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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.<br>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.<br>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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<p> 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. </p><p> 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. </p>
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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<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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<br>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<br>Mestrado<br>Mestre em Artes
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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.
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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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WANG, YUN, and 王筠. "Beethoven Piano Sonata Op. 13 “Pathetique”." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/nsd32y.
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Wu, Chien-Feng, and 吳建鋒. "The Analysis and Interpretation of op.13 Gabriel Fauré Violin Sonata." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6tarq2.
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Chang, Kuei Ling, and 張桂菱. "The Analysis and Interpretation of Gabriel Faure Violin Sonata op.13." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/01057808728153578269.
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HUANG, I.-LING, and 黃怡菱. "The Analysis and Interpretation of L. V. Beethoven’s Piano Sonata Op.13 “Pathetique”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/k4266a.
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碩士<br>國立臺灣藝術大學<br>音樂學系<br>105<br>Ludwig von Beethoven（1770-1827）is a great composer in the history of western music. His compositions are as legendary as his life and are rich in layers as well as emotional tension. His thirty two piano sonatas and nine symphonies are the most influential among his compositions. Additionally, piano sonata Op. 13 “Pathetique” is the most important among his early works.
This essay is an analysis and interpretation on Piano Sonata Op. 13 “Pathetique.” Chapter one is Introduction, which includes research motive, method and literature investigation. Chapter two explores the life of Beethoven as well as the relationship between his compositions and the development of keyboard instruments. Chapter three is Stages of Beethoven’s Piano Sonatas and Early Characteristics, which divides Beethoven’s piano sonatas into stages, and investigates the unique characteristics of his early piano sonatas. Chapter four is Analysis and Interpretation, which is a deep investigation of harmony, form of music and interpretation of each movement, while comparing different versions when necessary. Chapter five is Conclusion, which is an overall summary of this composition as well as Beethoven’s early composition style.
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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.
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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.
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Chuang, Pei-Chun, and 莊珮君. "A study of Faure's "Sonata for Violin and Piano in A major, op.13"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/77696963562884940746.
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碩士<br>國立臺南藝術大學<br>鋼琴伴奏合作藝術研究所<br>97<br>The development of French music has mainly focused on vocal music before 1870, however, instrumental music was not given fully attention until late nineteenth century. After the Franco-Prussian War (1870-71), composer Camille Saint-Saëns (1835-1922) and the poet Romain Bussine (1830-99), who shared similar ideas of nationalism and revitalizing French music, founded the Société nationale de Musique in 1871. This association emphasis on advocating and promoting French instrumental works with great effort. There were many works’ début held by this association and, many young and talented French composers introduced as well. Société nationale de Musique attempted to develop and to seek and the unique sound and music language of French music distinguishing from German and Italy, whose music has lead the musical trend impact for several decades. Under this purpose, chamber music, including sonatas and character pieces, became the main genre for composers to work. Among these works, Fauré’s Sonata for Violin and Piano in A major holds a very important stand in the early development of French instrumental music.
In this Article, the First chapter introduces Fauré’s biography and his music styles. It also introduces the trend of Europe music in this period, and the influence of Salon’s on French music. The Second chapter discusses the historical background of Fauré’s Sonata for Violin and Piano in A major, and analyzes Fauré’s composing technique through developing themes, managing rhythms, canon style, and the interrelationship between the piano and the violin.
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Che, Liu Wei, and 劉威哲. "Sonata for Violin and Piano No.2, Op.13 by Edvard Grieg（1843-1907）." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/z2qwnp.
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碩士<br>實踐大學<br>音樂學系碩士班<br>101<br>Edvard Grieg (1843-1907), one of the great 19th-century Norwegian musicians, was born in magnificent mountains and rivers of the country. Grieg, a composer of the Nationalistic School of Music, often showcased the beauty of his motherland in his music. Grieg Norwegian incorporated elements of Norwegian folk dance and the ancient musical instruments Hardanger Fiddle in his three violin sonatas. Through his music, Grieg was able to clearly depict the unique sound of his home country, and allowed people to see the scenic beauty Northern Europe
In this paper, the author will discuss The Second Violin Sonata in the following order: the first chapter is an introduction, a motivation for this study; The second chapter describes features of Grieg's life and creations, and is divided into four periods; The third chapter discusses the Norwegian folk dances and folk instruments Hardanger Fiddle, and also introduces Norway's surviving national dance styles and folk instruments; The fourth chapter is a detailed musical analysis and an interpretation and violin technique exploration with author’s personal style of bowing and fingerings; The final chapter is the author's conclusions which summarizes the Grieg’s unique marriage of Norwegian Dance and Hardanger Fiddle for portraying Norwegian music which made Grieg a sensation and a iconic representative of the Nationalistic Music.
