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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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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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De Souza, Jonathan, Adam Roy, and Andrew Goldman. "Classical Rondos and Sonatas as Stylistic Categories." Music Perception 37, no. 5 (June 2020): 373–91. http://dx.doi.org/10.1525/mp.2020.37.5.373.
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Sonata and rondo movements are often defined in terms of large-scale form, yet in the classical era, rondos were also identified according to their lively, cheerful character. We hypothesized that sonatas and rondos could be categorized based on stylistic features, and that rondos would involve more acoustic cues for happiness (e.g., higher average pitch height and higher average attack rate). In a corpus analysis, we examined paired movement openings from 180 instrumental works, composed between 1770 and 1799. Rondos had significantly higher pitch height and attack rate, as predicted, and there were also significant differences related to dynamics, meter, and cadences. We then conducted an experiment involving participants with at least 5 years of formal music training or less than 6 months of formal music training. Participants listened to 120 15-second audio clips, taken from the beginnings of movements in our corpus. After a training phase, they attempted to categorize the excerpts (2AFC task). D-prime scores were significantly higher than chance levels for both groups, and in post-experiment questionnaires, participants without music training reported that rondos sounded happier than sonatas. Overall, these results suggest that classical formal types have distinct stylistic and affective conventions.
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Tudor, Brînduşa. "Number 13 / Part I. Music. 11. Great Contemporary Pianists in Interpretative Dialogue: Alfred Brendel and Murray Perahia." Review of Artistic Education 13, no. 1 (March 1, 2017): 93–98. http://dx.doi.org/10.1515/rae-2017-0011.
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Abstract The choice of valuable interpretative versions is highly important for both pianists on their way to performance and teachers in their complex activity of piano training. These become real models of esthetical thinking and artistic inspiration in the approach of a musical work. We shall use Sonata in D minor D 958 by Franz Schubert as an interpretative analysis model in the view of the pianists Alfred Brendel and Murray Perahia.
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Dickinson, Nigel. "Bowen: The Piano Sonatas: Piano Sonata no. 1 in B minor op. 6; Piano Sonata no. 2 in C sharp minor op. 9; Piano Sonatas no. 3 in D minor op. 12; Short Sonata in C sharp minor op. 35 no. 1; Piano Sonata no. 5 in F minor op. 72; Piano Sonatas no. 6 in B flat minor op. 160. Danny Driver pf." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 150–51. http://dx.doi.org/10.1017/s1479409811000152.
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Frisch, Walter. "Thematic Form and the Genesis of Schoenberg's D-Minor Quartet, Opus 7." Journal of the American Musicological Society 41, no. 2 (1988): 289–314. http://dx.doi.org/10.2307/831435.
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Schoenberg's D-minor Quartet, Opus 7, is distinctive for fusing elements of sonata and four-movement form into an immense fifty-minute work that coheres primarily by thematic processes and relationships. The numerous sketches for the quartet reveal that the task of achieving both thematic continuity on such a scale and adequate contrast between sections challenged even the normally rapid and "spontaneous" composer, who had to stop at certain points to revise his compositional strategy. Schoenberg resorted at these points to groups of brief concept sketches to work out the thematic associations and their eventual ordering and placement in the larger formal design.
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Somfai, László. "Mozart's first thoughts: the two versions of the Sonata in D major, K284." Early Music XIX, no. 4 (November 1991): 601–14. http://dx.doi.org/10.1093/earlyj/xix.4.601.
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STEELE, KENNETH M. "Do Rats Show a Mozart Effect?" Music Perception 21, no. 2 (2003): 251–65. http://dx.doi.org/10.1525/mp.2003.21.2.251.
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The ““Mozart effect”” is an increase in spatial reasoning scores after listening to a Mozart piano sonata. Both the production and interpretation of the effect are controversial. Many studies have failed to replicate the original effect. Other studies have explained a Mozart effect as being caused by changes in arousal or differences in preferences of the listener. F. H. Rauscher, K. D. Robinson, and J. J. Jens (1998) reported that rats learned to complete a T-maze more quickly if they had been exposed in utero and reared hearing a Mozart piano sonata. They concluded that the result indicated a direct effect of the music on brain development and contradicted competing accounts of arousal or preference. This article is an analysis of the experiment by Rauscher et al. The in utero exposure would have been ineffective because rats are born deaf. A comparison of human and rat audiograms, in the context of the frequencies produced by a piano, suggests that adult rats are deaf to most notes in the sonata. The successful performance of the Mozart group may be explained by the incomplete use of random assignment of subjects to groups and by experimenter effects in the construction of groups. The results of Rauscher et al. (1998) do not provide strong support for the existence of the Mozart effect.
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Oleskiewicz, Mary. "6 Kammersonaten fur 2 Floten und Basso continuo, and: Sonata I in D-Dur fur zwei Floten und Basso continuo, and: Sonata II in D-Dur fur zwei Floten und Basso continuo, and: Sonata III in a-Moll fur zwei Floten und Basso continuo, and: Complete Sonatas for Flute and Basso Continuo, and: Complete Sonatas for Flute and Obbligato Keyboard (review)." Notes 59, no. 1 (2002): 169–76. http://dx.doi.org/10.1353/not.2002.0139.
