Relevant bibliographies by topics / Sonata No. 2

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Academic literature on the topic 'Sonata No. 2'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Sonata No. 2"

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Solecka, Joanna. "Sonate per uno o due Cembali con il basso cifrato Bernarda Pasquiniego – błaha rozrywka czy kunsztowna szarada?" Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 27–69. http://dx.doi.org/10.4467/23537094kmmuj.20.017.13203.

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

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The fourteen sonatas for two harpsichords from the collection Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini (British Library of London, shelf mark: Ms. Add. 31501, I) are unique examples of double partimento. Few performers have taken up these works so far; they deserve much more attention. Employing contrapuntal techniques in their execution offers very interesting possibilities. The author describes and presents her own polyphonic interpretations of selected pieces from this collection: Sonata II mm. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 mm. I and II. This material may serve as encouragement for further studies and performance of these works. They are worthy of becoming part of staple concert repertoires.
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Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.

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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz. It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration. It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out. Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level. It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”). The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”. In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).
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Wright, David, Tippett, Steven Neugarten, Sackman, Saxton, Connolly, Nicholas Unwin, Colin Matthews, and Constant Lambert. "Sonata No.2." Musical Times 136, no. 1834 (December 1995): 675. http://dx.doi.org/10.2307/1003573.

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MacDonald, Calum. "Further reviews." Tempo 60, no. 238 (October 2006): 49–50. http://dx.doi.org/10.1017/s0040298206330318.

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CYRIL SCOTT: Piano Concerto No.1; Symphony No.4; Early One Morning. Howard Shelley (pno), BBC Philharmonic c. Martyn Brabbins. Chandos CHAN 10376.SCOTT: Complete Piano Music Volume One – Suites and Miniatures. Leslie De'Ath, Cyril Scott (pnos). Dutton Epoch CDLX 7150 (2-CD set).SCOTT: Complete Piano Music Volume Two – Complete Piano Sonatas. Leslie De'Ath (pno). Dutton Epoch CDLX 7155.SCOTT: Complete Piano Music Volume Three – Concert Pieces, Ballet Scores, Unpublished Works, Two-piano Works. Leslie De'Ath, Anya Alexeyev (pnos). Dutton Epoch CDLX 7166 (2-CD set).SCOTT: Sonata op.66; Second Sonata; Sonata III; Sphinx op.63; Rainbow Trout; Rondeau de Concert; Ballad; Victorian Waltz. Michael Schäfer (pno). Genuin GEN 85049.
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Medvednikova, Tatiana. "THE DRAMATURGY OF THE SONATA CYCLE BY L. VAN BEETHOVEN (on the example Sonata № 3 С-dur оp. 2)." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 84–92. http://dx.doi.org/10.33287/222019.

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The purpose of the article is to analyze and develop stylistic features of L. Beethoven's sonata cycle for a more accurate reproduction of the play's dramaturgy. The following research methods are used in the work the next. There are historical and cultural approach (research and analysis of works dedicated to L. Beethoven's creative heritage); method of comparative style analysis and general system-structural approach (comparing the problem of the era and its development); the traditional method of source studies as a historical discipline (the work is based on existing sources). Scientific novelty is to identify the peculiarities of creativity and specific performance of works by L. van Beethoven, from the point of view of the contemporary performer, characterizing the attitude of the composer to accurate performance, classification of means of expression and their use precisely when performing works on the piano. Conclusions. From the very beginning of the work on the sonatas, the pianist should pay attention to the stylistic features of the performance of Beethoven's sonatas. Taking a leading role in the study of the author's text, stylistics gives the work a unique sound, and the skill and the right approach maximize the performer of the playwright's reproduction of the play. Getting acquainted with Beethoven's sonatas requires a meticulous attitude to the applicative, dash dynamic notes and pedalisations written by the composer himself. The unity and interaction of the means of musical expression, such as: dynamics, fingering, pedaling and strokes, plays a special role in the performance of L. Beethoven's sonata cycle and brings the pianist closer to the most accurate transmission of the composer's creative intent. Condemning the carelessness of the execution of the author's instructions, Beethoven requires not only accurate, but above all expressive of their execution. Thus, the composer draws the artist's attention to their content.
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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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Jurkowski, Edward. "The Aurora borealis harmony as structural design in Eduard Tubin’s ‘Northern Lights’ Piano Sonata No. 2." Les Cahiers de la Société québécoise de recherche en musique 14, no. 1 (June 6, 2013): 43–48. http://dx.doi.org/10.7202/1016197ar.

