Relevant bibliographies by topics / Sonata No. I Op. 13

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  2. Dissertations / Theses
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Academic literature on the topic 'Sonata No. I Op. 13'

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

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Journal articles on the topic "Sonata No. I Op. 13"

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MacDonald, Calum. "Samuil Feinberg's Piano Sonatas." Tempo 58, no. 230 (October 2004): 83–84. http://dx.doi.org/10.1017/s0040298204260338.

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FEINBERG: Piano Sonatas Nos. 1, op.1 (1915)1, 2, op.2 (1915–16)2, 3, op.3 (1916)2, 4, op.6 (1918)1, 5, op.10 (1920–21)1, 6, op.13 (1923)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1413.FEINBERG: Piano Sonatas Nos. 7, op.21 (1924–28)2, 8, op.21a (1933–34)2, 9, op.29 (1939)1, 10, op.30 (1940–44)1, 11, op.40 (1952)1, 12, op.48 (1962)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1414.
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Dedusenko, Zhanna. "Features of the embodiment of the genre of sonata for violin and piano in the works by Gabriel Fauré (on the example of Sonata № 2, in E Minor, op. 108)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 157–70. http://dx.doi.org/10.34064/khnum1-59.11.

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Background. The article reveals the genre-style, form-building and dramatic features of G. Fauré’s Sonata No. 2, in E Minor, op. 108. It is determined that this work, in contrast to his first sonata in A Major op. 13, written in the early period of the composer’s life and embodying romantic elation and inspiration, belongs to the late period of G. Fauré’s work, which is distinguished by a complex harmonic and polyphonic writing, sophisticated form and dramatic content characteristic of the early 20th century music and the First World War. The purpose of this article is a characteristic of genre-stylistic and compositional-dramaturgical features of G. Fauré’s Sonata for violin and piano № 2, in E Minor, op. 108. Results. The Second Violin Sonata by G. Fauré, in contrast to the First, has a different dramaturgy and is built on the principle of dramatic antithesis. A special place – and this brings its logical patterns closer to Beethoven’s – is given to the sonata allegro of the first movement, the excitement and explosiveness of which contrasts not only with the lyrical Andante of the second one, in A Major, but also with the enlightened and carefree Allegro non troppo of the finale in E Major. The logic of the formation in the first movement is associated with the originality of the passage of musical events and has a spiral structure consisting of five turns. The musical image of the second movement’s theme is interesting, as it is born from the conjugation of several voices, combining the features of rhythmic variability. This gives the theme a special, truly French charm. There are several dynamic build-ups in the second movement throughout Andante, which shows the implementation of the wave dramaturgy principle. Rondo shows the freshness of musical colors and spontaneity of expression. The last refrain of this part is especially interesting from the dramatic, thematic and ensemble points of view. The general culmination of the Sonata takes place in the refrain. It includes the main intonational ideas and serves as a generalization of the key events of the composition. At the highest climax of Rondo the main and secondary themes from the first movement of the Sonata appear. Thus, the idea of concentric circles, which was noted in the sonata allegro, is implemented in the finale of the Rondo. Conclusion. The analysis of the Second Violin Sonata by G. Fauré allows us to speak not only about a special implementation of the form in this work, but, in comparison with the First Sonata, about a great variety of ensemble writing, marked by the polyphonization of texture. The timbre contrast of the violin and piano allows the composer to set off the emerging replicas, arrange them in different sound spaces, which may resemble the organ register. The loss of any “character” by the members of the ensemble is most consistently traced in the sonata allegro. Another regularity can be traced in the reduction of the background, which is supplanted by the thematization of the texture. This is emphasized by the frequent change of role-playing functions of the instruments and the multitude of ensemble details that ensure the mobility of the musical texture and its multidimensionality. In this Sonata G. Fauré shows a special sensitivity to the harmonic component of the musical language. This search for expressive possibilities of harmony subsequently becomes a distinctive feature of the modern French musical language, which affects the sound image of a chamber ensemble, leading to the interpretation of chamberness as a refined variability of sensations.
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ESKENAZI, JEREMY. "JOHANN NEPOMUK HUMMEL (1778–1837) SONATA IN E FLAT MAJOR, OP. 13 NO. 6; SONATA IN F MINOR, OP. 20; ‘LA CONTEMPLAZIONE’, OP. 107 NO. 3 Susan Alexander-Max (fortepiano) Chandos, CHAN 0765, 2009; one disc, 67 minutes." Eighteenth Century Music 8, no. 01 (March 2011): 143–44. http://dx.doi.org/10.1017/s1478570610000576.