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Rideout, Bruce E., and Jennifer Taylor. "Enhanced Spatial Performance following 10 Minutes Exposure to Music: A Replication." Perceptual and Motor Skills 85, no. 1 (August 1997): 112–14. http://dx.doi.org/10.2466/pms.1997.85.1.112.
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Previous research has demonstrated that 10 min. exposure to classical music can influence performance on a spatial task. The effect, however, has not been robust, suggesting a sensitivity to individual differences and task operationalization. The present study involved a further replication of this effect. 16 female and 16 male undergraduates completed two equivalent spatial tests, one following a control procedure and one following the presentation of Mozart's Sonata for two pianos in D major. Performance showed a small but significant improvement immediately following presentation of the music.
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Waldbauer, Ivan F. "Recurrent Harmonic Patterns in the First Movement of Schubert's Sonata in A Major, D. 959." 19th-Century Music 12, no. 1 (1988): 64–73. http://dx.doi.org/10.2307/746610.
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Waldbauer, Ivan F. "Recurrent Harmonic Patterns in the First Movement of Schubert's Sonata in A Major, D. 959." 19th-Century Music 12, no. 1 (July 1988): 64–73. http://dx.doi.org/10.1525/ncm.1988.12.1.02a00050.
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Rideout, Bruce E., Shannon Dougherty, and Lisa Wernert. "Effect of Music on Spatial Performance: A Test of Generality." Perceptual and Motor Skills 86, no. 2 (April 1998): 512–14. http://dx.doi.org/10.2466/pms.1998.86.2.512.
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Previous attempts by various researchers to replicate the enhancement of spatial performance following 10 min. exposure to music have been inconsistent in their findings. In the present study 16 subjects showed reliable improvement on a paper-folding-and-cutting task after listening to Mozart's Sonata for Two Pianos in D major, as employed by others. The enhanced performance was also noted for 16 other subjects after listening to a contemporary selection having similar musical characteristics. In both cases the control procedure included 10 min. of listening to a progressive relaxation tape.
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Taylor, Benedict. "Schubert and the Construction of Memory: The String Quartet in A minor, D.804 (‘Rosamunde’)." Journal of the Royal Musical Association 139, no. 1 (2014): 41–88. http://dx.doi.org/10.1080/02690403.2014.886414.
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ABSTRACTAs well over a century of reception history attests, qualities of memory, reminiscence and nostalgia seem to constitute some of the most characteristic attributes of Schubert's music. Yet despite the undoubted allure of this subject and its popularity in recent years, the means by which music may suggest the actions of memory and temporal consciousness are often unclear or under-theorized in scholarship. This article examines how such nostalgic subjectivities are constructed in Schubert's music and the language used to describe it. Rather than overturning the now habitual associations between Schubert and memory, the article seeks to question more deeply how they are, and indeed might better be, supported. It looks principally at the String Quartet in A minor, D.804 (‘Rosamunde’), and draws further on such staples of the Schubertian memory discourse as the Quartet in G, D.887, and the Piano Sonata in B♭, D.960.
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Moortele, Steven Vande. "The Subordinate Theme in the First Movement of Schubert's "Unfinished" Symphony." Music Theory and Analysis (MTA) 6, no. 2 (October 30, 2019): 223–30. http://dx.doi.org/10.11116/mta.6.2.3.
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This analytical vignette explores the internal formal organization of the subordinate theme in the first movement of Schubert's "Unfinished" Symphony, D. 759 (1822). Drawing both on Hepokoski and Darcy's sonata theory and on Caplin's theory of formal functions, it shows how the entire theme can be understood as a single large-scale sentence. It is further argued that the theme's specific formal organization, as well as the extent to which it does or does not open up to theories originally designed for the analysis of music from the classical era, is characteristic of works from this period in music history.
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Denny, Thomas A. "Schubert as self‐critic: The problematic case of the unfinished sonata in C major, D. 840∗." Journal of Musicological Research 8, no. 1-2 (January 1988): 91–117. http://dx.doi.org/10.1080/01411898808574595.
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Wollenberg, Susan. "Franz Schubert - Hungarian Melody for Piano in B minor, D. 817 - Piano Sonata in G major, D. 894 - Moments musicaux, D. 780 - Allegretto for Piano in C minor, D. 915 - Impromptus for Piano, D. 935 - Piano Sonata in B flat major, D. 960 - András Schiff pf - ECM 2425–26, 2015 (2 CDs: 146 minutes), $28." Nineteenth-Century Music Review 14, no. 2 (November 28, 2016): 267–70. http://dx.doi.org/10.1017/s1479409816000434.
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Rauscher, Frances H., and Gordon L. Shaw. "Key Components of the Mozart Effect." Perceptual and Motor Skills 86, no. 3 (June 1998): 835–41. http://dx.doi.org/10.2466/pms.1998.86.3.835.
