To see the other types of publications on this topic, follow the link: Sonata No. 2.
Dissertations / Theses on the topic 'Sonata No. 2'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Sonata No. 2.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full text
3
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/.
Full textAbstract:
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).
4
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.
Full text
5
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.
Full text
6
Amos, Janet R. "Francis Poulenc's sonata for two pianos : a multi-media presentation." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027122.
Full textAbstract:
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.<br>Department of Art
7
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.
Full textAbstract:
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.<br>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.<br><p>Bilaga: 1 CD</p>
8
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.
Full text
9
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/.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.<br>School of Music
11
Martínez, Aquino Selva Viviana. "Guias de execução na memorizaçãodo segundo movimento da Sonata nº 2 de Dmitri Shostakovich." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/77885.
Full textAbstract:
O presente trabalho avaliou a aplicabilidade do modelo de guias de execução de Roger Chaffin como estratégia para a memorização do segundo movimento da sonata para piano nº 2 de Dmitri Shostakovich. Foi realizado uma autorreflexão sobre o processo de aprendizagem no qual a própria autora é o sujeito do estudo. A metodologia incluiu o registro escrito das sessões de estudo, gravações em áudio e vídeo das apresentações públicas, confecção de planilhas e gráficos da ocorrência de falhas nas apresentações assim como a elaboração de outras estratégias para memorizar trechos específicos. Os resultados demonstram que o estudo deliberado apoiado nos recursos utilizados contribuiu para a recuperação da memória na execução.<br>The present dissertation evaluated the applicability of Roger Chaffin´s performance cues as a strategy for the memorization of the Second Movement of Shostakovich’s Second Piano Sonata. A case study was conducted in which the author is the subject of the study. The methodology included the written record of the practice sessions, audio and video recordings of public performances, use of spreadsheets and graphs showing memory failures during public performances, as well as the development of other strategies to memorize specific passages of the chosen work. The results show that deliberate practice supported by the selected resources contributed to the memory retrieval while playing.
12
Humm, Mary Mosher. "Selected Contemporary Performance Problems as Found in Karel Husa's Sonata No. 2 for Piano." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330721/.
Full textAbstract:
The purpose of this study is to identify some of the performance problems associated with contemporary piano music, using the Sonata No. 2 for Piano by Karel Husa (1921 - ) as the basis for the discussion. In so doing, this study identifies Karel Husa as an important contributor to twentieth century piano repertoire. Personal interviews and correspondence with the composer provided biographical, analytical, and stylistic insight for this study. Supplemental information on Karel Husa was obtained from journals, newspaper articles, and dissertations. The first chapter provides biographical information gleaned from the interview, with emphasis on Husa's keyboard compositions and early compositional influences. The second chapter offers a detailed formal analysis of the Sonata No. 2 from the perspective of motivlc development and cyclic unity. The final three chapters focus on twentieth century performance problems as exemplified in Karel Husa's Sonata No. 2 for Piano. In Chapter 3, the discussion of notation provides a general background on notational developments in pitch and rhythm in the twentieth century, with the Sonata illustrating these procedures. The fourth chapter concentrates specifically on Husa's individual rhythmic language. The final chapter is devoted to Husa's coloristic use of the piano, addressing his unique contributions to the tonal and timbral resources of the instrument. Innovations in dynamic gradations, playing inside of the piano, and extensive use of all three pedals are discussed, as well as the special techniques required to achieve these sounds. In all the chapters, musical examples from the Sonata Illustrate the discussion, and reprinted by permission from the publisher. Throughout the dissertation, Karel Husahas provided Invaluable assistance and insight thus offering readers an important link to both the Sonata No. 2 and the composer himself.
13
Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.
Full textAbstract:
This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.
14
Mathews, Steven D. "Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623241774278313.
Full text
15
Kim, Yereum. "A Performance-and-Analysis Approach to a Cadential Ambiguity: Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, First Movement." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609089/.