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WRIGGLE, JOHN. "Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet." Journal of the Society for American Music 6, no. 2 (May 2012): 175–209. http://dx.doi.org/10.1017/s175219631200003x.

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AbstractThe American popular music tradition of “jazzing the classics” has long stood at the intersection of discourses on high and low culture, commercialism, and jazz authenticity. Dance band arrangers during the 1930s and 1940s frequently evoked, parodied, or straddled these cultural debates through their manipulations of European classical repertoire. This article examines Swing Era arranging strategies in the context of prevailing racial essentialisms, conceptions of modernism, and notions of technical virtuosity. The legacy of African American freelance arranger Chappie Willet, and his arrangement of Beethoven's Piano Sonata, op. 13 (“Pathétique”) for the black dance band of Jimmie Lunceford, suggests that an account of the biography and artistic voice of the arranger is critical to understanding the motivations behind these hybrid musical works.
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Quinn, Peter. "LEO ORNSTEIN: A Morning in the Woods; Danse sauvage; Fourth Piano Sonata; Impressions of the Thames; Tarantelle; Seventh Piano Sonata; A Long Remembered Sorrow; Suicide in an Airplane. Janice Weber (pno). Naxos 8.559104. LEO ORNSTEIN: Suicide in an Airplane; A la Chinoise, op.39; Danse sauvage, op.13 no.2; Poems of 1917, op.41; Arabesques, op.42; Impressions de la Tamise, op.13 no.1; Piano Sonata no.8. Marc-André Hamelin (pno). Hyperion CDA67320." Tempo 57, no. 223 (January 2003): 72–73. http://dx.doi.org/10.1017/s0040298203230072.

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Sobaskie, James William. "Franck's Sonata in A Major for Violin and Piano (1886) and Faure's Sonata No. 1 in A Major for Violin and Piano Op. 13 (1875-6), and: Sonate Nr. 2 e-Moll Opus 108 fur Violine und Klavier, and: Deuxieme Sonate Op. 117 fur Violoncello und Klavier, and: Elegie Op. 24 fur Violoncello und Klavier, and: Papillon op. 77 aus "Les Soirees Intimes" fur Violoncello und Klavier, and: Anthology of Selected Pieces for Cello and Piano, and: Elegie Op. 24, Sicilienne Op. 78 for Violoncello and Piano, and: Antholo." Notes 61, no. 2 (2004): 556–61. http://dx.doi.org/10.1353/not.2004.0164.

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Spitzer, Michael. "Clementi: Piano Sonatas vol. 1 opp. 1, 2, 7, 8 and WO13; Piano Sonatas vol. 2 opp. 9, 10, 11 no. 1 and op. 12; Piano Sonatas vol. 3 opp. 13, 20, WO3, 23 and op. 24. Howard Shelley pf." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 151–54. http://dx.doi.org/10.1017/s1479409811000164.

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Anderson, Robert, Stanford, and Joseph Payne. "Sonata Eroica Op.151." Musical Times 136, no. 1834 (December 1995): 679. http://dx.doi.org/10.2307/1003576.

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Wai-Ling, Cheong. "Scriabin's Octatonic Sonata." Journal of the Royal Musical Association 121, no. 2 (1996): 206–28. http://dx.doi.org/10.1093/jrma/121.2.206.

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The first of an uninterrupted series of piano works to follow the orchestral Prometheus, op. 60 (1908–10), Scriabin's Sixth Sonata, op. 62 (1911), is a striking example of what may be termed an ‘octatonic sonata’. Indeed, the Sixth Sonata shows Scriabin experimenting with the octatonic at its most rigid and is unique in containing long spans of pure octatonic writing where not a single extraneous note is invoked. In contrast to the Fifth Sonata, op. 53 (1907), which is closely associated with the Poem of Ecstasy, op. 54 (1905–8), the Sixth Sonata has only loose ties with Prometheus.
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Moore, David W., and Easley Blackwood. "Sonata for Guitar, op. 29." Notes 47, no. 1 (September 1990): 222. http://dx.doi.org/10.2307/940564.