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The results of studies intended to replicate the enhancement of spatial-temporal reasoning following exposure to 10 min. of Mozart's Sonata for Two Pianos in D Major (K.448) have been varied. While some studies have replicated the effect, others have not. We suggest that researchers' diverse choice of dependent measures may account for these varied results. This paper provides a neurophysiological context for the enhancement and considers theoretical and experimental factors, including the choice of dependent measures, the presentation order of the conditions, the selection of the musical composition, and the inclusion of a distractor task, that may contribute to the various findings. More work is needed before practical applications can be derived.
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Marston, Nicholas. "Schubert's Homecoming." Journal of the Royal Musical Association 125, no. 2 (2000): 248–70. http://dx.doi.org/10.1093/jrma/125.2.248.
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This article explores the metaphorical identification of the tonic key as ‘home’ in relation to the first movement of Schubert's Piano Sonata in B♭, D.960. Rejecting conventional readings whereby a ‘foreign’ or ‘alien’ element is ultimately assimilated into the ‘home’ sphere, it argues that in this movement Schubert succeeds in doing the reverse, rendering the tonic ‘unhomely’ (unheimlich; ‘uncanny’) at a critical moment in the recapitulation. Schubert's practice in this instance is contrasted with that of Beethoven in selected middle-period works; and Schubert's own fragmentary continuity draft for the movement, as well as songs from Die Winterreise and Schwanengesang, are brought to bear on the investigation of ‘home’ and ‘das Unheimliche’.
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Palmer, Peter. "Fritz Brun: a Swiss Symphonist." Tempo, no. 195 (January 1996): 14–18. http://dx.doi.org/10.1017/s0040298200004721.
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Ferruccio Busoni, who saw out the First World War from the neutral haven of Switzerland, maintained that the best Swiss symphony was Rossini's William Tell overture. Not that the country was completely lacking in resident composers of symphonic music during the Classical and Romantic eras. There was, for example, Gaspard Fritz (d.1783), whom Dr Bumey met in Geneva. There was Xaver Schnyder von Wartensee (d.1868), whose works include an amiable ‘Military’ Symphony. But the dominant force in the 19th century was the composer, publisher and pedagogue Hans Georg Nägeli, whose primary achievement was to develop a choral tradition. Instrumental music in Switzerland depended largely on imports. Joachim Raff, who came from the Lake Zurich region, did not begin to find his feet as a symphonist until he settled in Germany. The vocal bias persisted into the 20th century: thus Othmar Schoeck could say that writing a violin sonata was something of a ‘crime’ for him.
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Kleinowski, Marcin. "The impact of Brexit on the member states’ ability to build blocking coalitions in the Council." Środkowoeuropejskie Studia Polityczne, no. 2 (June 28, 2019): 5–27. http://dx.doi.org/10.14746/ssp.2019.2.1.
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Przy wykorzystaniu autorskiego programu komputerowego wykonano symulacje głosowań w Radzie po wystąpieniu Wielkiej Brytanii z UE. W przypadku części z nich zastosowano innowację metodologiczną polegającą na odejściu od założenia, że powstanie każdej z możliwych koalicji jest równie prawdopodobne. Przeprowa dzona analiza wskazuje, że po Brexicie znacząco zmieni się zdolność członków Rady do tworzenia małych koalicji minimalnie blokujących. Jednocześnie ocena zdolności państw do blokowania decyzji w Radzie, dokonana w oparciu o Preventive Power Index, różni się zasadniczo od wyników analizy skupiającej się na budowie małych koalicji minimalnie blokujących. Prezentowane badania zostały sfinansowane przez Narodowe Centrum Nauki w ramach projektu no. UMO-2016/23/D/HS5/00408 (konkurs SONATA 12) zatytułowanego Wpływ brexitu i bezwarunkowego wprowadzenia systemu głosowania „podwójną większością” na proces decyzyjny w Radzie Unii Europejskiej.
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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.