Full textAbstract:
Pianists often have trouble in determining where a phrase ends, or in other words, cadence identification. This is especially true of certain cadences that can be considered either as half cadences or authentic cadences. This analytically ambiguous cadential point can result in different performance decisions, so pianists should make informed decisions about what kind of cadence it is. This study aims to investigate such cadential ambiguity shown at points of phrase boundaries by focusing on Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, first movement. I offer both possibilities (a half cadence or an authentic cadence) at the phrase ending, suggesting a performance-related strategy based on each possibility. My objective is not to support only one cadential status, but to bring up the cadential problem from the analytical perspective and to demonstrate how cadence identification affects performance results. The dissertation is divided into two parts: analysis and performance, so it relies on a combined method of analytical terminologies and performance-related musical elements. In the analysis, the terminology of William Caplin is employed. The performance part refers to several method books written by prestigious piano pedagogues. After an introduction in Chapter 1, Chapter 2 reviews some literature on cadences. Chapter 3 specifically analyzes the first movement of Chopin's second sonata by means of Caplin's terminologies. Chapter 4 provides a performance-related method and Chapter 5 deals with a practical performance strategy.
16
Park, Hyeyeon, and Hyeyeon Park. "Alexander Rosenblatt's Piano Sonata No. 2 and Its Influences: The Blending of Classical Techniques and Jazz Elements." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/622995.
Full textAbstract:
Alexander Rosenblatt (b. 1956), a Russian composer, pianist and conductor, is an outstanding contemporary composer. He has composed more than forty works in diverse genres, with almost half of his output devoted to piano compositions, including piano solo, duets, concerti, and chamber music. In this study, I discuss Rosenblatt's background as a musician and composer and provide an analysis of his compositional styles as found in Piano Sonata No. 2 (1988). Rosenblatt's music integrates classical form with a variety of other influences creating a style that brings together diverse elements from those of precedent composers, such as Chopin, Rachmaninoff, and Prokofiev and their compositional techniques, to the stylistic trends of jazz, including quartal harmony, syncopation, suspended chords, swing, and improvisational style. With his fusion of classical and jazz compositional techniques, Rosenblatt occupies an important place in contemporary piano literature. My research sheds light on Rosenblatt's compositional techniques, contributing to the scholarship on contemporary piano literature in general and providing insight for performers and scholars with specific interest in Rosenblatt. It is my hope that my work will stimulate further research on Rosenblatt and his contemporaries, and that his compositions may assume a prominent place in the standard repertory.
17
Costa, Diana Daher Lopes da. "Polifonia em F. Chopin : análises e procedimentos de estudo para a interpretação da Sonata n° 2 opus 35." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/32522.
Full textAbstract:
Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2017.<br>Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-23T17:57:12Z
No. of bitstreams: 1
2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5)<br>Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T22:28:26Z (GMT) No. of bitstreams: 1
2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5)<br>Made available in DSpace on 2018-08-27T22:28:26Z (GMT). No. of bitstreams: 1
2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5)
Previous issue date: 2018-08-23<br>O presente trabalho apresenta investigações sobre a ocorrência de texturas polifônicas na Sonata op. 35 n. 2 de Fryderyk Chopin, bem como estratégias de estudo que possam auxiliar na interpretação expressiva de tais texturas. Assim, esta dissertação estrutura-se em duas partes: a primeira apresenta diversas acepções sobre polifonia e, em seguida, aborda a forma em que a textura polifônica se encontra especificamente na obra de Chopin, à luz daquele contexto histórico e das diversas influências exercidas sobre o compositor. A segunda parte é composta pelos denominados “trechos polifônicos”, que são excertos escolhidos da Sonata op. 35, analisados e acompanhados de sugestões de estudos que visam o aprimoramento da execução polifônica. A pesquisa foi feita a partir da experiência de preparação para a performance da sonata e contempla a análise formal e interpretativa da obra, bem como a contextualização histórica da vida e obra de Chopin. Também são abordadas na pesquisa investigações musicológicas as quais vêm sendo feitas no sentido de elucidar aspectos polifônicos presentes ao longo de toda a produção chopiniana, bem como desvendar os principais fatos motivadores desta prática, quais sejam: a influência da música de Bach e o apreço de Chopin pela música vocal, especialmente o Bel Canto italiano, ao qual se atribui a presença dos diferentes caráteres ou vozes que compõem sua polifonia.