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歐陽光. "An Analysis and Interpretation of Gabriel Fauré’s Violin Sonata in A Major, Op. 13." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/66t6q4.
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碩士<br>國立嘉義大學<br>音樂學系研究所<br>106<br>Abstract
Gabriel Urbain Fauré lived in the junction of the Romantic and Modern music period. When Fauré was young, he had been taught in the church which appeared to be a strict environment of classical music. As a result, even though he actively composed in the period of time while romantic music was being developed, Fauré still could not break away from the framework of the classical form.
Moreover, Fauré had composed by using symbolic harmonies and modulations of the Romantic period, which made him one of the representatives of French Music at that time.
Although Fauré did not compose much chamber music in his life, this Violin Sonata in A Major, Op. 13 was one of his famous achievements. Fauré did not play violin himself, hence this work was accomplished with the help of his friend─the Belgian violinist Hubert Léonard (1819-1890).
The autobiography of Fauré and his compositional languages of his Violin Sonata in A Major, Op. 13 will be introduced in detail in this research. Through this thesis, it is sincerely hoped that readers will be able to have better ideas of how to create or shape the musical atmosphere as well as to help other violinists to interpret this violin sonata more thoroughly in the future performances.
Keyword: Fauré, French music, Violin, Sonata
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Jian, Xiu-Rong, and 簡秀融. "The Music Analysis and Interpretation of Edvard Grieg’s Violin Sonata No. 2, op. 13." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/36840423165954290754.
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WANG, LI-CHI, and 王莉淇. "An Analysis and Interpretation of Gabriel Faure’s Sonata for Violin and Piano, op.13." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/49891723996762263916.
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碩士<br>輔仁大學<br>音樂學系<br>104<br>Gabriel Fauré, in full Gabriel -Urbain Fauré (born in 1824 - died in 1924), was a French composer. In the brilliant music age, composers created some new skill different to the traditional music. Nevertheless, Gabriel Fauré still insisted to pursue the pure of music in his faith. He kept the advantage of the France music, such as clear and balance and added the new music elements in his compositions.
This thesis delves into the analysis of Gabriel Fauré’s Violin Sonata Op.13. The musical elements is simple but specific, and the piece centers around these elements partly or wholly in other voice parts with the music styles switching to modulation and retrograde. He add that kind of rhythm such as Polyrhythm and Cross-rhythm. Via the research of Faure’s life history and background, style of composition and analysis of music, the writer of the thesis, hopefully, can better comprehend the music piece and perfectly perform.
This thesis has total of five chapters. Chapter one is the introduction. The second chapter outlined Gabriel Fauré’s life and compositions, including the compositional artifice and style. Chapter three and four are depth discussion of analysis and interpretation of Gabriel Fauré’s Violin Sonata Op.13, and the final chapter is the conclusion of this thesis.
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CHANG, YI-YUN, and 張懿云. "A Study of Gabriel Fauré’s Sonata for Violin and Piano in A major, Op. 13." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7gs5rc.
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Hsu, Yu-Han, and 許喻涵. "A Study on Sonata for Violin and Piano in A Major, Op. 13 by Gabriel Fauré." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/72984386550868619002.
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Ling, Chu, and 朱玲. "Analysis of Gabriel Fauré' s Sonata for Violin and Piano in A Major, Op. 13, First Movement." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8dfksu.
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碩士<br>國立臺南藝術大學<br>鋼琴合作藝術研究所<br>103<br>Abstract
Gabriel Fauré (1845-1924) is one of the most important French composers of the nineteenth century. He wrote twenty chamber works, and his unique compositional techniques had a great influence on the chamber music in France after the 19th century. Sonata for Violin and Piano in A Major, Op. 13 is Fauré first chamber music work . The first movement is composed in traditional sonata form, but the music sections are not clearly divided by complete cadences and the characters between those sections are not apparent, which is not like the standard sonata form in the Classical period. The whole movement is intergrated by repeating thematic materials, which makes the music flowing and non-stopping.
