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Dissertations / Theses on the topic 'Sonatas (Bassoon and piano)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Schindler, Angela N. "Unique Contributions for Oboe in the Classical Period: Jacques Christian Michel Widerkehr's Duos for Oboe and Piano and François Devienne's Six Sonatas for Oboe and Basso Continuo." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5435/.

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Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements.

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2

Schindler, Angela N. "Unique contributions for oboe in the classical period Jacques Christian Michel Widerkehr's Duos for oboe and piano and François Devienne's Six sonatas for oboe and basso continuo /." connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/schindler_angela/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 3, 2000, Nov. 13, 2000, Mar. 11, 2002, and Sept. 25, 2006. Includes bibliographical references (p. 50-51).

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3

Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.

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4

Stomberg, Eric Wolf. "The Bassoon Sonatas of Victor Bruns: An Analytical and Performance Perspective (With an Annotated Bibliography of Works for Bassoon)." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085628883.

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5

譚詠基 and Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.

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Tam, Wing-Kei Ruth. "Accent markings in Schubert's piano sonatas /." Hong Kong : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14292440.

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7

Lee, Suan Liu. "Czerny's interpretation of Beethoven's piano sonatas." Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/czernys-interpretation-of-beethovens-piano-sonatas(feb6fd76-4266-471f-a1e0-5dd95dff5b83).html.

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The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing a. certain consistency over a period of about twenty years. Most of Czemy's teaching on the performance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from Beethoven's own practice. However, he sometimes altered Beethoven's directions because he considered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because they did not conform to contemporary performing styles, or simply because they did not suit the more resonant pianos of his day.

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Dawe, Edmund Noel. "Three piano sonatas by Friedrich Kuhlau." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/29227.

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Friedrich Kuhlau (1786-1832) ranks as a minor master of the early nineteenth century. As a composer of keyboard music he is perhaps best known for his sets of sonatinas, but the twenty-two sonatas he composed from 1809 to 1831 form a significant part of his extensive output. This study examines three of his sonatas -- Op. 4, Op. 46 No. 2 and Op. 127 -- and places them in historical context through a discussion of the importance of this genre in the repertoire of that era. A survey of contemporary keyboard performance practices is also included, as well as an introductory biographical sketch. Kuhlau's style is undeniably conservative, with phrases of regular and predictable length in evidence throughout, and his music is often derivative of that of earlier composers from C.P.E. Bach through Beethoven. However, his works also reflect numerous traits of early Romanticism. They are melodically rich, widely spaced sonorities are frequently employed, and his textures range from delicate nuances to thickly scored passages. From a purely pianistic point of view, he displays a fondness for scalewise and arpeggiated passages so often used to excess by lesser composers of his era, but he also clearly demonstrates that he was aware of more innovative approaches to keyboard writing. Throughout history, countless minor composers such as Kuhlau were highly respected during their lifetimes; nevertheless, most of their compositions, including those under consideration here, have not survived on the concert stage. Consequently, there exists a vast body of literature of which little or nothing is known. It is both necessary and useful to study such works in order to gain a more complete understanding of music of their period. Moreover, a closer examination of them might well lead to a reassessment of their worth, which in turn may encourage more frequent performances.
Arts, Faculty of
Music, School of
Graduate

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9

Chiu, Yi-Chen. "An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505211031612502.

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10

Lansdown, Louise. "Paul Hindemith's sonatas for viola and piano." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/50056.