<br>The present dissertation aims at investigating the occurrence of polyphonic textures in Fryderyk Chopin’s piano Sonata No. 2 Op. 35, as well as presenting study strategies that may aid in the expressive interpretation of such textures. Therefore, the present work is divided in two parts. The first one presents a myriad of interpretations on polyphony itself and then tackles the way polyphonic texture presents itself in Chopin’s works in light of the then-existing historical backdrop and the multitude of influences exerted upon the composer. The second part comprises the so-called “polyphonic stretches”, which are passages selected from Sonata Op. 35. These excerpts are analyzed and followed by study suggestions which aim at refining polyphonic execution. This research is rooted in the experience resulting from the author’s preparation for the execution of the sonata and encompasses the formal and interpretative analysis of this particular piece, as well as the historic contextualization of Chopin’s life and oeuvre. Musicological investigations are pursued throughout the research and they endeavor to clarify polyphonic aspects which are present in Chopin’s works, as well as unveil the main motivating factors behind such practice, namely Bach’s influence and Chopin’s own predilection for vocal music, most notably the Italian Bel Canto, to which different characters or voices that comprise his polyphony are attributed.
18
Kounadi, Anna. "Scriabin Sonata-Fantasy op. 19 n. 2 on record : a comparative study of sound recordings and piano rolls." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18522/.
Full textAbstract:
Since the advent of the record, more than forty recordings of the Scriabin Sonata-Fantasy op. 19 n. 2 have been produced, as well as two piano rolls, with Igumnov (1911) and the composer himself performing the work (1910). This thesis sets out to analyse the evolution of performance style of this work within the last two centuries, using numerical values and music analysis software, in search of a verifiable analysis of performance traits. This study aims to detect strategies and techniques that performers of the work have used to form their performances. Observation is oriented to register long-scale and short-scale performance details, which are equally valuable in one’s preparation when practising a musical work. The actual sound of the sonata has been primarily assessed. The sonata is secondarily viewed as music text (Belaieff edition) and simultaneously compared to Scriabin’s own recorded performance on piano roll, which is valid only to a certain extent, due to recording technical impediments. The final goal of this research is to bring to light some neglected or merely underrated pianistic techniques, so as to inform the contemporary performer on different possibilities of expression. This experimentation could result in a richer musical language.
19
Bernard, Marie Stephanie Jeanne. "Sonata n.2 para violoncelo e piano (1912) de Glauco Velasquez: estudo interpretativo e tratamento editorial da obra." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/AAGS-928L46.
Full textAbstract:
Because it is a work relevant to the cello repertoire and not be made available to the artistic community, a sonata for cello and piano no. 2 of Glauco Velasquez was selected by the author as an object of study. It is proposed to interpretative analysis of the work and the editing of manuscripts of the composer, with suggestions for performance and recording DVD as the final result of the research. It is also intended through this study, to recognize the work of Glauco Velasquez inside the Brazilian cultural heritage.The methodology includes (1) a brief account of musical history in Rio de Janeiro at the time of Glauco Velasquez, (2) concise biography of the composer, (3) interpretative analysis of the works, (4) the editing of the manuscripts and sheet music (5 ) interpretive suggestions the author of this work recorded in public recital (recorded in CD-DVD).Part of the results recorded on DVD points out that Glauco Velasquez has a particular style advanced to the historical-musical of the season.<br>Por ser uma obra relevante para o repertorio do violoncelo e não estar disponibilizada para a comunidade artística, a sonata para violoncelo e piano n. 2 de Glauco Velasquez foi selecionada pela autora como objeto de estudo. Propõe-se a análise interpretativa da obra e tratamento editorial dos manuscritos do compositor, com sugestões de performance e a gravação em DVD como resultado final da pesquisa. Pretende-se também através deste estudo, reconhecer o trabalho de Glauco Velásquez dentro do patrimônio cultural brasileiro. A metodologia utilizada inclui (1) breve relato da historia musical no Rio de Janeiro na época do Glauco Velasquez; (2) biografia concisa do compositor; (3) análise interpretativa das obras; (4) tratamento editorial dos manuscritos das partituras e (5) sugestões interpretativas da autora deste trabalho registrada em recital publico (gravado em CD-DVD). Parte dos resultados encontrados registrada em DVD aponta que Glauco Velasquez possui um estilo particular avançado para o momento histórico-musical da época.
