Relevant bibliographies by topics / Sonatas (Saxophone and piano)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sonatas (Saxophone and piano)'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Sonatas (Saxophone and piano)"

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Громченко, В. В., and К. О. Мальцева. "Masterpieces by Ukrainian composers for saxophone as the problem solo academic wind repertoire." Музикознавча думка Дніпропетровщини, no. 13 (August 15, 2018): 140–50. http://dx.doi.org/10.15421/221813.

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The purpose of this scientific article is in determination of specialized reasons, relatively reduced concerning decreased composers attention to concert-solo academic saxophone performing in the creation of Ukrainian professional authors. The methodology of research is represented by historical method, which is conditioned by maximally wide period of academic art playing saxophone exactly the time of middle of the 19th – the beginning of the 21st centuries. The comparative method is also used by researcher in the article, as segment of methodological instruments regarding detecting of the differences between solo saxophone masterpieces by Ukrainian and foreign composers. The structurally-analytical and generalizing methods are used for making sequence of exposition of scientific material and approving conclusions and also the outlooks of studying of denoted subject. The novelty of scientific research is defined by absence of treatment of the scientists to cause-problem reasons of the decreased attention Ukrainian composers into sphere of contemporary academic concert-solo saxophone performing. The novelty of this article is also delineating remained scarcely explored masterworks for saxophone of Ukrainian composers exactly Sonata for saxophone with piano accompaniment by V. Falkova and piece „In the morning from the high castle” for saxophone solo by Z. Kovpak. Conclusions. The cause-consecutive preconditions, reasons of decreased composer’s attention to concert-solo academic saxophone performing in the creation of Ukrainian authors are determining as historical conditionality, specifically by facts appearance of saxophone family with their ensemble-orchestra nature functioning, and absence composer’s practice from the side of famous saxophonists-players. Among the reasons of low number of domestic solo musical works for saxophone are the low level of creative communication artistic creative communicability of artist with native composers.
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Cairns, Zachary. "Interval-Class Succession Graphs in Edison Denisov's Sonata for Alto Saxophone and Piano." Music Theory and Analysis (MTA) 5, no. 2 (October 31, 2018): 117–46. http://dx.doi.org/10.11116/mta.5.2.1.

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Ehrlich, Cyril, and Schnabel. "Beethoven: Piano Sonatas." Musical Times 133, no. 1787 (January 1992): 30. http://dx.doi.org/10.2307/966242.

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Keefe, Simon P. "Mozart's piano sonatas." Early Music XXVI, no. 2 (May 1998): 336–37. http://dx.doi.org/10.1093/earlyj/xxvi.2.336.

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

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FEINBERG: Piano Sonatas Nos. 1, op.1 (1915)1, 2, op.2 (1915–16)2, 3, op.3 (1916)2, 4, op.6 (1918)1, 5, op.10 (1920–21)1, 6, op.13 (1923)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1413.FEINBERG: Piano Sonatas Nos. 7, op.21 (1924–28)2, 8, op.21a (1933–34)2, 9, op.29 (1939)1, 10, op.30 (1940–44)1, 11, op.40 (1952)1, 12, op.48 (1962)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1414.
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DURAND, JÚLIA. "‘Romantic Piano’ and ‘Sleazy Saxophone’." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 23–45. http://dx.doi.org/10.3828/msmi.2020.3.

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Library music is currently used in countless audio-visual contexts, from documentaries to YouTube videos. It has become an essential resource for video editors and a relevant source of revenue for composers. Although this pre-existing music is rapidly gaining significance and more varied uses, it still has a reputation in musicological scholarship of being uninteresting and stereotyped. By organising their music in neatly labelled drawers, library music catalogues appear to present a vision of sonorities closely aligned with narratives and images. However, the very same piece may sometimes be heard in widely different contexts. Drawing from an examination of the catalogues of two European library music companies, Audio Network and Cézame, as well as from interviews with composers and music consultants, I focus on how the categories, titles, and descriptions of library music tracks play a relevant role, even a decisive element, in their composition and subsequent use. Taking as examples such categories as ‘romantic’ and ‘erotic’, it is possible to show that these texts reflect and, simultaneously, reinforce widespread narrative and musical conventions in cinema and television. Such classifications potentially contribute to negative views about library music, by making apparent its fundamental organisation around standardised categories and recurrent musical clichés.
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Kemova, Ksenia S. "Sonatas for Piano Four Hands by Muzio Clementi." Observatory of Culture 18, no. 5 (October 29, 2021): 506–19. http://dx.doi.org/10.25281/2072-3156-2021-18-5-506-519.