There are four chapters in this thesis. The first chapter is the introduction. The second chapter explores Fauré's biography, his compositional characteristics and the list of his chamber works with piano. The third chapter focuses on the analysis of the first movement of Fauré's Sonata for Violin and Piano in A Major, Op. 13 in terms of the structure, thematic material , tonality and harmony. The fourth chapter is the conclusion which presents Fauré's creative ideas in this movement.
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Chung, Man-Lin, and 鐘曼綾. "A Study of Kabalevsky’s Piano Works ---Thirty Children’s Pieces, Op. 39; Easy Variation, Op. 40; and Sonatina Op.13." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/57930216570321423276.
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碩士<br>國立屏東教育大學<br>音樂學系碩士班<br>95<br>Russian piano art has astonished the world since 19th century. Either music performers or composers, they all highly receive the world’s attention and focus. Numerous people are enchanted by Russian’s unique ethnicity and music style. This research aims to explore in depth the piano works and educational ideals of contemporary Russian musical educationist, and hereby reveal the mysterious Russian music historical culture. By analyzing Kabalevsky’s children piano works, we can further get familiar with Russian music characteristics and education and gain a good command of this composer’s style of interpretation and implication.
After analyzing three Kabalevsky piano works(“Thirty Children’s Pieces, Op. 39; Easy Variation, Op. 40; and Sonatina Op. 13), the following conclusions were made:
(1) His work is integrated with “three whales” music educational ideals and diverse styles are created. (2) The structure of his work is simple, but he made an attempt on various forms. (3) Step-by-step playing skills take both old experiences and new skills learning into account. (4) Polished melody and the changes of the beat all present Russian ethnic styles. (5) Rhythms are distinct and obvious; various changes appear in the acoustics of harmony.
Finally, according to research results, suggestions are provided for musical instrument playing, teaching and future studies, hoping to bring up references for Russian contemporary music pieces players and future researchers.
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Lin, May-yin, and 林美吟. "A Study of Sonata for Piano and Violin No.2, Op.13 by Edvard Grieg (1843-1907)/May-yin Lin Violin Recital." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/99822411648590445978.
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碩士<br>東吳大學<br>音樂學系<br>99<br>Among Edvard Grieg’s works of chamber music, there are three violin sonatas which have been
significantly recognized and appreciated. In this study, the author focuses on Grieg’s second violin sonata, Opus 13. This thesis is divided into five chapters as follows. The first chapter is introduction stating
research motivation and purpose, as well as literature review. The second chapter introduces Grieg’s life, the composing background and the shared features of the three sonatas. The third chapter is musical
analysis of Violin Sonata No. 2, Op. 13; the analysis is conducted according to the order of three
movements. The fourth chapter illustrates music characteristics and performance interpretation. The shared musical features mentioned in the second chapter are discussed in the part of music characteristics; in the
meantime, Grieg’s arrangement of musical ideas and expression for this piece of work are explored in the part of performance interpretation. In the end, the conclusion is drawn in the fifth chapter conclusion.
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Lai, Yi-Wen, and 賴怡文. "An Interpretational and Analytical Study of L. v. Beethoven’s Two Early Piano Sonatas Op. 10 No.1 and Op. 13 “Pathétique”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/27ym82.
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碩士<br>中國文化大學<br>音樂學系西洋音樂組<br>103<br>This study will focus on Beethoven’s piano sonatas Op. 10 No.1 and Op.13 “Pathétique”. There are five chapters in this paper.
The first chapter is an introduction. It includes research motivation and purpose, scope of the study and methods.
The second chapter explores the life and music of Beethoven and his style, and summarize the characteristics of Beethoven's early piano sonatas and their impact on the future generations.
The third chapter is the analysis and interpretation of Beethoven’s piano sonata Op.10 No.1.
The fourth chapter is the analysis and interpretation of Beethoven's piano sonata, Op.13 Pathétique.