20
Chun, Min Kuyng. "A Performer’s Guide to Selected Early Violin Works of Darius Milhaud: Violin Sonata No. 1, Op. 3; Violin Sonata No. 2, Op. 40; and Le Boeuf sur le Toit, Op. 58b." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627664912381718.
Full text
21
Bastian, Darren Bruce. "Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194020.
Full textAbstract:
Musicians have transcribed and adapted Johann Sebastian Bach's Sonatas and Partitas for Violin Solo, BWV 1001-1006, since Bach penned the works around the year 1720. Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material.It is in this spirit that the author introduces marimba performance editions of Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, based on performances and transcriptions by guitarists and lutanists. The guitar and lute were selected as models due to their similarities to the marimba as well as the abundant resources that guitarists and lutanists have provided regarding Bach's unaccompanied string music. Their transcriptions and performances frequently include adaptations to fit their instruments' polyphonic abilities and sound characteristics. A similar approach is likewise suitable for the marimba. Thus, the present study includes an overview of Baroque performance practice as it relates to plucked-string instruments, analysis of published lute and guitar transcriptions of Bach's unaccompanied string music, and transcriptions and analysis of lute and guitar audio recordings. The plucked-string artists and scholars' approach is then assimilated into an authentic marimba performance edition of these works.
22
Haeseler, Lynn Cheryl. "Sonata No. 2 in F Sharp Minor, Op. 13 by Nikolai Yakovlevich Miaskovsky: A detailed analysis and comparative study." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187444.
Full textAbstract:
This study introduces the nine piano sonatas by Nikolai Yakovlevich Miaskovsky. A detailed description and analysis of Sonata No. 2 in f# minor is also included, as well as a copy of the full score. Even though he composed twenty-seven symphonies, a number of string quartets and a variety of piano works, Miaskovsky and his compositions are relatively unknown in the United States. The magnitude of his symphonic works, the isolationist policies of the Soviet Union, and a language barrier may explain this obscurity. His piano sonatas have been especially and unjustifiably overlooked. In his early sonatas, Miaskovsky uses the piano as a symphonic medium. These sonatas are technically challenging, extensive in dynamic range and color. Their chromatic texture and extended harmonies reflect the compositional style of Alexander Scriabin and Richard Strauss. The Sonata No. 2 in f# minor in particular exemplifies Miaskovsky's exploration of modernism with an inclination toward late romantic traditions. This sonata especially shows Miaskovsky's struggle to establish a personal musical style and demonstrates his remarkable craftsmanship. A study of Miaskovsky's piano sonatas reveals a stylistic evolution from somber subjectivity to a less personalized style. The vast difference in his later sonatas (nos. 7-9) suggests that Miaskovsky complied with the ideological demands of the Soviet state. Miaskovsky's lifetime and musical development uniquely reflect the momentous events in Russian and Soviet history. As a prominent composer in Russia, his recognition is long overdue in the United States. His early sonatas especially deserve a place in the standard twentieth-century piano literature.
23
Min-yu, Hsieh, and 謝敏玉. "Brahms Viola Sonata op.120, no.2." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/54268097075271545315.
Full text
24
Lin, You-Cheng, and 林祐丞. "Beethoven Violin Sonata Op.30 No.2." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/45046764712911682091.
Full text
25
HSIEH, HSIAO-HSI, and 謝効羲. "A Study of Scriabin’s Piano Sonata No. 2 in G-sharp Minor “Sonata-Fantasy”, Op. 19." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/zuhya6.
Full text
26
陳宜婉. "The Research of Chopin''s Piano Sonata, No.2." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/67732893728751698146.