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Dissertations / Theses on the topic "Sonata No. I Op. 13"

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Tercero, David R. "Ernesto García de León: A Study of Sonata No. I, Op. 13, Las Campanas (The Bells)." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9732/.

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The purpose of this document is to further the current research and encourage interest in the music of the Mexican composer Ernesto García de León. This paper will advance the current research with an in-depth analysis of the first movement of Sonata No. I, Op.13, Las Campanas (The Bells) for solo guitar. The analysis will focus on the pervasive presence of the melodic and harmonic intervals of perfect fourths, perfect fifths, and tritones as constructive devises throughout the sonata. This will provide interested performers a technical understanding of the composition. In addition to the compositional aspects, the analysis will be extended to consider the programmatic elements described by García de León. Select alternative fingerings will also be given to provide the interpreter options for difficult passages.
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Tercero, David R. "Ernesta García de León a study of Sonata no. 1, op. 13, Las campanas (The bells) /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9732.

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System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 17, 2006, Nov. 27, 2006, Nov. 5, 2007, and June 30, 2008. Lecture rectial issued on CD and DVD. Includes bibliographical references (p. 59).
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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.

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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.
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Georgievskaya, Liudmila. "A Performer's Guide to Samuil Feinberg's Sonata No. 6: A Window into Russian School Pianism." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011846/.

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Samuil Feinberg was an important performing pianist, composer, and one of the protagonists of Russian Piano School. Among his numerous piano compositions, the Sixth Sonata is one of the most complex and illustrative of his deeply personal musical ideas. The following performer's guide offers some ideas on interpreting and performing the sonata from the perspective of Russian school pianism. Having trained in Russia for nearly a decade with two of Feinberg's most eminent disciples and assistants (Tatiana Galitskaya and Liudmila Roschina) makes this author part of living chain back to his pedagogical principles. I will draw upon my knowledge and expertise to illustrate how interpretation of Feinberg's Sonata No. 6 embodies many of the particular and subtle aspects of the Russian piano school technique.
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Ribeiro, Erika Maria. "Aspectos interpretativos da Sonata op. 110 de Beethoven." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-25102010-170619/.

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Especialmente a partir do século XX, o interesse em entender como de fato se executava a música do período clássico cresceu consideravelmente. Isso porque, intérpretes e estudiosos em geral, ao se darem conta do distanciamento histórico entre executante e compositor, assim como da multiplicidade dos procedimentos instrumentais que agregaram tradições das mais diversas, sentiram necessidade de uma área de estudo que fosse destinada a essa reflexão. Portanto, este trabalho pretende, em primeiro lugar, realizar um breve estudo de alguns dos principais aspectos que fundamentam a interpretação das obras do período clássico, dentro do campo das práticas interpretativas, tais como: articulação, fraseado, dinâmica, tempo, ritmo, uso do pedal, etc. Serão abordados também conhecimentos sobre Beethoven, seus manuscritos, e as primeiras edições de suas sonatas, assim como informações sobre os instrumentos de época. Em seguida, todos esses critérios serão aplicados à interpretação da Sonata op. 110 de Beethoven. Acreditamos que este procedimento nos possibilitará a construção de uma interpretação criteriosa, convincente, que seja respaldada historicamente e, ao mesmo tempo, atual.
Particularly since the twentieth century, the concern in understanding how the repertoire of the classical period was truly performed grew extensively. This happened because interpreters and scholars in general, while realize the distance between performer and composer as well as the large amount of instrumental procedures that caused multiple traditions, felt need of an area of study designed for this kind of reflection. Therefore, this volume aims, in first place, conduct a brief study of some key issues that underlie the understanding of works from the classic period, within the field of the performance practices like: articulation, phrasing, dynamics, choice of tempo, rhythm, use the pedals, etc. Will be addressed also knowledge about Beethoven, manuscripts and first editions of his piano sonatas, as well as some information about the instruments of that time. Then, these criteria will be applied to the interpretation of Beethovens Sonata op. 110. We believe that this procedure will allow the construction of a careful, credible, historically founded and, at the same time, actual performance.
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Kan, Ling-Yu. "The Significance of Dmitri Shostakovich's Piano Sonata Op.12." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3657.

