Dissertations / Theses: 'Sonatas (Violin and piano)'

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Baldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.

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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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Kim, Seong Ae. "Sonata for Violin and Piano." Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.

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My dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances.

The formal shape and material intentions of the piece— the fast-slow-fast tempo profile of the three movements, typical of so much Western music, is anchored conceptually in Korean ideas of "Heung" (communal joy-exploding energy) and "Han" (suffering-repressed energy). Each movement will make reference to a different folk music genre, the first movement alluding to "Sanjo," the second to "Gut," and the third from "Pungmul" (see chart). In addition, each movement will contain gestures from the Korean folk dances "Taepyongmu," "Sal puri," and "Sangmo Dolighi," all of which have different ceremonial functions in traditional Korean society. Each movement will also have its own characteristic folk rhythm pattern. The first movement will be based on an explicit Korean folk tune, while the overarching emphasis thematically in the three movements respectively will be "Garak" (melody), "Puri" (loosening), and "Nori" (fun).

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Redfield, Stephen. "Four selected works by Vincenzo Orgitano (fl. 1759-1805) : resurrecting eighteenth-century accompanied keyboard sonatas as ensemble pieces for intermediate violinists /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music

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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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Lin, Ya-Chiao. "The Two Sonatas for Violin and Piano by a Neglected Composer, Howard Ferguson: A Performer's Analysis." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392371929.

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Theodore, Mary. "The violin and piano sonatas of Charles Ives : a methodical approach to performance with motivic analysis /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11277.

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HÖHMANN, REIKO CHRISTINE. "FOUR TWENTIETH-CENTURY SONATINAS FOR VIOLIN AND PIANO." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1171310483.

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Ritchie, Anthony Damian. "The influence of folk music in Three Works by Béla Bartόk: Sonata No. 1 for violin and piano, Sonata (1926) for piano, and 'Contrasts' for violin, clarinet and piano." Thesis, University of Canterbury. Music, 1986. http://hdl.handle.net/10092/4608.

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It is well known that the compositions of Béla Bartόk are influenced by folk music. Until recently, however, musicologists in the West have treated this aspect of Bartόk's music superficially. By avoiding the folk music influence, their analyses are based on a partial knowledge only of Bartόk and consequently, the conclusions they make are severely limited. The purpose of this study is to delve deeply into the folk music influence on Bartόk's compositional style and to take full account of his ethnomusicological knowledge when analysing his music. In order to do this, I have limited my study to three of Bartόk's works, Sonata No.1 for Violin and Piano (1921), Sonata (1926) for piano and Contrasts for violin, clarinet and piano (1938). These compositions were chosen for three main reasons: first, there is only a relatively small amount written about them to date; second, they represent three different periods in Bartόk's creative life; third, they exhibit a rich variety of folk music sources, not only in terms of genre or nationality, but also in terms of the degree or level of influence. The study is in two parts, together with an introductory section. Part One is concerned with the direct influence of folk music on Bartόk's compositions and includes the imitation of folk genres, vocal and instrumental, and a variety of regions or nationalities. In the works under study, Hungarian folk song is the most prominent resource; this also reflects its foremost position in Bartόk's total output. Although of secondary importance, the instrumental repertoire and idiom has a significant role in all three finales from the Violin Sonata, Piano Sonata and Contrasts. A separate chapter is devoted to the verbunkos idiom in Contrasts, a type of Hungarian art music with roots in folk music. A chapter on the possible influence of the peasants 'sound-world' on Bartόk's style concludes Part One. This term describes the peculiar tonal qualities which Bartόk experienced in folk music. In addition, a section looks at 'mistakes' in the performance of folk music, and Bartόk's imitations of these in his compositions. In Part Two, the indirect influence of folk music is discussed. This concerns general features of Bartόk's style - melody, harmony, tonality, rhythm and form – features that derive from his knowledge of folk music but which do not imitate specific genres or idioms. From intensive analysis of the works under study, it can be concluded that Bartόk's mature compositional language is pervaded with aspects of folk music. This mature language is well displayed in the Piano Sonata and Contrasts (although there are stylistic differences between these two), but in the Sonata No.1 for Violin and Piano (the earliest of the three), a dichotomy still exists between the elements of folk music and art music. In reaching this conclusion, it has been necessary to take into account non-folk influences in Bartόk's music. It has also been essential to examine other theoretical approaches, especially as they pertain to the works under study. Although some concepts and terminology have been adopted from other analysts, I have chosen to work mainly from the music itself rather than follow a particular method of interpretation.

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Kubik, Cécile. "Penser l’interprétation des sonates françaises pour piano et violon au XIXe siècle (1800-1870) : des sources au concert." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040145.