Full text
27
CHEN, YEN-LING, and 陳彥伶. "A Study of Alexander Scriabin’s Piano Sonata No. 2." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/26562188667913764464.
Full text
28
Lee, Hsiaolan, and 李曉嵐. "An Analysis and Interpretation ofPaul Hindemith’s Piano Sonata No.2." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/22736905303900932807.
Full text
29
Hui-ling, Cheng, and 鄭惠齡. "The Study of Brahms Cello Sonata , Op. 99 , No.2." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/85145144026062297057.
Full text
30
Lai, Mei-yu, and 賴美瑜. "A Study of Alexander Scriabin’s “Sonata No.2, Opus 19”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/87611429356231577850.
Full textAbstract:
碩士<br>國立臺南大學<br>音樂學系碩士班<br>100<br>As a musical composer in the late 19th century, Alexander Nikolayevich Scriabin (1872-1915) expressed his enthusiasm in religion, philosophy and literature via his music. Especially with the esoteric harmony and tonality in his later period, his composition style varied greatly throughout his musical life. As one of Scriabin''s piano pieces in the early stage, “Sonata No.2, Opus 19” was composed in 1897. It was filled with full of romance, and put the main attention on the relationship between functional harmonies.
The dissertation firstly defines the subject and scope of the research, followed by reviewing the literature to understand the development of Russian music in the 19th century, the historical evolution of the piano sonata. It will also carry out a research on the compositions of Scriabin’s piano music and analyze the “Sonata No.2, Opus 19” from the composition background, forms, rhythms, and melodies. The author will attempt to discuss further on the piece of music by its dynamic changes, speed, mystic chords, and the use of pedals.
The research found that the two movements of Scriabin’s “Sonata No.2, Opus 19” are correlated to each other. Similarly to the triplet as the main motivation for using the vertical and horizontal stacking of tritone, the form also has the same structure, as well as the theme of ocean as the background of the piece. Along with the Scriabin’s habitual melodic and rhythmic approach, this creative work showed a rich and mysterious style.
31
Chuang, Hui Yu, and 莊慧于. "An Analysis and Interpretation of Prokofiev Violin Sonata No. 2." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/99866073722463269638.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>音樂學系碩士班<br>101<br>Russian composer Sergei Prokofiev (1891-1953) was born and raised at the crossing of the century. His life had been greatly influenced by the historical events around his time. He composed in numerous musical genres, but mostly in piano. Although just few works were done in violin but all are proven popular. In this thesis I will take a closer look at The Violin Sonata No.2, (1944). From the musical analysis and the interpretation of the music; hopefully to know more about the creative process and be able to interpret the music better.
The whole thesis is divided into six parts. The first chapter explained the motive of the study and the method of the study. The second chapter summarized the history background of his time from Europe and Russia. The third chapter introduced his biography and analyzed his changed of styles from his violin works. Fourth is through creative process, music structure and the motivations to analyze the music itself. Fifth is focused on the comparison of different instruments; finding the objective and persuasive interpretations of the music by violin and flute. The sixth is the final conclusion of the thesis.
32
LIANG, YI-NI, and 梁旖倪. "The Analysis of Alexander Nikolayevich Scriabin’s Piano Sonata No. 2 “Sonata-Fantasy” in G-Sharp Minor, Op. 19." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/dck8um.
Full textAbstract:
碩士<br>國立高雄師範大學<br>音樂學系<br>105<br>This article will take Scriabin’s “Piano Sonata No. 2, Op. 19” as the research target. This is one of the most important works of Scriabin’s. Besides, at the moment when the composer completed the work, he attached “Sonata Fantasy” as the title of it. When it comes to the works of Scriabin, they are always associated with the change of color. Is this related to his individual trait-synesthesia ? And his early works were influenced by Chopin；therefore, the author will focus on the work, “Sonata Fantasy” , to find out whether his fantasy inspiration had been affected by Chopin or not, and that what actually made Scriabin combine the fantasy style with sonata. In addition, the author will aim at exploring the evolution of “Sonata Fantasy” in order to deal with the composer’s ideas more exactly in the performance level.
