ‘Wanderer’. Schubert’s early Fantasia-Sonata in C minor (D. 48) 1." In Musical Improvisation and Open Forms in the Age of Beethoven, 134–48. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315406381-8.

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Beghin, Tom. "Haydn as Orator: A Rhetorical Analysis of his Keyboard Sonata in D Major, Hob. xvi:42." In Haydn and His World, edited by Elaine R. Sisman, 201–54. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831821.201.

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Amundin, Mats, Erik Kallin, and Sten Kallin. "The Study of the Sound Production Apparatus in the Harbour Porpoise, Phocoena Phocoena, and the Jacobita, Cephalorhynchus Commersoni by Means of Serial Cryo-Microtome Sectioning and 3-D Computer Graphics." In Animal Sonar, 61–66. Boston, MA: Springer US, 1988. http://dx.doi.org/10.1007/978-1-4684-7493-0_6.

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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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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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Hepokoski, James. "Schubert, String Quartet No. 14 in D Minor, D. 810/i (Allegro)." In A Sonata Theory Handbook, 178–97. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0010.

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This is the first of three longer, more extended chapters (10, 11, and 12) devoted to special questions with regard to the applicability of Sonata Theory to post-Beethovenian composers and into the romantic era. The problem begins in earnest with the sonata forms of Schubert, which have been discussed by many recent analysts, resulting in a cascade of recent studies, articles, and books cycling around the same analytical issues and seeking to come to terms with Schubert’s difference from the sonata practice of Haydn, Mozart, and Beethoven, with their more purposeful drives toward tonal resolution and cadential completion. This chapter responds to much of this scholarship in order to show that while Schubert often delays, occludes, or obstructs his pathways to certain action-zone goals—sometimes by “three-key expositions” and their local and later implications—those zones are still discernible, even while the vectors toward them are often more slack in their realization. This adaptation of Sonata Theory to a freer, “romantic” realization of the sonata is pursued through a close, phrase-by-phrase analysis of the first movement of Schubert’s “Death and the Maiden” Quartet, read as a fatalistic, existential narrative of the imminence of death, a feature (as discussed in the historical backdrop) that resonates with aspects of Schubert’s own life after 1823. As such the chapter, a follow-up to chapter 9, also provides a second illustration of minor-mode-sonata issues laid out in chapter 8.
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Frith, Uta. "Personal Spin D." In Defining the Discographic Self. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0011.

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George Frideric Handel: Organ Concerto Opus 7 No. 1 in B flat major, Bourrée Allegro Engelbert Humperdinck: Ein Männlein steht im Walde from Hansel and Gretel Wolfgang Amadeus Mozart: Sonata for 4 hands in B flat major Franz Schubert: Schubert’s String Quartet No. 13 in A Minor...
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Hepokoski, James. "Beethoven, Symphony No. 2 in D, op. 36/i (Adagio molto–Allegro con brio)." In A Sonata Theory Handbook, 120–35. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0007.

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This chapter moves on from Mozart and Haydn to consider an early-nineteenth-century movement from Beethoven, the initial movement of his Symphony No. 2, written at the onset of what he considered to be an aesthetic “new path” of composition (and which we tend to regard as the onset of his “middle period”). While the parallels between this movement and that of Haydn’s Symphony No. 100 (chapter 5) are clear—a major-to-minor “fall” in the introduction, themes with “military” connotations, a drive toward a triumphant conclusion, and the like—the differences between the two are equally instructive. With Beethoven we are thrown into a more turbulent musical world, where the classical norms of late-eighteenth-century sonata practice are exaggerated, hyper-dramatized, and sometimes overridden (with “deformations”). The older “default” norms of sonata practice begin to be regularly challenged, and with them arises a new, proto-romantic sense of “listening” and “understanding.” Once past the initial historical backdrop and reframing of Sonata Theory for the onset of a new century, the close reading of the movement that takes up the most of the chapter argues that a central issue in the movement is that of major-minor conflict, where the introduction’s “fall” into minor is not overcome until the climactic post-sonata coda. In part this also prepares the reader for the extended discussions of the minor-mode sonata in the ensuing chapter.
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MOZART, WOLFGANG AMADEUS. "Sonata for Two Pianos in D major, K448." In The Piano, 42–45. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.14.

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Gardner, Cameron. "Distancing the heroic: the Piano Sonata in D major (D.850)." In The Unknown Schubert, 177–99. Routledge, 2017. http://dx.doi.org/10.4324/9781315085012-11.

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Conference papers on the topic "Sonata in D"

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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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Goldie, James H., Michael J. Gerver, John Oleksy, Gregory P. Carman, and Terrisa A. Duenas. "Composite Terfenol-D sonar transducers." In 1999 Symposium on Smart Structures and Materials, edited by Manfred R. Wuttig. SPIE, 1999. http://dx.doi.org/10.1117/12.352797.

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Negaharipour, S. "On 3-D motion estimation from 2-D sonar image flow." In OCEANS 2012. IEEE, 2012. http://dx.doi.org/10.1109/oceans.2012.6404919.

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Serafin, Piotr, Marta Okon-Fafara, Marcin Szugajew, Czeslaw Lesnik, and Adam Kawalec. "3-D inverse synthetic aperture sonar imaging." In 2017 18th International Radar Symposium (IRS). IEEE, 2017. http://dx.doi.org/10.23919/irs.2017.8008209.

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Aykin, Murat D., and Shahriar Negahdaripour. "On 3-D target reconstruction from multiple 2-D forward-scan sonar views." In OCEANS 2015 - Genova. IEEE, 2015. http://dx.doi.org/10.1109/oceans-genova.2015.7271627.

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Xiong-hou, Liu, Sun Chao, Zhuo Jie, Xiang Long-feng, and Liu Zong-wei. "High-resolution 2-D imaging using narrowband MIMO sonar." In 2013 IEEE International Conference on Signal Processing, Communications and Computing. IEEE, 2013. http://dx.doi.org/10.1109/icspcc.2013.6664124.

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Negahdaripour, S. "On 3-D reconstruction from stereo FS sonar imaging." In 2010 OCEANS MTS/IEEE SEATTLE. IEEE, 2010. http://dx.doi.org/10.1109/oceans.2010.5664569.

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Negahdaripour, Shahriar. "Analyzing Epipolar Geometry of 2-D Forward-Scan Sonar Stereo for Matching and 3-D Reconstruction." In OCEANS 2018 MTS/IEEE Charleston. IEEE, 2018. http://dx.doi.org/10.1109/oceans.2018.8604540.

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Negahdaripour, S., and A. Taatian. "3-D motion and structure estimation for arbitrary scenes from 2-D optical and sonar video." In OCEANS 2008. IEEE, 2008. http://dx.doi.org/10.1109/oceans.2008.5151985.

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Negahdaripour, S., and A. Taatian. "Bundle adjustment for 3-D motion and structure estimation from 2-D optical and sonar views." In OCEANS 2008. IEEE, 2008. http://dx.doi.org/10.1109/oceans.2008.5152021.

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Reports on the topic "Sonata in D"

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Cuschieri, Joseph, and Lester R. LeBlanc. Forward Scan and 3-D Forward Look Sonars for Ocean Explorer Auv's. Fort Belvoir, VA: Defense Technical Information Center, September 1999. http://dx.doi.org/10.21236/ada630271.

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