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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (string quartet and piano concerto), structural and compositional (sonata form), organological (instrument condition), performing (pianism development). I. Byaly (1989) and I. Polskaya (2001) consider the trio principle as the basis of ensemble genres, including the piano quartet. A conjunction of these opinions let us perceive the piano quartet as the result of the synthesis of various compositional and genre principles of ensembles, which formed the basis of the classical structure of the genre. Its creators are believed to be W. A. Mozart, the author of two piano quartets: No. 1 g-moll KV478 and No. 2 Es-dur KV493 (1785; 1786), and L. Beethoven, who composed four piano quartets: WoO 36 № 1 Es-dur, № 2 D-dur, № 3 C-dur (1785) and op. 16 Es-dur (1801). In these compositions of the classical era the defining attributes of the genre were multitimbrality, which manifests in keyboard and string instruments; ensemble players equality; signs of various types of utterance, including those inherent in a string quartet and clavier concerto involving a group of strings; sonatas and symphonies; as well as the type of composition, built on the model of “fast-slow-fast” with the obligatory sonata Allegro in the first position. In the romantic era, the boundaries of the genre expand in terms of content, structure, interpretation of the ensemble. The first attempt to increase the scale of the cycle belongs to C. M. Weber, who brought it closer to the composition of the string quartet through the introduction of Menuetto. However, the final fourpart cycle is set by F. Mendelssohn, who replaced Menuetto with Scherzo, which becomes the normative model for the romantic tradition of the genre. Objectives. The purpose of this article is to determine the role of F. Mendelssohn’s piano quartets in the evolution of the genre in general, and in the romantic era in particular. Results. Three piano quartets by F. Mendelssohn present a picture of his youthful attitude. The musician’s early composing ability allowed him to turn to the creation of works of this genre without fear. This genre usually attracts the attention of artists in their mature period of creativity, having mastered various genres, including chamber-instrumental ensembles (W. A. Mozart, R. Schumann, J. Brahms). It is easy to observe the commonalities of F. Mendelssohn and young Beethoven, who also composed the piano quartets in the early days of his oeuvre. F. Mendelssohn has composed three piano quartets: No. 1 c-moll (1882), dedicated to Prince Antoine Radziwill, No. 2 f-moll (December 1823), dedicated to Karl Zelter, and No. 3 h-moll (January 1823) – to Goethe. The skill of using large structures, the depth of musical thought, and even the sings of his future style are starting to find expression in Mendelssohn’s youth compositions. The four-part structure of the composition cycles reveals the young composer’s interest in the works of L. Beethoven, in particular in his piano sonatas. Distinctly clear analogies are also found in «Aurora» op. 53 and «Appassionata» op. 57. R. Larry Todd (2003) also points to the similarity of the original themes of the Piano quartet No. 1 c-moll by F. Mendelssohn and the piano sonata in the same key KV457 by W. A. Mozart. It defined by the initial course of the sounds of the basic triad, as well as the use of symmetrical question-answer constructions, contrasting in mood. The connections between these two compositions are even more evident in the finale, which begins with a theme directly borrowed from the last part of W. A. Mozart’s sonata (as identified by the author of this article). In Quartet No. 2 f-moll, connections with the music of L. Beethoven are not limited to allusions to the famous piano sonatas of the Viennese classic. The first part of F. Mendelssohn’s cycle contains several definite signs of Beethoven’s influences: the development of the code is significantly expanded in the sonata form, and in a monumental reprise the young author defines the extreme dynamic level fff. In Adagio (Des-dur) there is a wide enharmonic palette, including several sharp keys. The next part, labeled as Intermezzo, provides a transition to the «explosive» finale, which opens with a «rocket-like» theme, driven by an ascending line of chromatic bass. Piano Quartet No. 3 h-moll is the work that determined the choice of F. Mendelssohn’s professional composer career, which was highly appreciated by L. Kerubini. Mastery of the musical form is manifested in a significant expansion of the scope of the cycle and each of its parts. Adhering to the strategy of virtuoso interpretation of the piano part, which was chosen in the first two opuses, the author, at the same time, subordinates the tasks of demonstrating the pianist’s instrumental possibilities to the purpose of disclosure the dramatic idea of the work. At the same time, he does not brake the principle of equality of ensemble members, borrowed from his predecessors in any of his piano quartets. Conclusions. The analysis revealed the following indicators of the romanticization of the piano quartet genre in the work of F. Mendelssohn. These are: the scale of the content and composition of the cycle; the large coda sections in the first and final parts; the poetic completion of the lyrical second parts, as it is in “songs without words”; brilliance of the final parts; dominance of minor keys; equality of ensemble members with the “directorial” function of the piano and others. The high artistic qualities of F. Mendelssohn’s piano quartets attract the attention of many performers, among which the Foret Quartet demonstrates the most adequate interpretation of these works.
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Giannouli, Vaitsa. "MOZART EFFECT AND MUSIC PSYCHOLOGY: RECENT DEVELOPMENTS AND FUTURE RESEARCH." Problems of Psychology in the 21st Century 11, no. 1 (December 25, 2017): 4–5. http://dx.doi.org/10.33225/ppc/17.11.04.
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The field of Music Psychology has grown in the past 20 years, to emerge from being just a minor topic to one of mainstream interest within the brain sciences (Hallam, Cross, & Thaut, 2011). Despite the plethora of research attempts to examine the so-called hotly disputed “Mozart effect” which was first reported by Rauscher, Shaw, and Ky (1993, 1995), we still know little about it. This group of researchers were the first to support experimentally that visuospatial processing was enhanced in participants following exposure to Mozart’s Sonata for Two Pianos in D major (K.448). Although the first research attempts referred to the Mozart effect as an easy way of improving cognitive performance immediately after passive music listening to Mozart’s sonata K. 448 (Chabris, 1999), after which healthy young adult students could perform with enhanced spatial- temporal abilities in tasks such as the Paper Folding Task (PFT), nowadays there is a number of studies indicating that this specific music excerpt does not necessarily have this magical influence on all cognitive abilities (e.g. on the overall Intelligence Quotient) in humans and on the behavior of animals (for a review see Giannouli, Tsolaki & Kargopoulos, 2010). In addition to that, questions arise whether listening to this ‘magic music excerpt’ does indeed have benefits that generalize across a wide range of cognitive performance, and if it can induce changes that are of importance for medical and therapeutic purposes in patients with neurological disorders (e.g. epilepsy) or psychiatric disorders (e.g. dementia, depression) (Verrusio et al., 2015).