The full text is divided into five chapters. The first chapter is the introduction, which describes the motivation of research, the purpose, the area of research and the methods and literature review. The second chapter will state the definition and the features of “Sonata Fantasy” , especially focus on the historical origin and the development of “Sonata Fantasy” in the 18th and 19th centuries. The third chapter will discuss the composer’s background characteristics of times and his life story. In this chapter, it includes the exploration on the composer’s early works and the personal trait about synesthesia. The fourth chapter is the musical analysis of Scriabin’s “Piano Sonata No. 2, Op. 19” .The author will explore the structure of the work, the motivation and texture, which help to provide the reference for people when playing Scriabin’s works. The fifth chapter is the conclusion.
33
何詩慧. "Saint-Saëns: Sonata for Violoncello and Piano No.2, op.123." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/67803640481422965388.
Full text
34
Hsu, Chien-Huei, and 徐千惠. "The analysis of Prokofiev''s Violin Sonata No. 2 Op. 94a." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/80667862813208455752.
Full text
35
KAO, HUA-JEN, and 高華珍. "An Analysis and Interpretation of Paul Hindemith’s Piano Sonata No.2." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/89979w.
Full textAbstract:
碩士<br>東吳大學<br>音樂學系<br>106<br>Paul. Hindemith (Paul Hindemith, 1895-1963) both musician, theorist and educator multiple identities and build its own system of music theory, as well as representatives of one of the neo-classical composer whose " one second piano Sonata "using creative techniques neoclassicism of representative works. This article will explore by Hindemith's life and creative stage after song after another by the analysis, so the musicians played closer to the interpretation of the intention.
36
Yang, Yen-Shan, and 楊彥珊. "A study of Beethoven''s Piano Sonata Op. 27, No.2." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/74108021205182564812.
Full textAbstract:
碩士<br>台南應用科技大學<br>音樂系碩士班<br>103<br>Ludwig van Beethoven(1770-1827), who brought an end to the Classical periods and subsequently opened the Romantic periods of music, was known for his ability to breakthrough preconceived limits. His passion for music never diminished or halted throughout his life. The thirty-two Piano Sonatas demonstrated the full spectrum of Beethoven’s creative abilities. It is also a reflection of the struggles he experienced throughout the different stages of his life. With the keyboard serving as his vehicle, Beethoven was able to demonstrate his passion with no restraints.
The Moonlight Sonata, a composition contains unique and impress melody, is quite innovative in its structure. According to the period partition propose by Wilhelm von Lenz, the Moonlight Sonata belongs to Beethoven second period composition. Comparing to the old style structure “fast-slow-fast”, and “focusing on the third movement rather than first movement”, western composition has been brought to romanticism from classicism by unique Beethoven style; furthermore, The Moonlight Sonata becomes one of the most important and famous composition in Beethoven’s life.
The dissertation is focused on one of the author’s composition performance in the recital:
Beethoven’s Piano Sonata Op. 27 No.2, “Moonlight”. The research behind this piece includes the creative background, the musical analysis and the performance interpretation. Beethoven''s person growth and development can be witnessed through The Moonlight Sonata’s unique essence and melodic elegance, and to understand Beethoven more by doing an in-depth examination of his family background, living experience, composition style, and personal love story. It was undoubted that Beethoven''s music impacted the following generations. Also, by analyzing Beethoven''s work from the different stages of his life, the reader will harness the ability to perform Beethoven’s music with superior resemblance.
There are four chapters in the thesis: the first chapter is an introduction, the second chapter is literature review from different stages of his life, the third chapter includes the analysis of musical form and structure of each movement and the last chapter is the conclusion.
37
"Sonata No. 2 in B-flat Major for Trumpet and Piano." Master's thesis, 2018. http://hdl.handle.net/2286/R.I.51784.
Full textAbstract:
abstract: Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.<br>Dissertation/Thesis<br>Masters Thesis Music 2018
38
Han-Hua, Chiang, and 蔣翰華. "The Interpretation of The Piano Sonata Op.27, No.2 by Beethoven and The Piano Sonata Op.35 by Chopin." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/47912058058911472354.