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Thesis (MMus) -- University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This dissertation is an account of Paul Hindemith's life between 1919 and 1939 with special reference to his compositional development through the three sonatas for viola and piano. The introduction to the dissertation initially provides a list of Hindemith's vast output for the viola followed by insight into the reason and need for undertaking this research, literary sources used and their function in the context of this study and the conclusion that there is a lack of extant research on the three sonatas for viola and piano. This is followed by comments on Hindemith as a viola player and composer, supported by opinions of scholars and performers. An overview of the contents and aim of the dissertation completes the introduction. This first of the two comprehensive chapters briefly discusses Hindemith's character traits as viewed by a number of scholars and continues by introducing the political, social and financial circumstances in Germany in 1919. The chapter progresses into a division of the period 1919-1939 into six sub-sections of dates within this time span. Each section focuses on the political, financial and musical circumstances in Hindemith's life, with special attention given to the periods of greatest change and conflict. Included in this chapter are also the specific circumstances surrounding the composition, first performances and publication of the three sonatas for viola and piano, alongside mention of other works written at the same time. This is supported by references and quotations from correspondence between Hindemith and his wife, colleagues and friends, as well as translations of newspaper articles, letters and articles which thus far have not been translated into English. Special attention is given to possible reasons for the late publication of op.25 no.4 in 1977. Chapter 2 looks deeper into the significance, success and development of Hindemith through these three works. His stylistic development beginning with the influences of Debussy and Reger, his identification with the 'Neue Sachlichkeit' until the beginning of his later conservatism can be seen clearly in these three works. The aim of the study is to assimilate the available information into an accurate and coherent picture of the composer's life and stylistic development between 1919 and 1939 in a way that has not been presented before. It is my intention through this work that the unique style of the sonatas as well as their important place in the viola repertoire is apparent, and consequently of interest to other viola players, hopefully encouraging them to play the works themselves.
AFRIKAANSE OPSOMMING: In hierdie tesis word Paul Hindemith se lewe tussen 1919 en 1939 beskryf, met spesiale verwysing na sy ontwikkeling as komponis soos dit waargeneem kan word in die drie sonates vir altviool en klavier. Die inleiding tot die tesis verskaf 'n lys van Hindemith se omvangryke oeuvre vir die altviool, gevolg deur 'n motivering waarom hierdie studie onderneem word. Die omvattende literatuurstudie dui daarop dat daar tot op datum baie min navorsing oor die drie altvioolsonates gedoen is. Vervolgens word kommentaar gelewer op Hindemith as altviolis en komponis, ondersteun deur opinies van uitvoerende kunstenaars en musikoloë. 'n Oorsig oor die inhoud en die doelstellings van die tesis sluit die inleiding af. Die eerste van die twee omvattende hoofstukke begin met 'n bespreking van Hindemith se karakter, gevolg deur 'n oorsig oor die politieke, sosiale en ekonomiese omstandighede in Duitsland rondom 1919. Die tydperk 1919-1939 word dan in ses onderafdelings verdeel. Elke onderafdeling plaas die fokus op spesifieke politieke, finansiële en musikale omstandighede in Hindemith se lewe. Die jare waarin konflik en verandering op besondere wyse na vore tree word meer omvattend bespreek. Teen die agtergrond van ander werke uit hierdie tyd word die spesifieke omstandighede rondom die komposisie, eerste uitvoering en publikasie van die drie altvioolsonates in detail beskryf. Dit word aangevul deur verwysings na en aanhalings uit korrespondensie tussen Hindemith en sy vrou, kollegas en vriende, sowel as deur vertalings van koerantartikels en briewe wat tot dusver nog nie in Engels beskikbaar was nie. Hoofstuk 2 plaas die klem op Hindemith se stilistiese ontwikkeling, soos dit in the drie sonates waargeneem word. Die sonates illustreer Hindemith se ontwikkeling vanaf sy bewondering vir Debussy en Reger, oor sy vereenselwiging met die ideale van die 'Neue Sachlichkeit' tot by die meer konservatiewe benadering wat hy later gevolg het. Hierdeur word gepoog om die unieke waarde van die sonates, asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel. Die doel van die studie is dus om die beskikbare inligting tot 'n samehangende en akkurate beeld van die komponis se lewe en stilistiese ontwikkeling tussen 1919 en 1939 te voeg op 'n wyse wat nog nie voorheen gedoen is nie. Hierdeur word gepoog om die unieke waarde van die sonates asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel.

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Stomberg, Eric. "The bassoon sonatas of victor Bruns an analytical and performance perspective (with an annotated bibliography of works for bassoon) /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085628883.

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12

Yang, Eun-Kyoung. "The Piano Sonatas of Carl Vine: A Guideline to Performance and Style Analysis." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1048801477.

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Thesis (D.M.A.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains ix, 97 p.: ill., music. Includes abstract and vita. Advisor: Caroline Hong, School of Music. Includes bibliographical references (p. 96-97).