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Thesis (D.M.A.)--University of North Texas, 2007.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 31, 2003, Nov. 10, 2003, Mar. 29, 2004, and Mar. 8, 2007. Includes bibliographical references (p. 42-43).
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King, Charles 1956. "Alberto Ginastera's Sonata for Guitar Op. 47: an analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/565537.

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Tamura, Atsushi. "The revision of Rachmaninoff's second piano sonata, Op. 36." Thesis, Ulster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485470.

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This project focuses on Sergei Rachmaninoff's Piano Sonata no. 2 and the revisions it underwent over a period of some 70 years. Rachmaninoff's works are central to the piano literature; the second sonata is particularly popular because of its dramatic musical content. There is, however, another reason for interest in the piece: Rachmaninoff composed it in. 1913 but, 18 years later, dissatisfied with his early compositional style, he overhauled it extensively. It was not the only work for piano revised by the composer (some early, shorter pieces were also re-worked), and, needless to say, many other composers are well known for revising their music, but what makes the second sonata distinctive is the role in its evolution played by the composer's closest friend, the famous pianist Vladimir Horowitz. He frequently performed Rachmaninoff's works, including the second sonata. Nevertheless, he disagreed sJfongly with the 1931 revision, so much so that he appealed directly to the composer, requesting permission to combine the two versions to make a third. Rachmaninoff apparently gave his consent shortly before he died. Subsequently, Horowitz performed the sonata regularly in his own version, but its identity did not become any more fixed, for Horowitz's spontaneous performance style resulted in constant changes to the musical text. The core of this project is an examination of this constant change as demonstrated in the materials Horowitz used in the ongoing preparation of his version (preserved in the Irving S. Gilmore Music Library of Yale University) and in the various recordings he made. By approaching the revision of the second sonata (a familiar subject in Rachmaninoff studies) from the perspective of a uniquely privileged interpreter, the aim is to shed light on how the sonata changed in live musical situations, and thus on the relationship between its performance and (re-) composition.
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Iliadis, Ioannis. "Samuel Barber's piano Sonata Op. 26| A performance guide." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10111174.

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This paper will serve as a practical performance guide for students and young pianists who wish to explore this sonata, and will provide knowledge that will help them shape their own interpretation. Interpretations vary from pianist to pianist and this paper will not propose a unique interpretation of Barber’s Sonata Op. 26. Instead, I will analyze the piece step by step, so as to point out the harmonic and melodic material which should be followed in order to understand the structure of the music. With specific technical advice and aesthetic suggestions both from recordings and my own experience I will try to elucidate the very thick texture and give another perspective of the piece.

A brief sketch of the composer’s biography will serve to establish an understanding of the historical background of the piece. Also, a stylistic analysis of the piece will be made through a study of the score. The original recording is the one by Vladimir Horowitz, whose relationship with Barber could absolutely be the subject of a whole new research project.

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Cervini, Lucia. "Interpretação em Henrique Oswald : transformações entre o Allegro Agitato da sonata op. 21 e a Sonata-Fantasia op. 44 para violoncelo e piano." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284199.