Full textAbstract:
碩士<br>中國文化大學<br>音樂研究所<br>97<br>Ludwig van Beethoven plays an exceptional role in the history of western music. He was a crucial figure in the transitional period between the Classical and Romantic eras. All of his thirty–two piano sonatas were composed between 1795 to 1822. Each sonata were has its own distinguishing feature revealing Beethoven’s growth in music. Though his piano sonatas have been published for nearly 200 years, Beethoven’s sonatas still require research and analysis through scholars, instructors, and students to plumb their depths. The first part of this paper is a comprehensive of Beethoven’s sonata Op.27, No.2.
Frédéric Chopin dedicated his entire life to the piano. He composed three piano sonatas; its c minor, Op.4; the b-flat minor, Op.35; b minor, Op.58. The second part of this paper will explore Chopin second sonata Op.35. This piece is full of rich harmonies and subtle technique.
39
Lee, Pei-I., and 李佩宜. "An Interpretation of Piano Sonata No. 2 in F-sharp Minor, Op. 2 by Johannes Brahms." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/98833971661583744726.
Full textAbstract:
碩士<br>臺北市立教育大學<br>音樂學系碩士班<br>99<br>Johannes Brahms (1833-1897) was a German composer in the Romantic Period. He persistently used the classical style to compose, but was still affected by the impact of that time period and environment. The idea of Romanticism and the combination with literature were explicit in Brahms’ works. He usually obtained ideas or materials for composition from poems and folk songs. Besides, he used complex and highly disciplined method to compose, including rich harmonic color, special tempo, and complicated melodic line. Classic and Romantic styles are well mixed in his compositions.
Brahms wrote a total of three piano sonatas during his lifetime, and all of them were his early works. Each of these three piano sonatas has huge harmonic construction. The pieces are all developed based on a concise motive, and the variations of a theme can be heart-felt in these three piano sonatas. “Piano Sonata
No. 2 in F-sharp Minor, Op. 2” is one of the Brahms’ early works. It was written in 1952 and published in 1954. This piece is in the conventionally classical form but is full of emotional expressions of the Romantic style. The piano sonata has four movements and each of them is connected by the variations of a theme.
This thesis was written based on Chinese and oversea references. The writer aims to analyze the constructions of each movement, the variations of the theme and the usage of harmony. Interpretation and suggestions are provided based on the author’s experience in practicing Brahms’ works.
40
TSENG, WAN-YU, and 曾婉毓. "The Analysis and Interpretation of Rachmaninoff’s Piano Sonata No. 2, Op. 36." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/bze4zx.
Full text
41
Hong, Hui-Wen, and 洪惠文. "The Analysis and Interpretation of Prokofiev’s Piano Sonata No.2, Op.14." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/61250605683857232964.
Full textAbstract:
碩士<br>國立臺灣藝術大學<br>音樂學系<br>103<br>Sergei Prokofiev (1891-1953) composed about 240 works in his life, including opera, ballet music, theater music, orchestral, vocal, and piano works. He was also an excellent pianist. His piano works inherited the Russian traditions and combined with the wild percussion materials which enriched his personal style. Prokofiev's piano works had only three categories: Concertos, Sonatas and character pieces, the total of 9 Sonatas accounted for a very high percentage.
“Piano Sonata No.2” in this study was the first four-movement form Sonatas in Prokofiev’s composition. In contrast with the strongly romantic “Piano Sonata No.1”, “Piano Sonata No.2” is fulfilled with Prokofiev's personal elements. The harmonic palette is enriched with biting dissonance, the rhythmic framework is lively, and the melodies are vigorous and angular. Therefore, “Piano Sonata No.2” has a clear, balanced structure, and is a mature example in Prokofiev’s early works.
42
Hsiao, Po-Kuang, and 蕭珀光. "The Interpretation--Brahms Sonata for Clarinet and Piano Op.120 No.2." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/50479652366602075231.
Full text
43
Lai, Chun-Chu, and 賴珺筑. "The Analysis and Interpretation of Beethoven's Cello Sonata No.2 in G Minor , Op.5 No.2." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/21768784096748217096.