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La thèse considère la double inconnue d’un répertoire et d’un jeu violonistique encore inexplorés. Elle dévoile les sonates françaises pour piano et violon de la période 1800-1870, mais questionne aussi leur interprétation. Une étude historique est menée sur le jeu des violonistes français : la base de données Mélos, deux inventaires inédits, l’analyse de maintes sources et témoignages, notamment un imposant corpus de traités pédagogiques de violon publiés en France au XIXe siècle et les partitions annotées du fonds Baillot de la Bibliothèque nationale de France (BnF), apportent des éclairages originaux sur ce sujet. L’ambition est de construire aujourd’hui, violon en main, une interprétation de ces sonates méconnues et, avec la création d’outils destinés aux interprètes et aux scientifiques, d’œuvrer à leur diffusion
This dissertation addresses the twofold issue of a violin repertoire and a performance practice, both of which had yet to be explored. French sonatas for piano and violin ranging from the 1800s to the 1870s are unveiled. Their interpretation is also discussed. The performance practices of French violinists are studied from a historical perspective. The Melos database, two previously unpublished inventories, the analysis of numerous sources and testimonies, including an extensive corpus of 19th-century French violin methods and the annotated scores from the French National Library’s Baillot collection are used to tackle this question in the light of multiple criteria. The final purpose of this thesis is to combine theory and practice to bring about an interpretation of these little-known sonatas and to foster new tools for interpreters and scientists with a view to promulgate these works

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Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.

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La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violon
A great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin

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Prevost, Roxane. "A transformational analysis of Ruth Crawford Seeger's Sonata for Violin and Piano (1926)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ58007.pdf.

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Harper, Nelson Owen. "John Ireland's first Sonata for violin and piano : an introduction to its study /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu148776035782379.

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Chung, Eui Young. "Bartók's sonata no. 2 for violin and piano : structural functions of polymodal combination /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983122.

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Silva, Michelle Lauria. "As sonatas para violino e piano de Cláudio Santoro: aspectos técnico-violinísticos e estilísticos." Universidade Federal de Minas Gerais, 2005. http://hdl.handle.net/1843/AAGS-7YMPG3.

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This work is about the relation between the five sonatas for violin and piano by Cláudio Santoro and his aesthetic periods, emphasizing the violin part. The chosen method was to focus on the aesthetic periods of the composer, on the technical-violinistic materials, and on the analyses of the formal aspects of each movement of each sonata. The sonatas were composed in the dodecaphonic and nationalism periods (1940-1960). The meaningful similarity between the sonatas is neoclassicism, evinced in the use of the classical sonata form, combined with the new serial and nationalist elements. Concerning the idiomatic choices, the sonatas can be divided into two groups: atonal (Sonatas nº 1, 2 e 3) and tonal (Sonatas nº 4 e 5). This research has clearly and systematically shown how the five sonatas fit into the aesthetic periods of the composer: Sonata nº 1 (1940) and Sonata nº 2 (1941) belongs to the dodecaphonic period (1940-1942); Sonata nº 3 (1947-1948) belong to the transition period (1943-1949); Sonata nº 4 (1950) and Sonata nº 5 (1957) belong to the nationalism period (1950-1960).
Este estudo trata da relação entre as cinco sonatas para violino e piano de Cláudio Santoro e as fases estilísticas do compositor, com ênfase na parte do violino. A metodologia consistiu em abordar as fases estéticas do compositor, os materiais técnico-violinísticos, bem como a análise dos aspectos formais (de cada movimento) das cinco sonatas. As sonatas foram compostas no período que compreende as fases dodecafônica e a nacionalista (1940-1960). A semelhança significativa entre as sonatas é o neoclassicismo, evidenciada na utilização da forma sonata clássica, com os elementos novos seriais e nacionalistas. Quanto à utilização de idiomas, as sonatas podem ser classificadas em dois grupos: atonais (Sonatas nº 1, 2 e 3) e tonais (Sonatas nº 4 e 5). A pesquisa permitiu sistematizar como as cinco sonatas para violino e piano estão inseridas nas fases estéticas do compositor: as Sonatas nº 1 (1940) e 2 (1941) pertencem ao período do dodecafonismo (1940-1942); a Sonata nº 3 (1947-1948), ao período de transição (1943-1949) e as Sonatas nº 4 (1950) e 5 (1957), ao período do nacionalismo (1950-1960).

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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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Ohlwein, Anna-Lena. "Grieg och fred : Hur jag som violinist kan använda mig av fingersättningar och pianostämman i instuderingen av sonater." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2978.