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The article considers seven sonatas for piano four hands by Muzio Clementi. The relevance of the research is accounted for by the attention paid by performing piano duos to the four-hand repertoire in its diversity. In this connection, there is a necessity of a theoretical analysis of this topic, which has not yet been discussed in music science. The article aims to trace the evolution of Clementi’s sonatas for piano four hands, outline the historical context of their creation, and identify their typical features. The research suggests a two-aspect approach to the analysis of the sonatas: they are looked at from the point of view of the evolution of the composer’s style in the period 1779—1786, as well as in terms of the thematic process, sonata structure and four-hands piano texture.Clementi’s duet sonatas (belonging to the number of early four-hand works, together with the sonatas by W.A. Mozart, J.C. Bach, Ch. Burney) form a line reflecting his life impressions and representing his creative search. The first three sonatas for piano four hands — as an integral part of op. 3 — were written and published in London at the time when Clementi was gaining a reputation of a virtuoso and teacher. The sonata that opens op. 6 appeared in Paris, where Clementi started his European tour; it reflects his interaction with the contemporary music phenomena. Op. 14, which consists of three sonatas for piano four hands, was inspired by young composer’s romantic experience during his stay in Lyon (it is dedicated to Maria-Victoria Imbert-Colomes); the work sums up his achievements in this genre. Researchers list the sonatas of op. 14, which are full-fledged concert works, among Clementi’s best works and rank them on a par with four-hand sonatas by Mozart. In general, the sonatas show a tendency towards the unity of form, common thematic features within a piece, diversity of texture.It is fair to say that the sonatas for piano four hands, as well as the composer’s solo sonatas, became for Clementi a field of experiments in the sphere of piano — an instrument to which he devoted his performing, teaching and, eventually, business activities. The temperament and expression of Clementi’s sonatas, combined with their virtuosity, makes them concert compositions that can sound impressively on the big stage in the modern situation. At the same time, they can also be an excellent training material for performers of different levels.
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Fisk, Charles. "Beethoven's Piano Sonatas: A Short Companion, and: Playing the Beethoven Piano Sonatas (review)." Notes 59, no. 2 (2002): 344–46. http://dx.doi.org/10.1353/not.2002.0168.

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Del Real Barreto, Cristian Job. "Las sonatas woo 47 de beethoven. su importancia en el conjunto de las sonatas para piano." Ricercare 2017, no. 7 (September 19, 2017): 43–67. http://dx.doi.org/10.17230/ricercare.2017.7.3.

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El objeto de estudio de la presente investigación, en este caso, las sonatas tempranas para piano de Ludwig van Beethoven, como piezas esenciales en el repertorio pianístico de la historia de la música académica. El tema de investigación surge por la reciente publicación (2007) del conjunto completo de ellas, en una edición crítica, de las 35 sonatas para piano por el profesor Barry Cooper, reconocido especialista en Beethoven. Ésta es la única edición moderna que incluye, desde el principio, las tres sonatas WoO 47 y las siguientes 32 ya conocidas. Nuestra revisión está orientada a recopilar información de las tres Sonatas WoO 47 de Beethoven y la importancia de estas composiciones en el repertorio para piano del compositor. El presente artículo busca entonces mostrar como justificable la inclusión de estas obras en el catálogo de las sonatas completas para piano del compositor alemán, mediante la recopilación de fuentes a su respecto y la valoración de sus dificultades técnicas para el instrumento.
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Fillion, Michelle, and John Irving. "Mozart's Piano Sonatas: Contexts, Sources, Style." Notes 56, no. 2 (December 1999): 406. http://dx.doi.org/10.2307/900019.