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13

Fosheim, Karen Marie. "Similarities between two dissimilar American piano sonatas of the 1960s: The second piano sonatas of Robert Muczynski and Robert Starer." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186663.

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Two significant American composers, Robert Muczynski (b.1929) and Robert Starer (b.1924), composed piano sonatas in the years 1964-66, despite the tendency of other composers of the time to utilize less traditional structures. The second Sonatas of Muczynski and Starer are intricately conceived, finely crafted, and worthy examples of mid-century trends in American composition and they give evidence of the continuing viability of the sonata form. This study will examine the stylistic similarities between two works that utilized, paradoxically, differing methods of compositional technique. These men chose different compositional languages, yet they chose the same formal structure to organize their work. This study will focus on those features that are style-determinant. I believe that many of the common stylistic traits present in the second piano Sonatas of Robert Muczynski and Robert Starer may be a result their common environment, as contemporary trends common to the culture of composers can have a significant influence on the style of their works.

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14

Kwon, Jun. "Beethoven's two-movement piano sonatas and their predecessors." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212077710.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisor: Frank Weinstock. Title from electronic thesis title page (viewed Sep. 4, 2008). Includes abstract. Keywords: Beethoven Piano Sonata; Two-movement Sonata. Includes bibliographical references.

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15

Murakami, Kazuo. "Japanese piano sonatas: a discussion and performance guide." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2748.

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Japan has been influenced by Western culture since the end of the nineteenth century when the country opened its doors to the outside world. In 1873, the Japanese government adopted a policy of thorough and rapid modernization and westernization, including its music. Japanese composers of westernized music became active around 1900, and often worked in three idioms: 1) a Western-style composition, which was influenced by German and French music, 2) a Japanese-style, which blended traditional elements such as the pentatonic major and minor scales from Japanese music with the compositional constructs of Western music, and 3) a globalization-style, which combines Western, Japanese and other musical elements in a post-modern tradition. Their compositions are unique, and make a significant contribution to the music available to performers. However, after conducting a survey, this author found that most American musicians have no knowledge of Japanese composers and their piano works. This essay will specifically examine Sonata pour piano (1958) by Akira Miyoshi (b. 1933) and Sonata pour piano (1961) by Akio Yashiro (1929-1976).

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KWON, JUN. "Beethoven's Two-Movement Piano Sonatas and Their Predecessors." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212077710.

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17

Hammond, Rachel. "Rhythmic and metric structure in Alberto Ginastera's piano sonatas." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4912.

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Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career. The Sonata No. 1 for Piano Op. 22 (1954), Sonata No. 2 for Piano Op. 53 (1981), and Sonata No. 3 for Piano Op. 54 (1982) have been analyzed and discussed in recent scholarship. Theorists have identified Western techniques such as sonata-rondo form, serialism, and symmetry in his compositions. Yet, when addressing rhythm, scholars have focused primarily on highlighting the Argentine dance or Amerindian rhythm that the music exemplifies and have neglected to apply Western analytical tools for analyzing rhythm. The goal of this paper is to approach rhythm and meter in the piano sonatas from a new perspective in order to identify Ginastera's Western European musical techniques. Attention will be given to Ginastera's use of and denial of metric hierarchy and periodicity. The paper will also focus on consonant and dissonant rhythms in the piano sonatas, as well as additive and subtractive rhythms. Because any discussion of rhythm and meter in Ginastera's music cannot ignore its nationalistic origins, the paper provides an introductory chapter that discusses Argentine dance rhythms. However, the bulk of the paper aims to provide analyses from a Western art music viewpoint that illustrate Ginastera's compositional manipulation of rhythm and meter.
ID: 030422756; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 70-71).
M.A.
Masters
Music
Arts and Humanities

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18

Lai, Wei-Ya. "Beethoven's late style in his last five piano sonatas." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1243014360.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: David Carson Berry. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: Beethoven; piano sonatas; late style. Includes bibliographical references.

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19

Choi, Yoon-Sook. "Humor in the piano sonatas of Wolfgang Amadeus Mozart /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11200.