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Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.
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In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided with a title-page designed to simulate that of Jeanne Roger, bears the manuscript inscription ‘NB This is not Mr. Handel's’ in an eighteenth-century hand at the beginning of the tenth and twelfth sonatas, precisely those that Walsh removed in his second edition of this collection (c. 1731–2), advertised on the title-page as being ‘more Corect [sic] than the former Edition’. In the second edition Walsh substituted two equally questionable works in their place, each of which bears the handwritten inscription ‘Not Mr. Handel's Solo’ in a copy in the British Library (BM g.74.h). Two of the sonatas attributed to Handel in Walsh's Six Solos, Four for a German Flute and a Bass and Two for a Violin with a Thorough Bass … Composed by Mr Handel, Sigr Geminiani, Sigr Somis, Sigr Brivio (1730; in A minor and B minor) are also possibly spurious, while three of the four movements of the remaining sonata attributed to Handel in this collection (in E minor) are movements arranged from his other instrumental works. And in 1734 Johann Joachim Quantz, to whom Walsh devoted four volumes of solo sonatas (1730–44), complained of the publication of spurious and corrupted works:There has been printed in London and in Amsterdam under the name of the [present] author, but without his knowledge, 12 sonatas for the transverse flute and bass divided into two books. I am obliged to advertise to the public that only the first, second, fourth, fifth and sixth [sonatas] from the first book, and the first three from the second book, are his [Quantz's] compositions; and that he furthermore wrote them years ago, and besides they have, due to the negligence of the copyist or the printer, gross errors including the omission of entire bars, and that he does not sanction the printing of a collection that has no relationship with the present publication that he sets before the public.
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Hyland, Anne M. "In Search of Liberated Time, or Schubert's Quartet in G Major, D. 887: Once More Between Sonata and Variation." Music Theory Spectrum 38, no. 1 (May 17, 2016): 85–108. http://dx.doi.org/10.1093/mts/mtv023.
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Rideout, Bruce E., and Catherine M. Laubach. "EEG Correlates of Enhanced Spatial Performance following Exposure to Music." Perceptual and Motor Skills 82, no. 2 (April 1996): 427–32. http://dx.doi.org/10.2466/pms.1996.82.2.427.
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Previous research has shown that exposure to classical music can influence performance on a spatial task. The present study investigated EEG correlates of this enhanced performance effect. 4 female and 4 male undergraduates completed two equivalent spatial tests, one following a control procedure and one following the presentation of Mozart's Sonata for Two Pianos in D Major. EEG was recorded during a baseline and two task-performance periods. Test performance and EEG recordings were analyzed, and correlations were generated between task performance and EEG variables (average spectral power and peak frequency within 5 frequency ranges). Performance improved significantly following the presentation of the music. EEG analysis indicated 6 reliable correlations out of 40 calculated between differential EEG variables and changes in performance. Ten reliable correlations out of 120 were also found between changes in performance and nondifferential EEG variables across baseline, control, and experimental conditions.
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Shitikova, R. G. "Musical Work in Perception and Evaluation of the Composer, Performer, Researcher on the Example of the First Piano Sonata and the Eighth Symphony by D. D. Shostakovich." Университетский научный журнал, no. 58 (2020): 52–60. http://dx.doi.org/10.25807/pbh.22225064.2020.58.52.60.
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Șuteu, Cristina. "Enescu’s Musical Language in Suite Impresii din copilărie [Impressions of Childhood]." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 74–95. http://dx.doi.org/10.2478/ajm-2020-0005.
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AbstractThe musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry the imprint of the Romanian musical culture. For more than half of a century (57 years), Enescu wrote musical works inspired by the folkloric tradition. Between the Romanian Poem, written when he was 16 (in 1897) and the Chamber Symphony, when he was 73 (in 1954), Enescu also composed: Romanian Rhapsody No. 1 (A major), op. 11 (in 1901), Romanian Rhapsody No. 2 (D major), op. 11 (in 1902), Sonata for piano and violin No. 3, A minor (in 1926), Caprice Roumain, for violin and orchestra (in 1928), Orchestral Suite No. 3 (From the country), op. 27, D major (in 1938) and the programmatic suite Impresii din copilărie [Impressions of Childhood for violin and piano], op. 28 in D major (composed in 1940). The paper presents the temporal-spatial structure of the musical masterpiece which reveals a cyclical thinking based on a presentation of the exterior images, followed by the interior images and a return to the exterior. And by an extrapolation of meanings, I created an analogy with the stages of life: childhood, maturity and old age. This article also deals with elements of the musical language used by George Enescu in a manner that reveals a re-created Romanian folklore in a way which bears the imprint of personality and originality of the composer.