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The Estonian Eduard Tubin’s (1905-1982) second piano sonata, subtitled the “Northern Lights Sonata,” represents a significant turning point for the composer. Written between February and October in 1950, the sonata contains attributes that become hallmarks of Tubin’s mature style—namely, a highly concentrated compositional structure, an enriched, tonally ambiguous harmonic design, and the use of cyclically repeating theme groups. The subtitle of the composition comes from Tubin himself. Specifically, he noted that the work’s opening eight-note harmony represents the programmatic depiction of the whirling flashes from the northern lights he witnessed in Stockholm during 1949. In this article, I trace the various transformations of the Aurora borealis harmony in the second piano sonata and identify its role as a vital structural element of the composition. Following a descriptive assessment of the work’s three movements, I end by identifying some fascinating relationships between the piano sonata and other works by Tubin from this time period.
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Wiens, Carl. "Two-Part Transition or Two-Part Subordinate Theme?" Contemplating Caplin 31, no. 1 (June 7, 2012): 46–65. http://dx.doi.org/10.7202/1009284ar.

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In William Caplin’s Classical Form (1998), the ending of a sonata-form exposition’s two-part transition and a two-part subordinate theme’s internal cadence share the same harmonic goal: the new key’s dominant. In this article, the author contends that the choice between the two is not as clear-cut as Caplin suggests, arguing that the functional role of these passages should be read within the context of the entire sonata movement, rather than on more localized analytical interpretations of the sonata’s sections taken in isolation. Two works are discussed: the first movement of Beethoven’s Piano Sonata op. 2, no. 3, and the first movement of the Piano Sonata op. 10, no. 2.
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Granot, Roni Y., and Nori Jacoby. "Musically puzzling I: Sensitivity to overall structure in the sonata form?" Musicae Scientiae 15, no. 3 (July 6, 2011): 365–86. http://dx.doi.org/10.1177/1029864911409508.

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Previous studies have suggested that listeners are not sensitive to the overall tonal structure of musical pieces. This assumption is reexamined in the current study in an active musical puzzle task, with no time constraints, focusing on the presumably most directional musical form – the sonata form. In our first study (reported here, and referred to as “the Mozart study”), participants with varying levels of musical training were presented with disordered sections of Mozart’s piano sonata K. 570/I in B flat major and asked to rearrange the ten sections into a musically logical coherent whole. A second study (to be reported in Musicae Scientiae issue 16[1]) replicated the task in a different group of participants who listened to Haydn’s piano sonata, Hob: XVI-34/I in E minor. In contrast with previous studies, we do not focus on listeners’ ability to recover the original sonatas. Rather, we explore emergent patterns in their responses using new types of analysis. Our results indicate that listeners show: (1) Some sensitivity to the overall structure of A-B-A’ around the non-stable B section; (2) Non- trivial sensitivity to overall “directionality” through a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; (4) Sensitivity to opening and closing gestures, thematic similarity and surface cues and; (5) No sensitivity to global harmonic structure.
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Dissertations / Theses on the topic "Sonata No. 2"

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Chang, Yin-Ju. "A Performer's Guide to Brahms's Piano Sonata No. 2 Op. 2." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337718823.

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Yoon, Hyekung. "An Introduction of Carl Vine’s Three Piano Sonatas with Emphasis on Performance and Practice Suggestions for Sonata No.2 (1997)." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291218628.

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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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Pitts, James L. "Symmetrical features of Medtner's language the Grozovaya sonata, opus 53, no. 2 /." view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses/open/19993/pitts%5Fjames%5Fl/index.htm.

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Do, Ye In. "Charles Ives' Piano Sonata No. 2, "Concord, Mass., 1840-1860": Comparing the 1947 and the 2012 Editions." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627668113898801.

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Amos, Janet R. "Francis Poulenc's sonata for two pianos : a multi-media presentation." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027122.

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This project created a multi-media work that combined music and visual images in a video format to culminate my graduate studies. I explored computer graphics and video technology while drawing from a multi-faceted background in art. This project attempts to communicate through visual expression the innate qualities of music and sound, while reflecting my interests as an artist. I intend this work to be viewed as either a live performance piece to be accompanied by the piano duet, Sonata for Two Pianos, or as a recording on a computer monitor or television.
Department of Art
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Gunnars, Elin. "Självständig instudering : när jag studerade in Eugène Ysaÿe Sonata No. 2 första satsen." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1479.