The fifth chapter is the conclusion, integrating Beethoven's creative background and style with the characteristics of the early piano sonatas and their analysis and interpretation.
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Chang, Hui-yu, and 張惠鈺. "Beethoven piano Sonata Op.106." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/34071940606696814732.
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Cheng, Yu-chuan, and 鄭于君. "M.Ravel:Gaspard de la Nuit,L.v.Beethoven:Piano Sonata Op.53《Waldstein》,S.Prokofiev:Piano Sonata in A Major,No.6,Op.82." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/70106353751546698545.
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Min-yu, Hsieh, and 謝敏玉. "Brahms Viola Sonata op.120, no.2." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/54268097075271545315.
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Lin, You-Cheng, and 林祐丞. "Beethoven Violin Sonata Op.30 No.2." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/45046764712911682091.
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Wu, Ruei-cih, and 吳睿慈. "Kodaly’s Sonata for Unaccompanied Violoncello op.8." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/41268683621219316932.
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碩士<br>國立屏東教育大學<br>音樂學系<br>99<br>Zoltan Kodaly (Hungarian: Kodály Zoltán; December 16, 1882 – March 6, 1967), is a Hungarian composer and folk musicologist. His famous work, Sonata for Unaccompanied Cello, Op. 8, is looked on as the next important composition after The Six Suites for Unaccompanied Cello by Johann Sebastian Bach. This assay at first describes Kodaly’s biography and the impact of Hungarian folk music on his work, and then probes into the philosophy and features of Sonata for Unaccompanied Cello, Op. 8.
There are abundant elements of Hungarian folk music in this work, including parlando rubato rhythm, pentatonic scales, diatonic scale, dance style and repeated rhythm. Besides, several modern acoustic effects, including scordatula, sul ponticello, sulla tastiera, pizzicato and ornamentation can also be seen in the work. About the music style, it has no only Oriental style but also strong contrast in range of music and dynamics.
At the last part of the assay, two different versions of Janos Starker and Pierre Fournier of this work are compared in order to understand it through different interpretations and view points.
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Tsung-Tzu, Cheng, and 鄭宗慈. "L.v.Beethoven Piano Sonata, Op/109 and 110." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/31589832536742516079.
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碩士<br>中國文化大學<br>音樂研究所<br>93<br>This thesis focuses on L.v.Beethoven’s piano Sonata Op.109 and 110, covering five chapters and three sections.
The first section introduces development of Sonata, and then to
confer feature and characteristic in every Beethoven’s piano Sonata
period. The second section, is to study on Op.109, and is first to under-
stand the background of creative, that one by one to confer a musical form of every movement and artistic technique and performance ex-
press.The third section, it mains on Op.101-- that the analysis way and step is as the same as the one of the second section. The last section－is to use two Sonata’s study sense, and then to expresses the leading posi-
tion of Beethoven in 18 and 19 century.
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CHAN, YA-CHI, and 詹雅琦. "Ludwig van Beethoven Piano Sonata Op.53." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/g29vgk.
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碩士<br>中國文化大學<br>音樂學系<br>106<br>Beethoven’s dedication of this work to his lifelong friend, Count Waldstein, was a gesture of affection and tribute, but even the composer could not have predicted that the dedication would be carried over into the vernacular and that the work would be known generally as the Waldstein Sonata. In his middle period, he composed in a new, more ambitious style compositions. Deservedly one of the most popular of the sonatas, it ranks near the top in large-scale conception, originality, and virtuoso display . And, it is also a great challenging for piano players.
This paper will origins from the development of the keyboard, piano sonatas, and the background of the composition Waldstein Sonata. Throughout the knowledge of history to achieve the connotation of this composition. The documents for the analysis this composition are according to Stewart Gordon’s A History of Keyboard Literature, J. Peter Burkholder, Donald Jay Grout, Claude V. Palisca’s A History of Western Music and Ralph Turek ‘s Analytical Anthology of Music.
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Ko-Hsiang, Liao, and 廖可翔. "Robert Schumann: Piano Sonata No.3 in F Minor, Op.14 (“Grande Sonata”)." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/77088258008389707093.