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Dissertations / Theses on the topic "Sonatas (Saxophone and piano)"

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Kallestad, Scott D. "An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour Alto Saxophone Et Piano." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/kallestad%5Fscott%5Fd/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Sept. 18, 1995, Mar. 11, 1996, and Mar. 22, 2004. Includes bibliographical references (p. 90-95).
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Lichnovsky, Michael Wade. "Australian sonatas for alto saxophone and piano: new editions and performance guides for three works by major australian composers." Diss., University of Iowa, 2008. https://ir.uiowa.edu/etd/30.

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This project has come about because of the need for Australian saxophonists to develop an awareness of saxophone history and culture in their own country. Dulcie Holland, William Lovelock and Margaret Sutherland were artists who were active and influential in the areas of performance, composition and pedagogy, helping to create and promote the musical arts in Australia during the first half of the twentieth century. The high regard in which they are held should be evidence enough that their works for saxophone must be performed by their fellow Australians as a part of a well rounded, international exposure to the very best repertoire available. Saxophonists in Australia will be able to place themselves in a relevant world context only when they are fully aware of the heritage their instrument has in their own country. The present editions (created using the type-setting software Sibelius 4) seek to make performance considerably easier by eliminating the need to use the composer's autograph manuscripts, which are sometimes difficult to read and understand, due to poor hand-copying or repeated photocopying which has subsequently made some pages illegible. The accompanying performance guides are designed as introductions, the first step for the young student wishing to tackle these national treasures.
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Oxford, William Todd Franck César. "A transcription of César Franck's Sonata in A major for the baritone saxophone." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008249.

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Dunbar, Sarah. "Tommy Smith's Two Sonatas, "Hall of Mirrors" and "Dreaming with Open Eyes": A Performance Guide and Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538774/.

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Tommy Smith is considered by many to be one of the greatest jazz saxophonists not only in Scotland, but world-wide. Celebrated for his virtuosic performance skills, tremendous compositions, and prized albums in the jazz idiom, Smith has also had great success as a composer and performer of the classical genre. Fusing the styles of jazz and classical, he composed and recorded two sonatas, entitled, Sonata No. 1 - Hall of Mirrors and Sonata No 2. - Dreaming with Open Eyes, on his 1998 album, Gymnopédie: The Classical Side of Tommy Smith. Unique pieces, they are not considered standard repertoire in the classical saxophone world, however, they are welcomed, substantial works for either the soprano or tenor saxophone and piano. Composed in a classical style and performed with jazz inflections and improvisation, these sonatas are challenging pieces to learn and execute at a high level. For many classical saxophonists, improvising a cadenza or utilizing standard jazz performance techniques could dissuade them from performing these terrific, distinctive works. This study is intended to aid in the learning and presentation of these two pieces, and includes transcriptions from Tommy Smith's album, errata, and performance analyses for each sonata.
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LONG, JEREMY A. "Sonata for Alto Saxophone and Piano by Phil Woods: An Improvisation-Specific Performer's Guide." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218819411.

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Long, Jeremy A. "Sonata for alto saxophone and piano by Phil Woods an improvisation-specific performer's guide /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1218819411.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisors: James Bunte (Committee Chair), Rick VanMatre (Committee Member), Kim Pensyl (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: Phil Woods; Improvisation; Saxophone; Crossover; Performer's Guide; Sonata; Jazz Includes bibliographical references.
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VanPelt, Michael O. "A Performers Guide to the Music of Edison Denisov: Understanding the Interpretive Implications of his Musical Language in Sonata for Alto Saxophone and Piano, Deux Pieces, and Sonata for Alto Saxophone and Cello." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384427385.

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Leone, Carol (Carol S. ). "Interpreting the Rhythmic Structures of Paul Creston as Applied in the Six Preludes for Piano, Op. 38 and the Sonata for Saxophone and Piano, Op. 19." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332479/.

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The general purpose of this paper is the discussion of the interpretation and performance of rhythm within the context of Paul Creston's five rhythmic structures. Specific objectives are to bring to light Creston's unique rhythmic terminology, theories, and structures; and to interpret rhythm at the piano with an emphasis on accent, pedaling, articulation, balance of textures, and pace.
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Hanegan, Brian Scott. "A Performer's Analysis and Improvisational Guide to Jazz Sonata for Soprano Saxophone and Piano (1994), by Ramon Ricker (b. 1943)." Diss., North Dakota State University, 2017. https://hdl.handle.net/10365/26668.