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Mitt projekt har handlat om att ta steget till att bli mer självständig vid instuderingen av nya stycken. Att våga göra saker utan lärarens hjälp och lita på sin egen intuition och kunskap. Jag valde att arbeta med stycket Sonat no. 2 ”Obsession” av Eugène Ysaÿe (1858-1931) eftersom att det är för solo violin vilket innebar att jag inte kunde få någon påverkan ifrån någon annan och att det har varit ett stycke som jag länge har velat lära mig. Jag beskriver hur jag gått tillväga för att lära mig det, om tankar som jag fått från kurslitteraturen och om hur det har känts att inte ha den tryggheten som ens lärare ger.
My project has been about taking the step to become more independent when rehearsing new pieces. Too dare to do things without the help of a teacher and to start trusting your own intuition and knowledge. I chose the piece Sonata no. 2 "Obsession" by Eugène Ysaÿe (1858- 1931) because it is for solo violin witch would minimize the impact from someone else and it`s a piece that I for a long time have wanted to learn. I describe how I proceeded to learn it, thoughts that I received from the literature and how it feels to not have the security that the teacher gives.

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Chung, Eui Young. "Bartók's sonata no. 2 for violin and piano : structural functions of polymodal combination /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983122.

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Pitts, James L. "Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2271/.

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Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya Sonata, Opus 53 No.2, is the most concentrated and abstract of his works. The themes are built from highly lapidar motives, giving this work an intensely angular, rigorously mathematical character. All the symmetrical hallmarks of Medtner's language are in abundant evidence in this great work. Features include the extensive symmetrical mirroring of the opening section, frequent use of contrary voice leading as a generator of harmonic progression, and constant tritone shifting. Medtner also builds sequential chains based on two more symmetrical forms, the diminished seventh and the augmented triad. Finally, the design of this unique single movement sonata may be a hybrid of sonata form with palindrome. The Grozovaya Sonata is a microcosm of the symmetrical features of Medtner's language.
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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music
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Books on the topic "Sonata No. 2"

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

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Poulenc, Francis. Sonata for two clarinets. Boca Raton, Fla: Masters Music Publications, 1995.

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Aguila, Miguel del. Sonata no. 2 for piano. New York: Peer International, 1990.

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Beethoven, Ludwig van. Klaviersonate Op. 27/2 = Piano sonata op. 27/2: Sonata quasi una fantasia. Wien: Wiener Urtext Edition, 1994.

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Bartók, Béla. Sonata for two pianos and percussion. New York: CBS Records Masterworks, 1988.

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Chávez, Carlos. Piano sonata no. 2 (1919-1920). New York, NY: Carlanita Music, 1991.

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Ives, Concord sonata: Piano sonata no. 2 ("Concord, Mass., 1840-1860"). Cambridge: Cambridge University Press, 1996.

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Beethoven, Ludwig van. Klaviersonate op. 10/2 =: Piano sonata op. 10/2. Wien: Wiener Urtext Edition, 1991.

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Beethoven, Ludwig van. Klaviersonate op. 2/1 =: Piano sonata op. 2/1. Wien: Wiener Urtext Edition, 1995.

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Morawetz, Oskar. Sonata for brass quintet. London, Ont., Can: Jaymar Music, 1992.

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Book chapters on the topic "Sonata No. 2"

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

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Montiel, Mariana. "Manuel M. Ponce’s Piano Sonata No. 2 (1916): An Analysis Using Signature Transformations and Spelled Heptachords." In Computational Music Science, 189–97. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_19.

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Lalli, Marco. "2. April." In Als wäre immer Sonntag, 141–44. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-62510-1_25.

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Lindhard, Morten. "Apparent Sonar Clicks from a Captive Bottlenosed Dolphin, Tursiops truncatus, when 2, 7 and 38 Weeks Old." In Animal Sonar, 109–13. Boston, MA: Springer US, 1988. http://dx.doi.org/10.1007/978-1-4684-7493-0_12.

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Behnken, Annette. "Predigt am Sonntag Quasimodogeniti 2012. Kolosser 2, 12 –15 und „Ziemlich beste Freunde“." In Lebensweisheit und Praktische Theologie, 93–98. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666624292.93.

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Lichtenfeld, Manacnuc. "Lobet den Herrn, alle Heiden. Predigt am 6. Sonntag nach Trinitatis zu Psalm 117,1–2." In Einander ins Bild gesetzt, 91–97. Göttingen: Vandenhoeck & Ruprecht, 2018. http://dx.doi.org/10.13109/9783666570650.91.