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Orientador: Mauricy Matos Martin
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-31T22:01:53Z (GMT). No. of bitstreams: 1 Cervini_Lucia_M.pdf: 6056107 bytes, checksum: 8925dbdd83df2673b6508e821be71d16 (MD5) Previous issue date: 2001
Resumo: Esta pesquisa de mestrado teve como objetivos analisar aspectos que caracterizaram transformações entre o Allegro Agitato da Sonata op. 21 (1898) e a Sonata-Fantasia op. 44 (1916) para violoncelo e piano de Henrique Oswald, para concluir sobre a interpretação dessas obras e sobre elementos da composição de Henrique Oswald. Este trabalho se justifica pela necessidade de estudar a obra de compositores brasileiros, analisar seus elementos composicionais e fornecer subsídios para a interpretação. Na metodologia foram abordados: leitura de bibliografia sobre história da música; análise motívica, harmônica e estrutural da obra; tratamento dado a cada instrumento e direcionamento para a interpretação. Em anexo, constam: lista de discografia; lista de obras editadas e manuscritas; entrevista com Luli Oswald, neta do compositor; partitura das obras e CD contendo a gravação das Sonatas. Este estudo procura contribuir para pesquisa sobre análise e interpretação musical assim como divulgar a obra de compositores brasileiros
Abstract: The objective of this research is to analyze the transformation process in the Allegro Agitato of the Sonata op. 21 (1898) and Sonata-Fantasia op. 44 (1916) for violoncello and piano of Henrique Oswald in order to come to some conclusions about their interpretation and the composer's compositional aspects. In the methodology, the following aspects were used: music history bibliography; motivic, structural and harmonic analysis; treatment of the instruments (violoncello and piano) and directions for interpretation. Enclosed is also a discography; list of works; an interview with his granddaughter Ms. Luli Oswald; scores of the sonatas as well as a CD recording of them. This research attempts to contribute to the study, analysis and interpretation, as well as to disclose Brazilian composers
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Books on the topic "Sonata No. I Op. 13"

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Beethoven, Ludwig van. Sonata, op. 47: ("Kreutzer"). Bryn Mawr, Pa: T. Presser, 1993.

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Carulli, Ferdinando. Sonata dall' op. 18. St. Louis, MO: MMB Music, 1987.

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Beethoven, Ludwig van. Klaviersonate op. 26 = Piano sonata op. 26. Wien: Wiener Urtext Edition, 1994.

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Beethoven, Ludwig van. Klaviersonate op. 7 =: Piano sonata op. 7. Wien: Wiener Urtext Edition, 1992.

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Muczynski, Robert. Second piano sonata, op. 22. Bryn Mawr, Pa: T. Presser Co., 1989.

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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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Beethoven, Ludwig van. Klaviersonate Op. 10/3 =: Piano sonata op. 10/3. Wien: Wiener Urtext Edition, 1991.

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Beethoven, Ludwig van. Klaviersonate, op. 10/1 =: Piano sonata, op. 10/1. Wien: Schott/Universal Edition, 1986.

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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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Book chapters on the topic "Sonata No. I Op. 13"

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Kenney, W. Larry, Jack H. Wilmore, and David L. Costill. "Hoofdstuk 13 Inspanning op hoogte." In Inspannings- en sportfysiologie, 348–68. Houten: Bohn Stafleu van Loghum, 2016. http://dx.doi.org/10.1007/978-90-368-1326-6_13.

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van Halem, Nicolien, Henny de Leeuw, Tera Stuut, and Johan van ’t Wout. "13 Terugkijken op je werk." In Beroepspraktijkvorming Zorghulp, 66–68. Houten: Bohn Stafleu van Loghum, 2008. http://dx.doi.org/10.1007/978-90-313-6300-1_17.

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Palfy, Cora S. "Formal cues and expectations in Cécile Chaminade's Piano Sonata Op. 21, I." In Musical Agency and the Social Listener, 124–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003169710-9.

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Hop, Marga, and Irene Muller-Schoof. "13 Omgaan met veranderingen en weerstand." In Sociale vaardigheden op de OK, 163–72. Houten: Bohn Stafleu van Loghum, 2010. http://dx.doi.org/10.1007/978-90-368-1183-5_13.

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Čurda, Martin. "Suite for Piano, Op. 13 (1935)." In The Music of Pavel Haas, 93–114. New York: Routledge, 2020. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2020. http://dx.doi.org/10.4324/9780429433351-4.

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Holtrop, R. "Hoofdstuk 13 De obese diabetespatiënt op oudere leeftijd." In De oudere patiënt met diabetes mellitus type 2, 129–34. Houten: Bohn Stafleu van Loghum, 2015. http://dx.doi.org/10.1007/978-90-368-0727-2_13.

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de Ruiter, Marike, and Camiel Jonk. "13 Middelen met effect op weefselherstel en perfusie." In Farmacotherapie voor de zorgprofessional, 278–303. Houten: Bohn Stafleu van Loghum, 2016. http://dx.doi.org/10.1007/978-90-368-1209-2_13.