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碩士<br>臺北市立師範學院<br>音樂藝術研究所<br>91<br>During the rise of the French Revolution, industrial and commercial business in the end of the eighteen century, consciousness of freedom and civil rights were increasing in an unprecedented manner. Citizens were fighting for their human rights, and thus, Romanticism took off. Romanticism focused on human beings and emphasized on the sensibility and imagination. The music style during this period of time was formless and one could freely express his ideas and composers preferred “Program Music” and tried to personify their compositions. As for stylized sonata, it was not popularly introduced as it was during the Classical period.
The Piano Sonata No.3, Op.14 of Robert Schumann was rare music made by extensive format and its content was much more fullness than structure. The structure of sonata form had been out of the typical way of Classical period and one of its features was to recall the development completely after the recapitulation. To let the “Clara” motive over through this composition, both of the harmony and syntax appeared Schumann’s individual and unique style.
This article is included of music connotation、composition analysis and performing interpretation、comparing the 1st edition with the 2ed edition and so on.
music connotation is the explanation about the background of creating and the conclusion of Schumann’s used composition techniques such as subjects、keys、harmonies、counterpoints、rhythms、melodies. Composition analysis is to analyze、compare with others and point out the different of the 1st edition and the 2ed edition according to forms、structures、subjective motives、melodies、harmonies、rhythms、keys、phrases and Schumann’s special creative way. As to performing interpretation, expect the musical style in the period of Romanticism and Schumann’s musical specialty，it also research to the use in practical such as dealing with the tone color of playing, choosing the tempo, interpreting the music style, dividing the phrase, the main points of breath, choosing the fingering, pedal assistance, performing dynamics and the contrast between forte and piano, etc. Comparing edition is to take some piano players’ CD and various scores to analyze and research. Wish to use more adaptable, apt words and languages to interpret this composition through analysis, research and results of playing practically.
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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.
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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.
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Cheng, Chia-Chen, and 鄭家禎. "The survey of Beethoven's piano sonata Op.109." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/66wfh4.
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碩士<br>國立臺灣師範大學<br>音樂學系<br>105<br>Ludwig van Beethoven (1770-1827) is one of the greatest composer in classical period. His 32 piano sonatas are the best repertoire for students.
The research of Beethoven’s piano sonata Op. 109 is divided to six chapters. The first chapter is the introduction of the purpose research, method and materials. Chapter two is the study of Beethoven’s biography. Chapter three included the discussion of Beethoven’s motivic component in his piano sonatas, the four piano instruments which had been used in his life, and further research of the three periods of Beethoven’s sonata works. Chapter four is the analysis of Op.109, from the aspects of structure, harmony and form. Chapter five is the interpretation of Op. 109 regarding fingering, dynamics and pedalling. Chapter six is the conclusion.
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Huang, Hsin-Yi, and 黃馨儀. "A Study of Brahms's Cello Sonata, Op.99." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/26059660513725638660.
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碩士<br>輔仁大學<br>音樂研究所<br>100<br>Although we consider Johannes Brahms (1833-1897) as a composer of Romantic era today, he prefers to confine himself as a classicist. Brahms composed two sonatas for cello and piano. The first one is finished during his middle period, while the second one is during the late period of his life, each in very different styles. This study is focused on Brahms’ second sonata – “Cello Sonata in F Major, Opus 99”, with the attempt to explore its compositional background and writing techniques that are employed in the work. Detailed study of its music content and interpretation suggestions are also included.
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Feng, Chih-I., and 馮芝儀. "A Study of Beethoven’s Piano Sonata Op.81a." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/34756169176540224382.
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Ou, Hsiu-Ling, and 歐綉玲. "A study of Beethoven's piano sonata Op.53." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/82198154197867577054.
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碩士<br>輔仁大學<br>音樂研究所<br>97<br>Beethoven’s Op. 53“Waldstein.”is a great challanging composition for piano players, and will be hence often perform. Author based on the purpose of improving personal playing technical analysis and study of this composition, is chosen as subject of author’s master paper. All refered documents for the analysis composition are according to Tovey’s writings A companion to Beethoven’s Pianoforte Sonatas(1998.). Mainly refered interpretation methods are according to Taylor’s writing Beethoven’s Piano Sonatas(Allens, 1987.).