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In the twentieth century, saxophonists are encountering compositions in the repertoire that contain musical elements from both the classical and the jazz idioms. As a result, saxophonists need more technical and improvisational skills to perform these works. Ramon Ricker?s (b. 1943) Jazz Sonata for Soprano Saxophone and Piano (1994) is an example from this repertoire that draws on both of these traditions. This disquisition presents a comprehensive performer?s analysis and improvisational guide to each of the three movements of Ricker?s Jazz Sonata. In chapters 2, 4, and 6, the analysis chapters, I discuss the specific technically challenging elements within each movement. These elements pertain to altered scales, articulations, accents, and polychord harmonies in the first movement (chapter 2); to tuning, interpretation of the melody, subtone, rapid note passages, and swing style in the second movement (chapter 4); and to pitch, technical passages, accents, syncopated melodies, and interpretation of the melody in the third movement (chapter 6). In addition, musical examples and performance suggestions are provided to elaborate on these specific areas of focus. In chapters 3, 5, and 7, the improvisational guide chapters, I address two improvisational techniques for each chapter that can be used in the solo sections of each movement. These improvisational techniques refer to pentatonic patterns and intervallic or triadpair patterns in the first movement (chapter 3); to the ii?V?I harmonic progression and rhythmicbased method of improvisation in the second movement (chapter 5); and to altered dominant chords and quartal patterns in the third movement (chapter 7). In addition, I have composed a solo for each movement using the two jazz concepts addressed in each chapter. I consulted recent literature by jazz scholars and performers to provide a new perspective on how to develop both the technical prowess and the jazz conceptual prowess needed to perform Ricker?s sonata. This study has also been informed by two interviews I conducted with the composer about this piece. This disquisition is intended as a guide for saxophonists to help them create their own improvised solos in Ricker?s sonata, and, by extension, in other jazzinfluenced works in the saxophone repertoire.
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Powell, Timothy J. "Saxophone sonatas| 1980--2010." Thesis, University of Maryland, College Park, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3557684.

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The purpose of this dissertation project identifies contemporary solo saxophone literature, specifically sonatas between the years 1980 and 2010. The overwhelming majority of repertoire written during these thirty years consisted primarily of either multi-movement or through-composed character pieces. By limiting the selected repertoire to sonatas one can still investigate the breadth of the literature that has helped validate the saxophone in the realm of classical music in a format that has seemingly fallen out of favor with composers.

The saxophone had developed a unique voice by the middle of the twentieth century in both Europe and in the United States. European composers such as Claude Debussy, Florent Schmidt, Jacques Ibert, Darius Milhaud, Alexander Glazounov, Erwin Schulhoff and Bernard Heiden recognized the potential and beauty of the instrument, while the saxophone had found quite a different niche in vaudeville, jazz, and military bands in the United States. If not for the dynamic performances by concert saxophonist such as Marcel Mule, Sigurd Rascher, Jean-Marie Londeix, Daniel Deffayet, Cecil Lesson, Larry Teal, Eugene Rousseau, Fredrick Hemke and Donald Sinta, the timbral possibilities and technical virtuosity of the saxophone would not have been discovered. The awe inspiring performances by these soloists led to the commissioning of a multitude of works by composers looking to expand the sonic possibilities of this relatively new instrument. Through the 1970's American composers such as Leslie Bassett, Paul Creston, Henry Brant, Robert Muczynski, and Karel Husa were writing significant works for the saxophone, while European composers such as Ingolf Dahl, Edison Denisov, Alfred Desenclos, Henri Tomasi and Marius Constant were each making their own contributions, all leading to a significant quantity of repertoire that met the quality demands set by the performers.

The compositions chosen for this dissertation project were selected after numerous performance, pragmatic, programming and pedagogical considerations were taken into account. The three recitals occurred on: March 7, 2010, December 10, 2010 and May 1, 2011 in either the Gildenhorn Recital Hall or Lecture Hall 2100.