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Daniel, Ryan James. "The piano and violoncello sonatas of Ludwig Van Beethoven." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/10390.

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Ludwig van Beethoven's Sonatas for Piano and Violoncello have been somewhat neglected in terms of published study. Drabkin (1991a, n.p.) considers that the early sonatas "have received far less attention than they deserve", a deficiency which Lockwood attributes, in the case of the cello sonatas in particular, to the portrayal of Beethoven's early compositions as "forerunners of later greatness [rather] than as significant products of their own time and circumstances" (1986, 17). Given the enormity of the composer's entire works, and the stature of his symphonies, concertos, piano sonatas, choral works and string quartets, it is perhaps not surprising that relatively little attention has been paid to the cello sonatas. Yet, according to Stevens, these works "are so well embedded in the repertory that they claim immediate discussion" (1957, 263). Musicologists such as Fortune consider the opus 5 sonatas to be "among the finest of Beethoven's early works" (1973, 210). In addition, the cello sonatas fall into the category of chamber music for piano and strings, a body of works which Marston feels contains "extraordinary stylistic development" (1991b, 228). Chapter one provides a background to the development of the cello, the origin's of Beethoven's piano and cello sonatas, and a general discussion of the composer's stylistic periods. Each of chapters two to six contains a study of one of the five sonatas, looking specifically at two areas: the combination of the piano and the cello, and the form and structure. In chapter seven, thematic unity is discussed. The conclusion contains general observations about the sonatas formed during the writing of this dissertation.

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Song, Soomi. "The Development of Expressionism in Alexander Scriabin’s Piano Sonatas." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535701694022433.

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Seidel, John A. (John Allen). "The Trombone Sonatas of Richard A. Monaco." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330825/.

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This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.

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Campbell, Grace M. "Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc279098/.

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When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit "invariance under a transformation."

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Cadieux, Marie-Aline. "The Cello and Piano Sonatas of Emilie Mayer (1821-1883) /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu148818776384735.

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Harper, Nancy Lee. "The Piano Sonatas of Rodolfo Halffter: Transformation or New Techniques?" Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331911/.

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The Piano Sonatas of Rodolfo Halffter (b. 1900, Madrid, Spain) represent an important body of literature not widely known nor understood for their historical importance and Spanish heritage. The entire development of Halffter's compositional style, which embraces three periods of composition, may be traced through these sonatas. The modes of composition may be seen not to be separate and distinct but as having inter—relationships which therefore affect the outcome of Halffter's final dodecaphonic technique. The culmination of his serial method is found in the Tercera Sonata, op. 30. At first glance, this work appears to be a radical departure from the former styles. However, a more in-depth study reveals this sonata to be the logical outgrowth of earlier compositional techniques, thereby blending diverse, eclectic elements into a unique and homogenous application, all Halffter's own. Forced to flee his native country in 1939, Halffter became the first composer in Mexico to use twelve-tone techniques. Together with Carlos Chavez, he exerted great influence on the present generation's group of Mexican composers. Halffter today remains a crucial link in the continuation of the Spanish tradition as exemplified by his former mentor, Manuel de Falla. A brief explanation of Falla s theory of resonance including sketches in Falla's handwriting as well as portions of the unpublished analysis of Halffter's Tercera Sonata are presented, perhaps for the first time. This study reveals how Halffter manipulates many Spanish elements which are found in the ancient cante iondo and the string tunings of the guitar in addition to the use of acciacaturas and the internal rhythm of Domenico Scarlatti into a personalized idiom which remains apparent throughout all his compositional styles. An analysis of Halffter s Tercera Sonata shows that the final period is characterized by a unique blending of Falla's "apparent poly-tonality" with the twelve-tone system of Arnold Schoenberg.

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Perkyns, Jane E. Gormley. "An analytical study of Elliott Carter's piano sonata." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31114.