The harmony construction of Op. 53“Waldstein.”is compose with orchestral concept. This leads Op. 53 to have become one of the master pieces for Beethoven in his composing middle age. This composition is titled with “Waldstein.”, in order to thank the support of court Waldstein. The musical tensity of the composition is presented with unique harmony proceedings and volome constract. All the preceding characteristics indicate that Beethoven composing style has changed from classical to romantic.
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Yu, Hsin-Ying, and 余忻穎. "An Analysis of Prokofiev Violin Sonata Op.94." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/77249999746761274885.
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Sun, Jen-Ru, and 孫建如. "Alberto Ginastera: Piano Sonata No.1, Op.22." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/26715335662750522720.
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Tsai, Hsin Chieh, and 蔡欣潔. "The Research of Schumann's Piano Sonata Op 22." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/61069254806523527934.
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Wang, Hsiang Ni, and 王湘霓. "An Analysis and Interpretation of Ludwig von Beethoven's A-flat major piano sonata, op.26 and E-major piano sonata, op.109." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/vgvyek.
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Hsu, Wei-Ying, and 許偉瑛. "Brahms Violin Sonata No.3 Op.108 D minor." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/15081789512614413721.
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Hung, Lin-wei, and 洪琳薇. "A Study of Samuel Barber's Piano Sonata, Op. 26." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/14488990935400394952.
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Tang, Ya-Jhu, and 湯雅筑. "Research of Samuel Barber' s Cello Sonata Op. 6." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/60853856690061080223.
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Chiang, Tsai-yu, and 江采諭. "The Interpretation of Shostakovich''s "Cello Sonata, op. 40"." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/33g7q9.
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碩士<br>國立中山大學<br>音樂學系研究所<br>95<br>Dmitri Shostakovich is one of the most important Russian composers of the Soviet period. Being a prolific composer, he had created a great many orchestra music and opera, as well as a substantial quantity of popular film music under the pressure of the Soviet regime. Although Shostakovich was judged crucially in one of his works in opera by Pravda in 1936, his passion still remained firm he for composition. It was only until his piano quintet finished in1940 that received the national awards, and became honored and well-known both domestically and internationally.
In terms of chamber works, Shostakovich had composed one sonata each for violin, viola and cello and fifteen string quartets. His“Cello Sonata in D Minor, op. 40” finished in 1934. This work is subject to traditional musical form with unconventional tonality. For example, Shostakovich’s use of unique harmonics and resonances, blended with lyrical melody and folk style, is so penetrative that it has become one of the most celebrated cello master pieces in Russia.
This lecture-recital document includes three major discourses. The first and the second parts summarize the introduction of the background of modern Russia and the personal review of Shostakovich. The third section gives an analysis on the creation background and techniques of the “Cello Sonata in D Minor, op. 40”. This document will try to discuss the techniques and possible interpretations by looking into the recording by Shostakovich. Hopefully, the document can shed light onto the composer’s originality.
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CHANG, CHE-CHUN, and 張哲郡. "Analysis and Interpretation on Beethoven Piano Sonata Op.22." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8wzmfg.
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碩士<br>南華大學<br>民族音樂學系<br>106<br>The writing of this thesis is a discussion of "performance" as a technical and operational "knowledge experience." In the process, in addition to referring to related Chinese and English books and journals as well as doctoral thesis, In terms of methods, consider the qualities and professional experiences of performers,,Chooising a performer who had ever published the complete Beethoven Sonata is one of the main foundations for the argument. The thesis further considers the nationality, region and special characteristics to enlarge the differences and differences, and screens the musicians of German and Austrian regions, Artur Schnabel, and the Jewish musician of the American system Daniel Barenboim. And the Korean performer H-J Lim made a comparison and analysis.
This thesis is divided into five parts. Chapters 1 "Introduction" contains motivation and aim, literature review, methods and steps. Chapter 2 "Beethoven's early experience and composition background" contains background description, piano sonata writing and creative motivation in Beethoven's early stage; Chapter 3 "information collection for representative performers" contains the introduction and classification of performers from different regions, ages, cultures and educational backgrounds. Chapter 4 is the composition of the four sonatas, the interpretation of the performers, and the author's views and analysis. The last chapter "Conclusion" summarizes the author's thoughts after the study and reflections on individual concerts.