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

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The Type 2 sonata is a “double-rotational” (or “binary”) sonata: (1) exposition (P TR’ S / C); and (2) developmental space (P and/or TR) plus tonal resolution (S / C). The Type 2 lacks the “double return” of P and the tonic at the onset of other sonata types. For that reason Sonata Theory does not use the term “recapitulation” for Type 2s. This format was widely used in sonatas c. 1740–70, after which its use began to wane sharply, though several examples of it persist throughout the nineteenth century. Because the Type 2 has been the most frequently misunderstood sonata type (sometimes misread through ahistorical claims of a supposed “reversed recapitulation”), this chapter is devoted to building a case for the Type 2 sonata, beginning with the simplest, prototypical examples in early Mozart and then moving through more extended, complex examples from later years, including toward the end, a look at two deformational Type 2s by Mozart: K. 311/i and the Overture to La clemenza di Tito. At its conclusion the chapter lays out an argument on behalf of Sonata Theory’s case for the persistence of the Type 2 and double-rotational sonatas into the nineteenth century (these include both Type 2s and expanded Type 1 sonatas, which under some conditions are almost indistinguishable) and responds to some recent critics of the Type 2 concept for romantic works, along the way presenting an overview of Wagner’s (expanded Type 1) Overture to Tannhäuser, which in this case presents the same structural questions as those of a Type 2 sonata.
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Seydelmann, Franz, and Bernard Brauchli. "Sonata II." In Solo Keyboard Works, 14–24. Routledge, 2020. http://dx.doi.org/10.1201/9781315078816-2.

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Hepokoski, James, and Warren Darcy. "The Type 2 Sonata." In Elements of Sonata Theory, 353–87. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195146400.003.0017.

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"Sonata Form 2: Motivic Development." In Advanced Schenkerian Analysis, 256–78. Routledge, 2013. http://dx.doi.org/10.4324/9780203122716-17.

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Conference papers on the topic "Sonata No. 2"

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ZHANG, Juan. "A Brief Analysis of Chopin Sonata OP35 No.2." In 2018 4th Annual International Conference on Modern Education and Social Science (MESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/mess-18.2018.58.

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"IEEE SONET Symposium (Cat. No.89TH0297-2)." In IEEE SONET Symposium,. IEEE, 1989. http://dx.doi.org/10.1109/sonet.1989.690728.

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Kirkland, David. "Compressive sensing for RADARSAT-2 tomography." In 2015 3rd International Workshop on Compressed Sensing Theory and its Applications to Radar, Sonar and Remote Sensing (CoSeRa). IEEE, 2015. http://dx.doi.org/10.1109/cosera.2015.7330299.

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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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ÇAKMAK, Fevzi. "MİLLİ MÜCADELE DÖNEMİ TÜRK MİZAHINDA MUHALİF BİR KİMLİK: REFİK HALİD (KARAY)." In 9. Uluslararası Atatürk Kongresi. Ankara: Atatürk Araştırma Merkezi Yayınları, 2021. http://dx.doi.org/10.51824/978-975-17-4794-5.26.

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Refik Halid (Karay), 20. Yüzyılın ilk çeyreğinde, Türk düşün ve siyasi hayatında, yazıları ve eylemleriyle adından söz ettiren; İttihatçılara yönelik muhalif tavır sergileyen bir gazeteci ve siyasetçiydi. Mondros Mütarekesi’nin imzalanmasından sonra ülkenin girdiği sıkıntılı günlerde, Posta Telgraf Umum Müdürü görevine gelen Refik Halid, Milli Mücadele’ye karşı tavır almıştır. Refik Halid, savaş boyunca Milli Mücadele’yi İttihatçı bir hareket olarak nitelerken; Mustafa Kemal Paşa’ya yönelik muhalif tavrını sürdürmüştür. Refik Halid, 2 Ocak 1922’den 9 Kasım 1922 tarihine kadar 90 sayı çıkardığı Aydede isimli mizah dergisinde Milli Mücadele karşıtı yayınlarını devam etmiştir. Savaş sona erdiğinde ismi ülkeye girmesi sakıncalı bulunan 150 kişilik liste içerisinde yer alacaktır. Milli Mücadele’ye yönelik sergilediği bu olumsuz duruş nedeniyle Refik Halid’e, o dönem İstanbul’da yayınlanan mizah dergilerinin sütunlarında, özellikle savaşın son döneminde çok sık yer verilmişti. Bu çalışmada Milli Mücadele günlerinde İstanbul’da yayınlanan mizah dergilerinin Refik Halid’e (Karay) yönelik olumlu ya da olumsuz algısının izi sürülecek; dergilerin Refik Halid’i topluma nasıl sundukları, O’nun görüş ve davranışları hakkında neler düşündükleri, görsel malzeme üzerinden ortaya konulmaya çalışılacaktır. Çalışmanın ana kaynağını Milli Mücadele yıllarında yayın yapan mizah dergileri Karagöz, Ayine, Diken, Güleryüz ve Aydede’nin çeşitli nüshaları oluşturmaktadır.
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Aykin, Murat D., and Shahriar Negahdaripour. "Modeling 2-D forward-scan sonar imagery for diffuse reflectors." In OCEANS 2015 - Genova. IEEE, 2015. http://dx.doi.org/10.1109/oceans-genova.2015.7271623.