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Sharma, Anil, and Tripti Sharma. "Small–Signal Gain Investigation of Folded Cascode Op-Amps." In Communications in Computer and Information Science, 3–14. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-3143-5_1.

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Allen, Roger. "“That Is What Music Really Is”. Richard Wagner’s Reception of Beethoven’s Piano Sonata in A Major Op. 101." In Musikforschung der Hochschule der Künste Bern, 431–40. Schliengen: Edition Argus, 2019. http://dx.doi.org/10.26045/kp64-6178-025.

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van der Loeff-van Veen, R. J. Schim. "13 Probleemgedragprobleemgedrag, vroege herkenning biedt de meeste kans op herstel." In Zorg voor de kwetsbare oudere, 159–70. Houten: Bohn Stafleu van Loghum, 2010. http://dx.doi.org/10.1007/978-90-313-6942-3_13.

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Conference papers on the topic "Sonata No. I Op. 13"

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"Analysis of the Third Movement of Beethoven Piano Sonata Op.13, Pathetique." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.52.

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Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.73.

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In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.
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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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Cox, Susanne, and Richard Sänger. "Digitale Fassungsvergleiche am Beispiel von Beethovens Eigenbearbeitungen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.99.

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In its second module, „Beethovens Werkstatt“ deals with five of Beethoven’s compositions which exist both in their original versions and as authentic arrangements (Piano Sonata op. 14/1 arranged for string quartet, Septett op. 20 and Trio op. 38, Opferlied op. 121b and Bundeslied op. 122 as piano reductions, Große Fuge op. 133 as arrangement for piano for four hands op. 134). To demonstrate Beethoven’s arrangement practices, the original version of each work is synoptically linked with its arrangement in a digital edition called „VideApp Arr“. Through digital tools for comparison the relationships between the two versions can be investigated from different perspectives. It becomes visible how the versions are related to each other both by „invariance“ (text elements with the same structure), by „variance“ (text elements with a similar structure) and, in special cases, also by „difference“ (text elements without corresponding parameters). Each view within the „VideApp Arr“ is generated from the underlying MEI data.
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Krupina, L. L. "F. Mendelssohn. Quartet in A minor op. 13: Farewell to Beethoven." In Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-10.

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Huber, K., I. Resch, D. Rose, E. Schuster, D. H. Glogar, and B. R. Binder. "CIRCADIAN VARIATION OP PLASMINOGEN ACTIVATOR INHIBITOR (PAI) AND THE INCIDENCE OP SEVERE ISCHEMIC ATTACKS IN PATIENTS WITH CORONARY ARTERY DISEASE (CAD)." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643023.

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Recent studies have shown a high incidence for the onset of acute myocardial infarction (AMI) in the morning and a possible role of high plasma levels of plasminogen activator inhibitor for the risk of reinfarction. We therefore investigated the diurnal course of PAI and the incidence of severe ischemic attacks in patients with CAD. Blood was drawn from 64 patients at the coronary care unit with angiographically proven CAD (group A = unstable angina, n=37; age = 60.7 ± 10.1 years; group B = stable angina, n=27, age = 58.2 ± 10.9 years) at 4 different time points (6 a.m., noon, 6 p.m., midnight) for at least 3 consecutive days. PAI (functional titration assay; IU t-PA inhibited/ml) and time of onset of severe ischemic attacks including AMI were determined. 50 healthy volunteers (age = 39 ± 17 years) served as controls. We found a significant diurnal variation (paired t-test, p<0.05) of PAI levels in normals (6 am: 11.5±5.6; noon: 6.9±1.7; 6 pm: 5.7±2.5; x ± SD) as well as in patients (6 am: 15.6 ± 6.4; noon: 13-3 ± 1.2; 6 pm: 12.6 ± 5.3; midnight: 13.2 ± 2.8; x ± SD) with an acrophase at 6 am. Compared to the controls PAI values were significantly higher in patients (p<0.01) but showed no significant differences within the two patients’ groups. We could not demonstrate a significant difference in PAI values of patients with or without previous myocardial infarction. Furthermore, development of AMI had no demonstrable influence on preexisting PAI values in both patients’ groups. During the observation period 90 severe ischemic attacks were observed. Attacks occured significantly more often (70$) between midnight and noon with a peak incidence (44$) around 10 am. From these data it can be concluded that PAI levels are elevated in patients with CAD. Peak levels of PAI seem to precede the ischemic event by only a few hours and might thereby contribute to the onset of ischemic events on a basis of increased thrombotic tendency.
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Chang, Kwuang-Han, and Chih-Cheng Hsieh. "A Calibration-Free 0.7-V 13-bit 10-MS/s Full-Analog SAR ADC with Continuous-Time Feedforward Cascaded (CTFC) Op-Amps." In 2018 IEEE Asian Solid-State Circuits Conference (A-SSCC). IEEE, 2018. http://dx.doi.org/10.1109/asscc.2018.8579334.