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Lam, Nathan L. "Modal Spelled Pitch Class, La-Minor Solfège, and Schubert’s Third Relations." Journal of Music Theory 64, no. 2 (October 1, 2020): 241–81. http://dx.doi.org/10.1215/00222909-8550795.
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This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la-minor solfège. In the construction of modal spelled pitch class, la-minor solfège is of equal importance to do-minor solfège, and subsequent analyses contrast the perspectives of both types of movable-do solfège users. This argument aligns with recent reevaluations of Jacques Handschin’s tone character (Clampitt and Noll 2011; Noll 2016b) and suggests a path of reconciliation in the ongoing solfège debate. Close readings of Franz Schubert’s Impromptu in E♭ major, D. 899, and Piano Sonata in B♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Conway, Paul. "London, Barbican: Dieter Schnebel, David Sawer." Tempo 67, no. 265 (July 2013): 83–85. http://dx.doi.org/10.1017/s0040298213000569.
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In a substantial concert at the Barbican Centre on 15 February 2013 the BBC Symphony Orchestra, conducted by Ilan Volkov, presented the British debut of Schubert Fantasia (1978, revised 1989) – senior German composer Dieter Schnebel's subtle reconstruction of one of Schubert's most original piano sonata movements – and the first performance of David Sawer's dramatic scena for mezzo-soprano and baritone soloists and orchestra, Flesh and Blood (2012). Both premières lasted around 25 minutes. Sawer's new work made a satisfying contrast with its Schubertian surroundings. But an even more rewarding, and certainly more congruent, companion to the Schnebel might have been Luciano Berio's Rendering for Orchestra (1990), which reworks the fragments of Schubert's unfinished Tenth Symphony in D major, D936a into a three-movement symphonic work that would have complemented Schnebel's postmodern re-imaginings. It would also have made some fascinating associations with the Viennese master's last completed work in symphonic form: the ‘Great’ C major Symphony, which was heard after the interval. Enough speculating on what might have been; what of the fare that was actually on offer?
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SMITH, KENNETH M. "Skryabin's Revolving Harmonies, Lacanian Desire, and Riemannian Funktionstheorie." Twentieth-Century Music 7, no. 2 (September 2010): 167–94. http://dx.doi.org/10.1017/s1478572211000156.
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AbstractThat Skryabin's harmonic language is rooted in dominant functionality is commonly acknowledged. However, the flow of his tensile dominant-based sonorities has not been adequately explored. This article seeks to correlate his harmonic processes with his erotically charged philosophy. It sketches ways in which our understanding of Skryabin's harmonic ‘flow’ can be reinforced by analytical thinking in both psychoanalysis and music theory, bringing Jacques Lacan's semiotic model of the circuit of human desire into dialogue with Hugo Riemann's Funktionstheorie. Two of Skryabin's harmonic proclivities direct the chosen analytical approach: 1) sequential chains of fifths and 2) transposition by multiples of the minor third. The interchange of these two characteristics is explored, with Riemann's categories of chordal function (T, S, and D) grafted onto a model of tonal pitch space derived (via Fred Lerdahl) from Gottfried Weber. The way in which Skryabin ‘rotates’ tonal functions sequentially (i.e., T→S→D→T) in a potentially infinite cycle of fifths, rerouted occasionally through minor-third transposition, is correlated with Lacanian drive theory. The article's concluding analysis of Skryabin's late octatonic Sonata no. 6, Op. 62, takes this ‘rotation’ of tonal function to a deeper structural level. The labelling system of Funktionstheorie, which is stretched at this point, is reconceptualized through Lacan's extension of his theory of desire into semiotics.
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Drabkin, William. "Ludwig van Beethoven, Piano Sonata in G major op. 31 no. 1; Piano Sonata in D minor op. 31 no. 2 (‘Tempest’); Piano Sonata in E♭ major op. 31 no. 3, edited by Norbert Gertsch and Murray Perahia, fingering by Murray Perahia. (Munich: G. Henle Verlag, 2004). 3 vols (HN 754, HN 755, HN 784) €6 each." Nineteenth-Century Music Review 3, no. 1 (June 2006): 156–58. http://dx.doi.org/10.1017/s1479409800000495.
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Naiko, Natalia M. "SEMANTIC OVERTONES OF D. SHOSTAKOVICH'S NINTH SYMPHONY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 170–84. http://dx.doi.org/10.17223/22220836/39/16.