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This analytical study of Elliott Carter's Piano Sonata focuses on middleground structural aspects found in the work such as phrases, phrase groupings, cadences and note collections. These are examined under four main headings: The Articulation of Phrases looks at the division of large passages into phrases, showing the various ways in which new phrases are marked. These include sudden changes in texture and register, restatements of thematic material, and recurring characteristics that appear at important cadential points. The Unification of Extended Passages by Middleground Stepwise Motion focuses on the rising linear motion that connects the individual phrases of many of these larger passages. Correlations between thematic material and phrase contours are also explored. The Relationship of Vertical Intervals and Note Collections to the Character and Phrase Rhythm of Particular Passages further examines phrase articulation by means of changes in note collections, with distinctions among phrases arising from the correlation of consonant vertical intervals with passages of linear motion and dissonant vertical intervals with passages that are more static. Anticipation and Overlapping of Materials describes an important aspect of the Sonata's overall structure in which themes and motives, as well as characteristic intervals of these materials are used to link the two movements of the work by a network of anticipations and flashbacks. An examination of the final climactic Maestoso section of the first movement (mm. 252-264) provides a summary of the various compositional aspects described in this study.
Arts, Faculty of
Music, School of
Graduate

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27

Barany-Schlauch, Elizabeth A. "Alexander Scriabin's ten piano sonatas : their philosophical meaning and its musical expression." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1239362920.

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Morris, Gregory W. (Gregory Wayne). "Copland's "Single Vision" and the Piano Sonata: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, B. Bartok, L.v. Beethoven, F. Chopin, F. Liszt, W.A. Mozart, J.P. Rameau, M. Ravel, and F. Schubert." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331476/.

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Difficulties are encountered in any discussion of Copland's style, for his works cover the spectrum from harsh, dissonant works to folk music. To avoid the task of defining a style which encompasses this array of vastly different pieces, a sharp distinction is frequently made between the abstract and popular works. However, Copland has repeatedly objected to such categorization, claiming that he composed from a single vision. A careful examination of his total output proves the validity of his claim. Many common characteristics are found throughout works from all categories and time periods. These traits include a basic economy of materials, emphasis on thirds, consistent method of development, use of declamation, jazz-influenced rhythms, cyclicism, and a slow/fast/slow sequence of movements, as well as within single movements. This document uses the Piano Sonata as a model of Copland's style, for it exemplifies these characteristics more clearly than any other major piece for piano. By making numerous comparisons with other works, Copland's single vision is revealed.

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Jones, Everett N. III. "Intervallic coherence in four piano sonatas by George Walker an analysis /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1119363851.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2005.
Title from electronic thesis title page (viewed Feb. 26, 2006). Includes abstract. Keywords: George Walker. Includes bibliographical references.

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Joo, Hyun-Jung. "The ten sonatas for piano and violin by Ludwig van Beethoven." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9712.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Bastos, Patrícia Carla Ferraria Lopes. "As sonatas e sonatinas para piano solo de Fernando Lopes-Graça." Doctoral thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/8976.

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Doutoramento em Música
Neste projecto abordamos o estudo das sonatas e das sonatinas para piano solo de Fernando Lopes-Graça na teoria e na prática. É o próprio compositor quem nos indica o caminho para uma melhor compreensão da sua arte: a linguagem dos sons. Tenta-se fundir o conhecimento adquirido por meio da investigação com a interpretação pianística, numa prédica semelhante à Interpretação Histórica (‘Performance Practice’). Na Primeira Parte (theoria) expõem-se dados factuais com uma introdução à vida e obra deste artista português, a sua relação com o piano e o conceito de forma no processo criativo. Na Segunda Parte (poiesis), a análise das sonatas e das sonatinas é feita aplicando diferentes perspectivas para uma melhor dilucidação de cada obra. A Terceira Parte (praxis) inclui as diversas actividades exercidas ao longo deste trabalho, nomeadamente conferências e concertos, a edição revista das seis sonatas e duas sonatinas (com base no estudo analítico das obras), publicada pela Universidade de Aveiro, e um CD-ROM, com os quadros descritivos, gráficos, imagens dos originais manuscritos e gravações áudio interpretadas por Patrícia Lopes Bastos.
In this project, we undertake the study of the sonatas and sonatinas for piano solo by Fernando Lopes-Graça in theory and practice. It is the composer himself who indicates the way to better understand his art: the language of sound. We try to blend the knowledge obtained through investigation with performance practice. In Part-I (theoria) we expose factual data with an introduction to the life and work of this Portuguese artist, his relation to the piano and the concept of form in the creative process. In Part-II (poiesis), the analysis of the sonatas and sonatinas is made applying different perspectives for a better dilucidation of each piece. Part-III (praxis) includes the different activities developed along this work, namely conferences and concerts, the reviewed edition of the six sonatas and two sonatinas (based on the analytical study of these pieces), published by the Universidade de Aveiro, and a CDROM, with the descriptive charts, graphics, images of the original manuscripts, and audio recordings performed by Patrícia Lopes Bastos.