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Cushing, Lara, Jill Johnston, Meredith Franklin, and Khang Chau. "OP III – 3 Using satellite observations to estimate exposure to flaring: implications for future studies of the health impacts of unconventional oil and gas operations." In ISEE Young 2018, Early Career Researchers Conference on Environmental Epidemiology – Together for a Healthy Environment, 19–20 March 2018, Freising, Germany. BMJ Publishing Group Ltd, 2018. http://dx.doi.org/10.1136/oemed-2018-iseeabstracts.13.

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Zekert, F., A. Hufnagl, A. Hufnagl, and M. A. A. Kratzer. "FIRST EXPERIENCE WITH A NEW SYSTEM TO MEASURE PRIMARY HEMOSTASIS IN VITRO." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643078.

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Control of hemostatic parameters of patients undergoing surgery usually involves only determination of parameters of the coagulation cascade, but not measurement of primary hemostasis. This has mainly methodological reasons. Recently a model of primary hemostasis has been introduced (Kratzer & Bom, Haemostasis 15:357; 1985) now produced under the name “ Thrombostat 4000” (VDG von der Goltz, 8221 Seeon, West Germany). This device measures computerized within minutes “ in vitro” bleeding parameters (vBP) like bleeding volume (V,ul), time (T,sec) and the viscosity depending initial flow (IF,ul/min) in a small sample (0.5-lml) of whole anticoagulated blood (Na citrate 1 to 10). The clinical relevance of the vBP was tested in patients undergoing major surgery.Results : Case 1: A 78 years old woman with osteomyelosarcoma, heavy bleeding and normal coagulation parametrs showed strongly pathological vBP: (V > 800, T > 300, IF 184); control values: (V = 177, T = 105, IF = 145); An improvement of beeding and shortening of vBP was observed after infusion of platelet concentrate: (V = 328, T = 245, IF = 147).Case 2: A 60 years old man with adenocarcinoma undergoing liver transplantation, before operation (OP) vBP: (V = 224, T = 114, IF = 182); displayed a strong increase during OP: (V > 800, T = 360, IF = 277; decreasing values after Oft (V = 348, T = 146, IF = 254); 1. day after OP: (V = 250, T = 127, IF = 221); 13 day after OP normal vBft (V = 160, T = 111, IF 182).Case 3: A 35 years old man with III. grade burnings of the skin (35%) and a massive platelet function defect: (V > 800, T > 180, IF = 328); improvement after infusion of platelet concentrate: (V = 393, T = 164, IF = 239); further improvement some hours later: (V = 240, T = 120, IF = 213); and normalizing of parameters at the 1. day: (V = 197, T = 126, IF = 186) and the 5. day after OP: (V = 130, T = 122, IF = 142).It is interesting to note that patients with heavy burnings reguarly displayed reduced vBP: (V = 120, T = 70, IF = 127) if measured very early after the accident. The new method seems to be a valuable instrument to judge platelet functions.
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Diab, A., SB Solomon, C. Comstock, M. Maybody, V. Sacchini, J. Durack, B. Blum, et al. "Abstract P4-13-01: A pilot study of pre-operative (Pre-op), single-dose ipilimumab (Ipi) and/or cryoablation (Cryo) in women (pts) with early stage/resectable breast cancer (ESBC)." In Abstracts: Thirty-Sixth Annual CTRC-AACR San Antonio Breast Cancer Symposium - Dec 10-14, 2013; San Antonio, TX. American Association for Cancer Research, 2013. http://dx.doi.org/10.1158/0008-5472.sabcs13-p4-13-01.

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