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The ninth symphony, created by D. Shostakovich in 1945 and a few years later defined as the “scherzo symphony”, was met with bewilderment by critics who expected a grandiose work praising the Victory. The deep layers of its content, the direction of the author’s thought, become accessible to understanding only as a result of the analysis of the composer’s work with thematic material having a “secondary” nature. This is material I (sonata allegro), III (scherzo) and V (final). The main themes of parts I and III are generalized in genre, they are characterized by being ori-entated at classicist style models. The remaining thematism reveals domestic origins: march (theme of the Second subject group of part I), tarantella (theme of the episode of part III), gallop (theme of the First subject group of the final), march song (theme of the Second subject group of the final). The reliance on these genre models determines the melodic-rhythmic, harmonic, textural, and structural characteristics of the corresponding themes. In the purest form, typical signs of genre-stylistic models appear during the exhibition. In the process of development of the themes, a general pattern is the exposure of the proto-intonation layer (E. Nazaikinsky's term), putting in the foreground the biological, the animal in a person – which is connected with the instinct of destruction, uncontrolled aggression, etc. Just as a predatory grimace disfigures a human face, in the aspect of musical decisions, protointonation is manifested through the deformation of the genre and style models comprising all the levels of musical organization, which is most clearly represented in the developments and reprises. These means serve as a metaphor for the destruction of the cultural layer, which determined the way of artistic imprinting of Homo agens, Homo sapiens, Homo ludens, Homo communis. In the Ninth Symphony, Shostakovich models the process of disintegration of human culture and a person, who has lost the spiritual core, the release of the dark component of his nature. This way he reveals the inner content of the themes-images that initially fit into the traditions and norms of musical culture – prima-ry, household, or professional, artistic. Since such techniques contribute to the detection of meaning, they are included in the sphere of superintonation, simultaneously expressing the author's concept. The result of the figurative development of parts II and IV is the repression of the living human principle, rooted in the native culture and at the same time addressed to the sublime, which manifests itself in feeling and thought. These processes express the idea of the doom of Personality under the pressure of vulgarity and dirt, which, refracted in the mind of the Artist, is generalized and grows up to the level of a symbol. The specificity, tangibility of images in the presence of a plan of philosophical understanding al-low us to speak about the presence in the given symphony of features of the parable genre. Author's musical “narration” contains, in a coded form, a system of value directions and modeling of the conditions under which ideals are destroyed.
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Churikov, V. V. "Concerto for saxophone and string orchestra by P.-M. Dubois: guidelines for performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 107–22. http://dx.doi.org/10.34064/khnum1-54.07.
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Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the repertoire of the modern saxophonist. Taking into account specific features of the author’s style of P. Dubois, the performer faces the problem of mastering a number of technical and artistic expressive techniques aimed at revealing the figurative content of the piece. For a contemporary performer, the awareness of style components of P. Dubois’ music, which make up the logic of the performance interpretation, is of particular importance. These are the main aspects of work at this composition in the class of saxophone. Analysis of recent publications on the topic. Saxophone performance is considered in many publications, including those written by the author of this paper. However, there are very few works related to the study of P.-M. Dubois’ creative work, and all of them are bibliographic or encyclopedic in nature. Therefore, the analysis of compositions by P.-M. Dubois seems relevant. The purpose of the study is to develop methodology guidelines on search for performance interpretation of Concerto for Saxophone and String Orchestra by P. Dubois. Presentation of the main research material. The Concerto for Saxophone and String Orchestra by P. Dubois was written in 1956 and was a striking embodiment of the instrumental style of the French composer. Adhering generally to traditional ideas about instrumental genres, P. Dubois greatly expands the sound palette of his works and develops the expressive capabilities of the saxophone. As a student of the famous and one of the most extravagant representatives of the French "Group of Six" – D. Milhaud, P. Dubois in many ways inherits the principle of distinctness of musical language and bright, expressive musical and artistic imagery. P. Dubois’ concerto is a traditional three-part cycle, built on the principle of contrasting extreme fast and medium slow parts, which in the overall contexture of the composition are very different in their imaginative content and musical language. Highlighting the stylistic origins of music of the Concerto, the composer is obviously focused on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism. Conclusions of the study. From the viewpoint of performance, works for saxophone by P. Dubois have undoubted merits. They are instrumental in nature, written in the light of instrumental specificity, though not without technical and imaginary difficulties. Summarizing the analysis of the Concerto for the saxophone by P. Dubois, it can be argued that this piece clearly fits into the artistic context of the development of French music in the second half of the twentieth century, since it reflects the process of synthesizing various style complexes in the original author’s concept. 1. Concerto for Saxophone and String Orchestra by P. Dubois is an original interpretation of the concerto genre in the context of French music of the second half of the twentieth century. Preserving national traditions of instrumental thinking – programmability, genre, beauty of the timbre palette – P. Dubois enriches the musical language of his work significantly and freely interprets the compositional structure of the concerto (the ratio of form sections, their scales, cadence at the very beginning of the sonata allegro, "removed" thematic contrast and a departure from conflict dramaturgy). On the whole, we can speak of a shift from the sonata form and priorities of the variative development of the musical thematism. 2. In identifying the stylistic origins of the Concert’s music, the composer’s focus on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism are evident. Moreover, each of these style complexes is as if personified in a specific author’s "manner", causing reminiscence with the music of D. Shostakovich, S. Rachmaninov, P. Hindemith, M. Ravel. Such a “multicomponibility” of the Concerto style introduces the multifaceted nature of the musical language of the piece and assigns the performer the task of differentiating expressive means – mainly the timbre palette and articulation technique. The prospect of further study of the topic is related to the performance analysis of other works by P. Dubois for saxophone, comparison of interpretations made by contemporary prominent artists.