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Dilema, Mauro. "Carlos Seixas: 25 sonatas para instrumento de tecla interpretadas ao piano." Doctoral thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/18403.

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A interpretação no piano moderno da colectânea de 25 sonatas de Carlos Seixas, editadas por Santiago Kastner, baseada no estudo analítico de três sonatas, selecionadas pela particularidade de melhor representarem as estruturas das composições de Seixas. As problemáticas do uso do pedal, dedilhação, timbre, toque, resolução dos ornamentos e dinâmica. A interpretação historicamente informada baseada nos antigos tratados de interpretação e nos estudos mais recentes. A metodologia da interpretação. Contextualização histórica, organológica e bibliográfica; ABSTRACT: The interpretation in the modern piano of the collectanea of 25 sonatas of Carlos Seixas, edited by Santiago Kastner and based on the analytical study of three sonatas, selected for the particularity of better representing the structures of Seixas compositions. The problematic on the use of the pedal, fingering, tone, touch, ornaments resolution and dynamics. Historically informed interpretation, based on the old treatises and in the most recent studies. The methodology of the interpretation. Historical, organological and bibliographical contexts

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Rooi, Pieter. "Aspects of Schubert's compositional style as displayed in selected piano sonatas." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7976.

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JONES, EVERETT N. III. "INTERVALLIC COHERENCE IN FOUR PIANO SONATAS BY GEORGE WALKER: AN ANALYSIS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1119363851.

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Kwak, Stacy (Stacy Joo Yeon). "Michael Tippett's Piano Sonata no. 1 : A Study of His Eclectic Approach to the Sonata Form in the Twentieth Century, With Three Recitals of Selected Works by Beethoven, Bartok, Bach/Busoni, Schumann, Mozart, Ginastera, Barber and Chopin." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935637/.

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The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4). In addition to the lecture recital given on February 1, 1999, three others were given: the first recital, on April 3, 1995, contained works by Beethoven, J.S. Bach/Busoni, and Bartok: the second recital, on February 5, 1996, included works by Schumann, Mozart, and Ginastera: and the third recital, on January 2, 1998, featured works by Barber and Chopin.

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Tentser, Alexander. "The second piano sonata by Dmitrii Shostakovich a style analysis /." Full text available online (restricted access) Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/9713417.pdf.

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Lin, Chia-Hsing. "A Performer’s Guide to Interpretive Issues in Schubert’s Late Piano Sonatas, D. 958, D. 959 and D. 960." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1330023742.

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Kao, Lo-Chien. "Master's thesis recital (collaborative piano)." Thesis, 2012. http://hdl.handle.net/2152/23777.

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Bie Mannern, welche Liebe fuhlen from Die Zauberflote / W. A. Mozart -- Seven variations on Bei Mannern, welche Liebe fuhlen / L. v. Beethoven -- Sonata for bassoon and piano / A. G. Previn -- Sonata for cello and piano in G minor, op.19 / S. Rachmaninoff.
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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2011. http://hdl.handle.net/2152/16988.

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Koch, Nathan. "Doctoral thesis recital (bassoon)." 2010. http://hdl.handle.net/2152/15888.

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Chiu, Ying-Ting. "Repertoire from the Gillet-Fox Competition and its importance to the bassoon literature." 2007. http://hdl.handle.net/1903/9736.

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Chen, Pei-Chi, and 陳姵錡. "PEI-CHI CHEN BASSOON RECITAL WITH A SUPPORTING PAPER ANALYSIS AND INTERPRETATION OF HINDEMITH’S SONATA FOR BASSOON AND PIANO." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/mfp7qr.