Full text
44
Ma, Kai-Hui, and 馬愷徽. "The Analysis and Interpretation of Beethoven Cello Sonata No. 2 in G minor Op. 5 No. 2." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/14462424381143709758.
Full textAbstract:
碩士<br>台南應用科技大學<br>音樂系碩士班<br>101<br>Ludwig van Beethoven (1770-1827) wrote five sonatas for cello and piano during his lifetime. These sonatas can be divided into three periods—early, middle, and late periods. In 1796, he composed the two Op. 5 sonatas which belong to the early period. The required performance techniques differ from those of the Baroque and early Classical periods in its innovative use of legato and détaché bowing while moving away from the basso continuo treatment of the instrument.
Beethoven’s works increased its complexity in the writing for the cello sonata genre. A more equal importance is given to both cello and piano, perfectly combining the two distinct types of performing. Balancing the relative weight of the two instruments becomes a challenge to performance techniques.
Before the Classical period, the cello was primarily a continuo instrument. It was Beethoven who, under the influence of contemporary cellists such as Jean Louis Duport (1749-1819), wrote sonatas for cello and elevated the instrument’s capacity to hold its own while exploiting the cello technique of the period.
My thesis sets out to analyze and interpret Beethoven’s Cello Sonata in G minor op. 5 no. 2, focusing on its historical context, harmonic contours, and rhythmic and melodic design.
45
Lin, Yu-Shih, and 林祐詩. "The Studies of Adolf Míšek’s Sonata for Double Bass and Piano No.2 in e minor Op.2." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/cdv9jz.
Full text
46
江致蒨. "The Interpretation of Brahms Sonata for Clarinet and Piano Op.120 No.2." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/95487401428669383259.
Full text
47
CHEN, YIN-JU, and 陳茵茹. "An Analysis and Interpretation of Edvard Grieg's Violin Sonata No.2,Op.13." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/58815955638646766708.
Full textAbstract:
碩士<br>輔仁大學<br>音樂學系<br>103<br>Grieg, the composer, conductor and the Musical nationalism Norwegian pianist awarded 1600 kroner lifelong annual salary to praise his contribution to the folk music by Norwegian government.
Grieg has three violin and piano sonatas. This study is emphasis on the analysis and interpretation of his Second Violin Sonata Op. 13 for acquiring a better understanding of it.
This study contains four chapters, 1.life of Grieg, education、1862~1873、 1874~1907,
2. Compositional background, composition analysis and the political background and the features of his works, 3. Interpretation. The thought of this chapters is basic on a mode of story-telling . 4. Conclusion, carry out the result of the study.
48
Hsiao, Hui-Chung, and 蕭惠中. "The Analysis and Interpretation of Martinů’s Sonata for Cello and Piano No.2." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/40579591774438251670.
Full text
49
Kuei-Ling, Liu, and 劉桂伶. "A Study of Prokofiev Violin Sonata No.2 in D Major Op.94." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/79102144332446322166.
Full textAbstract:
碩士<br>臺北市立教育大學<br>音樂學系教學碩士學位班<br>99<br>This paper is a comprehensive study of Prokofiev’s Violin Sonata in D Major Op94. With the aid of this research, the author can perform the sonata in depth and with a more precise interpretation.
The paper is divided into six chapters. Chapter One is an introduction. Chapter Two includes Prokofiev’s biography and background by stating the historical background in his era and stages of life. Chapter Three consists of the compositional style and background of Prokofiev. This chapter discusses Prokofiev’s music compositions and music styles in each period. Chapter Four consists of the compositional background of Prokofiev’s D Major Violin sonata. Chapter Five focuses on Forms and Analysis and music interpretation. The author analyzes and studies the compositional styles, structures and the development of motives of all four movements, and discusses the interpretation methods and technical performance point of view. Chapter Six is the conclusion where the author concludes and induces the research and discovery of the previous five chapters.
50
Chen, Yen-Chih, and 陳彥志. "An Analysis and Interpretation of Sergey Prokofiev's Piano Sonata No.2 Op.14." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/65371772030604725741.
Full text