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Books on the topic "Sonatas (Saxophone and piano)"

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Sonate, saxophone et piano =: Saxophone and piano = Saxophon und Klavier. Saint-Nicolas, Que., Canada: Doberman-Yppan, 1987.

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Albright, William. Sonata, alto saxophone and piano. [United States?]: Henmar Press, 1990.

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Presser, William. Sonatina for tenor saxophone and piano. [United States]: Tenuto Publications, 1987.

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Nelson, Oliver. Sonata for E♭ alto saxophone & piano. [Germany?]: Advance Music, 1995.

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Hartley, Walter S. Sonata elegiaca: (1987) for alto saxophone and piano. [United States]: Tenuto Publications, 1989.

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David, Diamond. Sonata for E-flat alto saxophone and piano. New York: Southern Music Pub. Co., 1993.

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Dickson, Amy. The Chester alto saxophone anthology. London: Chester Music, 2017.

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Hartley, Walter S. Sonatina giocosa: (1987) for bass saxophone and piano : included are alternate parts for string bass and tuba. [United States]: Tenuto Publications, 1988.

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Baksa, Robert F. Alto sax sonata. [New York]: Composers Library Editions, 1993.

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Scarlatti, Domenico. Piano sonatas. Edited by Hinson Maurice. Van Nuys, Ca: Alfred Pub. Co., 1990.

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Book chapters on the topic "Sonatas (Saxophone and piano)"

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Hinrichsen, Hans-Joachim. "‘Quasi una fantasia’? The legacy of improvisational practice in Ludwig van Beethoven’s piano sonatas." In Musical Improvisation and Open Forms in the Age of Beethoven, 161–77. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315406381-10.

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CAGE, JOHN. "Sonatas and Interludes." In The Piano, 268–71. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.84.

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"The Piano Sonatas:." In Schubert's Reputation from His Time to Ours, 81–116. 3rd Party UK, 2016. http://dx.doi.org/10.2307/j.ctv1q16rdg.10.

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"The last sonatas." In Beethoven's Piano Sonatas, 229–50. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300196139-012.

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Berman, Boris. "Prokofiev: His Life and the Evolution of His Musical Language Prokofiev's." In Prokofiev's Piano Sonatas, 1–21. Yale University Press, 2008. http://dx.doi.org/10.12987/yale/9780300114904.003.0001.

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Berman, Boris. "Prokofiev the pianist." In Prokofiev's Piano Sonatas, 22–47. Yale University Press, 2008. http://dx.doi.org/10.12987/yale/9780300114904.003.0002.

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Berman, Boris. "in F Minor, op. 1." In Prokofiev's Piano Sonatas, 48–56. Yale University Press, 2008. http://dx.doi.org/10.12987/yale/9780300114904.003.0003.

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Berman, Boris. "in D Minor, op. 14." In Prokofiev's Piano Sonatas, 57–74. Yale University Press, 2008. http://dx.doi.org/10.12987/yale/9780300114904.003.0004.

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Berman, Boris. "in A Minor, op. 28." In Prokofiev's Piano Sonatas, 75–83. Yale University Press, 2008. http://dx.doi.org/10.12987/yale/9780300114904.003.0005.

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Berman, Boris. "in A Minor, op. 29." In Prokofiev's Piano Sonatas, 84–101. Yale University Press, 2008. http://dx.doi.org/10.12987/yale/9780300114904.003.0006.

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Conference papers on the topic "Sonatas (Saxophone and piano)"

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Wang, Siwen. "A Brief Analysis of Prokofiev's Three Later Piano Sonatas." In Proceedings of the 1st International Symposium on Education, Culture and Social Sciences (ECSS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ecss-19.2019.70.

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Begutova, Tatiana Sergeevna. "The Significance of Franz Schubert's Piano Sonatas in the Cultural Space." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530460.

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Vlahopol, Gabriela. "TYPOLOGIES OF THE SONATA FORM IN THE PIANO SONATAS OF FRANZ SCHUBERT - LANDMARKS OF CONTINUITY AND INNOVATING ELEMENTS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.028.

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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
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