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Xiong-hou, Liu, Sun Chao, Zhuo Jie, Liu Zong-wei, and Xiang Long-feng. "High-resolution 2-D imaging using ultra-wideband MIMO sonar." In 2013 IEEE International Conference on Signal Processing, Communications and Computing. IEEE, 2013. http://dx.doi.org/10.1109/icspcc.2013.6664125.

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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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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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Villar, Sebastian A., Gerardo G. Acosta, and Franco J. Solari. "OS-CFAR process in 2-D for object segmentation from Sidescan Sonar data." In 2015 XVI Workshop on Information Processing and Control (RPIC). IEEE, 2015. http://dx.doi.org/10.1109/rpic.2015.7497071.

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Reports on the topic "Sonata No. 2"

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Miller, Patrick. 3S(expn 2): Behavioral Response Studies of Cetaceans to Navy Sonar Signals in Norwegian Waters. Fort Belvoir, VA: Defense Technical Information Center, September 2011. http://dx.doi.org/10.21236/ada602552.

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Miller, Patrick. 3S(expn 2): Behavioral Response Studies of Cetaceans to Navy Sonar Signals in Norwegian Waters. Fort Belvoir, VA: Defense Technical Information Center, September 2013. http://dx.doi.org/10.21236/ada602555.

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Rautman, Christopher Arthur, and Anna Snider Lord. Sonar atlas of caverns comprising the U.S. Strategic Petroleum Reserve. Volume 2, Big Hill Site, Texas. Office of Scientific and Technical Information (OSTI), August 2007. http://dx.doi.org/10.2172/1028903.

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Cotón, Xenia, Nicolás Jaramillo, Andrea Leonelli, Carolina Mora, Marie Antoinette Reid, Sara Segundo, María Fernanda Silva, and Blanca Acosta. El BID te escucha: una iniciativa para que nuestras audiencias nos cuenten qué quieren aprender. Inter-American Development Bank, July 2021. http://dx.doi.org/10.18235/0003393.

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Este estudio presenta los resultados del análisis de dos (2) encuestas virtuales realizadas a los participantes de los cursos MOOC y seguidores de las redes sociales del BID sobre necesidades de capacitación en la región. La primera encuesta sondea el grado de necesidad de aprendizaje en competencias digitales y blandas y la segunda, el interés individual por aprender sobre algún tema en particular. Entre las necesidades formativas relacionadas con las competencias digitales, se destacan específicamente la comunicación y colaboración en entornos digitales, así como inteligencia emocional. En la segunda encuesta se observa un alto grado de consenso en cuanto al interés por aprender sobre: gestión de proyectos, ciencia o gestión de datos, big data, emprendimiento y políticas públicas. Los resultados obtenidos gracias a estas dos encuestas serán clave a la hora de orientar la estrategia y toma de decisiones del programa IDBx así como para el desarrollo o recomendación de nuevos cursos.
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Van Metre, Lauren. D’auto-défenseurs à justiciers: Un cadre typologique pour les groupes armés communautaires. RESOLVE Network, November 2020. http://dx.doi.org/10.37805/cbags.fr.2020.2.

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Étant donné la présence et la diversité influentes et croissantes des groupes armés communautaires (GAC) dans les États touchés par un conflit, il est essentiel de développer des cadres analytiques et des typologies pour soutenir les acteurs internationaux, étatiques et communautaires interagissant avec les groupes armés en tant qu’acteurs politiques et sécuritaires. Les deux questions clés sont : 1) comment les GAC peuvent être engagés, gérés ou transformés pour jouer un rôle constructif dans les communautés locales dans les États faibles, fragiles ou touchés par un conflit ; et 2) comment leurs opérations peuvent exacerber la fragilité et la violence en s’attaquant par exemple aux communautés ou en s’alignant sur d’autres groupes armés non étatiques. Alors que l’attention se tourne de plus en plus sur la fragilité et la prédation de l’État en tant que causes profondes de la violence intrastate et de l’émergence de l’extrémisme violent, il est essentiel d’inclure les GAC dans toute analyse des réseaux politiques et sécuritaires informels qui sont dominants dans les États fragiles en l’absence d’institutions publiques formelles.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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