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碩士
國立交通大學
音樂研究所
101
The German composer Paul Hindemith (1895-1963) combines the concept of modern music with his adoration of traditional music, such as baroque polyphony, classic musical style and form of homophony, which made him the representation of Neoclassicism of the early 20th century. Sonata for Bassoon and Piano was composed in 1938 and made his debut in the same year in Zurich, while Hindemith sketched his theoretical book Unterweisung im Tonsatz published in 1939. In Bassoon Sonata, Hindemith utilized the theories in the Unterweisung im Tonsatz as the fundamentals for the composition. In addition of the usage in classical music form, this sonata is characterized as one of the favorite works in neoclassical style. This thesis approaches the subject of compositional techniques of Bassoon Sonata by using the theory of central tone and classical music. This analysis focus on form, harmonics and motives of each movements in order to understand the musical ideas of Hindemith’s creation, and interprets an approach close to the musical thoughts of Hindemith’s Sonata for Bassoon and Piano.

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Liu, I.-Ju, and 劉怡汝. "An Analysis and Interpretation of Hurlstone’s Sonata in F major for Bassoon and Piano." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/kkxdtd.

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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Lee, I.-Chia, and 李憶佳. "I-CHIA LEE BASSOON RECITAL WITH A SUPPORTING PAPER THE ANALYSIS AND INTERPRETATION OF SONATA FOR BASSOON AND PIANO, OP. 168 BY C. SAINT-SAËNS." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/32928278714755934106.

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碩士
國立交通大學
音樂研究所
99
The life of the French composer Camille Saint-Saëns (1835-1921) spanned across the 19th and 20th centuries. He wrote a large variety of works, the most successful ones being those based on the Viennese classical models. His last work of 1921, the sonata for bassoon and piano op. 168, not only promoted the development of French instrumental music, but also contributed significantly to the relatively rare bassoon repertoire. Though written in the early twentieth century, a time of stylistic confusion and on the verge of tonal collapse, Saint-Saëns still used the romantic music vocabulary, and adhered to the norms of tonality and harmony. This paper first sets the style and technique of Saint-Saëns against the background of contemporary European music, then focuses on the analysis of this work to understanding Saint-Saëns’s creative idea, and to enhance the performance and interpretation of this work.

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Chu, Sing-Ting, and 居昕庭. "The Analysis and Interpretation in Performance of the Sonata for Bassoon and piano op.168 by Charles Camille Saint-Saëns(1835-1921)." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/ckbqg6.

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碩士
東吳大學
音樂學系
107
Saint-Saëns, who was raised by his mother, has played a great musical talent since childhood. By emphasizing Beethoven and Classical Period works, he valued the stable harmony and the contradiction in compositions. Saint-Saëns pursued a pure musical style and perfect form throughout his life. Besides, Saint-Saëns was greatly influenced by his friend Liszt in composition. The multiple identities of Saint-Saëns also influenced his composition. In 1871, Saint-Saëns founded the "National Society of Music" to make it a spiritual symbol and learning index for the new generation of French composition, which influences on French music is indispensable. In 1891, he would like to compose a sonata for six wind instruments. However, Saint-Saëns has only completed three sonatas before his death, Sonata for Clarinet and Piano(Op.166), Sonata for Oboe and Piano(Op.167) and Sonata for Bassoon and Piano(Op.168). The study first focused on the personal life of Saint-Saëns and his composition. Secondly, the study gradually analyzed each movement. The last is the author’s interpretation as the conclusion of this study.

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CHANG, PAO YI, and 張寶藝. "Schubert Piano Sonatas." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/73554252667469935755.

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Cheng, Chia-Chun, and 張嘉純. "Frederic Francois Chopin Piano Sonatas." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/78527036391621925430.

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Birmingham, Lindsay Kubík Ladislav. "Trio for clarinet, bassoon and piano." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-09172003-161756/.

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Thesis (M.M.) -- Florida State University, 2003.
Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-27-04). Document formatted into pages; contains 38 pages. Includes biographical sketch.

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Chen, Zhishuai. "Doctoral thesis recital (piano)." Thesis, 2013. http://hdl.handle.net/2152/23808.

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