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Newbould, Brian. "Klaviersonaten I, and: Klaviersonaten III, and: Klaviersonaten I: Die fruhen Sonaten, and: Samtliche Klaviersonaten, and: 6 Polonaisen fur das Pianoforte zu 4 Handen, Opus 61, D. 824 (1826), and: Third and Fourth Movements of the Unfinished Piano Sonata in C Major, D. 840, "Reliquie", and: Three Schubert Piano Fragments (D. 347, D. 900, D. 916C) (review)." Notes 59, no. 4 (2003): 973–77. http://dx.doi.org/10.1353/not.2003.0071.
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Mikusi, Balazs. "Mendelssohn's "Scottish" Tonality?" 19th-Century Music 29, no. 3 (2006): 240–60. http://dx.doi.org/10.1525/ncm.2006.29.3.240.
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Several of Mendelssohn's minor-mode songs, duets, and choral songs feature a peculiar tonal move: a sudden shift takes us to the relative major (without a "modulation" proper), but the opening minor key soon returns equally abruptly (via its V). Closer examination of these pieces suggests that the composer used the major-mode excursus as a topos, whose associations include the ideas of farewell, wandering, and distance (the latter both in the geographical and chronological sense, in accordance with the shift's quasi-modal--thus equally exotic and archaic--character). I suggest that this topos may have influenced the tonal structure of at least three large-scale Mendelssohn compositions, all of which are closely related to the same exotic and historical ideas. In the Hebrides Overture the relationship between the primary B minor and the secondary D major is (for a sonata-form movement) exceptionally equal: rather than acting as sharply contrasting tonal areas, they almost appear as two sides of the same key. The first-act finale of the unfinished opera, Die Lorelei, elaborates the original topos in another way: the E-minor-G-major kernel is extended in both directions, resulting in a chain of third-related keys, which eventually takes us back to the opening E level (now turned into major). In the light of this example, the (less complete) third-layered tonal structure of the "Scottish" Symphony may also be understood as growing out from the same miniature song topos.
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Giannoul, V., and S. Popa. "Does listening to Mozart's music influence visuospatial short-term memory in young adults?" European Psychiatry 41, S1 (April 2017): S684. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1190.
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IntroductionMusic is claimed to improve mental function and many researchers claim that this effect related to Mozart's music is limited to enhancement of the spatial temporal reasoning and not to other cognitive functions.ObjectivesTo explore the influence of Mozart's music on visuospatial memory.MethodsSixty adults (37 women and 23 men), with Mage = 21.83, SDage = 2.38, Meducation = 14.03, SDeducation = .99, and without any formal musical education were examined through an experimental process. Participants in groups of ten listened to Mozart's sonata for two pianos in D major, K.448, to Mozart's violin concerto No.3 in G major, K.216, and to a no sounds condition in varying order. The participants after listening to each 10-minute condition were presented with a series of randomly generated patterns made up of black squares on a chess-like surface. This was used in order to test the storage capacity of their visuospatial memory. After 3 seconds of presentation for each drawing, they were asked to reproduce by drawing these patterns that progressively got bigger.ResultsResults revealed for all three conditions that the number of correct grid drawings made by the participants was not significantly statistically different (P > 05), and therefore their visuospatial memory retention was not influenced by any kind of music.ConclusionsFuture research could examine in more detail the retention and manipulation of visuospatial information not only in tasks similar to the visual patterns test, but also in different tests used for clinical and non-clinical populations.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.
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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.
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NOORDUIN, MARTEN. "ANTON EBERL (1765–1807), ED. MARTIN HARLOW SONATA FOR VIOLIN AND FORTEPIANO IN D MAJOR, OP. 20 Launton, UK: Edition HH, 2017 pp. xiv + 36 (+ parts), isbn 978 1 910 35938 9." Eighteenth Century Music 15, no. 1 (March 2018): 86–88. http://dx.doi.org/10.1017/s1478570617000501.
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André, Jean-Marie. "Schubert La Sonate D 959." Hegel N° 1, no. 1 (2019): 59. http://dx.doi.org/10.4267/2042/69867.
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GARDNER, CAMERON. "FRANZ SCHUBERT (1797–1828) THE UNAUTHORIZED PIANO DUOS. VOLUME 2: THE GAHY FRIENDSHIP. TRIO IN B-FLAT, D. 898, SONATA IN A MINOR, D. 821, ARRANGED FOR PIANO DUET BY JOSEF VON GAHY Anthony Goldstone and Caroline Clemmow, piano duet. Divine Art Record Co. 25039, 2006; 70 minutes." Eighteenth Century Music 5, no. 1 (March 2008): 132–34. http://dx.doi.org/10.1017/s1478570608001309.
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