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Det här arbetet handlar om min instuderingsprocess av Edvard Griegs sonat för violin och piano op. 8. Under arbetets gång har jag huvudsakligen fokuserat på två frågeställningar: Hur kan jag använda fingersättningar på bästa sätt för att underlätta för intonation och musikalisk idé? Hur kan pianostämman i en sonat för violin och piano hjälpa mig att tolka violinstämman? De fingersättningar som föreslogs i utgåvan jag använde fungerade inte så bra för mig. Detta fick mig att fundera över hur man kan använda fingersättningar för att underlätta för intonation och musikalisk intention. På grund av styckets överlag något folkliga karaktär har jag utgått ifrån vilka fingersättningar som känns mest naturliga för att få fram ett så enkelt och lättillgängligt uttryck som möjligt. Dessutom studerade jag pianostämman innan violinstämman för att kunna basera frasering och musikaliska idéer på harmonik och andra impulser som ofta kommer från pianostämman.

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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.

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Bolshakova, Natalia. "Georgy L'vovich Catoire his life and music for piano, with special emphasis on Poem, second sonata for violin and piano, op. 20 /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9127.

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Youn, Hyo Joung. "Doctoral thesis recital (collaborative piano)." Thesis, 2012. http://hdl.handle.net/2152/23781.

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Stubbs, Kate. "Doctoral thesis recital (collaborative piano)." Thesis, 2014. http://hdl.handle.net/2152/24432.

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Bae, Hyunhee. "Doctoral thesis recital (violin)." 2010. http://hdl.handle.net/2152/15744.

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Yaniw, Todd. "Doctoral thesis recital (piano)." Thesis, 2014. http://hdl.handle.net/2152/24535.

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Sonata for violin and piano in G major, K.301 / Wolfgang Amadeus Mozart -- Sonata for violin and piano in G minor, L.140 / Claude Debussy -- Trio for violin, horn and piano in E flat major, op40 / Johannes Brahms.
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Nam, Soo Jin. "Doctoral thesis recital (violin)." 2011. http://hdl.handle.net/2152/17016.

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Heike, Alison Maree. "Performing Brahms: Rediscovering expressive devices in the sonatas for violin and piano." Thesis, 2018. http://hdl.handle.net/2440/118122.

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Track Listing for CD 1: Track 1 Vivace ma non troppo -- Track 2 Adagio - Piu andante - Adagio -- Track 3 Allegro mo Ito moderato - Piu moderato -- Track 4 Allegro amabile -- Track 5 Andante tranquillo - Vivace - Andante -- Track 6 Allegretto grazioso ( quasi Andante) -- Track 7 Allegro -- Track 8 Adagio -- Track 9 Un poco presto e con sentimento -- Track 10 Presto agitato. Track Listing for CD 2: Track 1 Allegro -- Track 2 Allegro appassionato - Sostenuto ed espressivo -- Track 3 Andante un poco Adagio -- Track 4 Allegretto grazioso -- Track 5 Vivace -- Track 6 Allegro amabile -- Track 7 Allegro appassionato - Sostenuto - Tempo I -- Track 8 Andante con moto - Allegro - Piu tranquillo.
Performing Brahms: Rediscovering expressive devices in the sonatas for violin and piano This submission for the degree of Master of Philosophy in musical performance at the Elder Conservatorium of Music, University of Adelaide, consists ofa portfolio of two CDs containing recorded performances of the complete Sonatas for Violin and Piano of Johannes Brahms (1833-1897) accompanied by an explanatory exegesis. These works are some of the most performed and recorded in the repertoire, however modem performance practice has been influenced by over a century of changing styles and tastes in violin playing. This project is an investigation into how a modem-day performance can reflect Brahms' original intentions for these works, drawing from the recently published Barenreiter Edition (2015/16) by Clive Brown and Neal Peres Da Costa. Nineteenth-century expressive devices used by Brahms and his circle have been identified including tone and bowing, vibrato, portamento, rhythmic flexibility and tempo modification and these techniques have been attempted to be integrated into the recorded performances. Discussion outlining Brahms' musical notation and its performance implications has been included, as well as a commentary describing the challenges of assimilating these devices and the resulting effectiveness in performance. The recorded performances contain the three Sonatas for Violin and Piano, the Sonata Movement in C minor from the F.A.E. Sonata, and the two neglected Violin Sonatas op. 120 originally for clarinet/viola, rewritten by Brahms, which are seldom performed today.
Thesis (MPhil) -- University of Adelaide, Elder Conservatorium of Music, 2018

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Nam, Soo Jin. "Doctoral Thesis Recital (violin)." Thesis, 2012. http://hdl.handle.net/2152/19433.

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Roh, Sung Eun. "Doctoral thesis recital (lecture recital)." 2011. http://hdl.handle.net/2152/16522.

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Moon, Chaekyung. "Doctoral thesis recital (piano)." 2011. http://hdl.handle.net/2152/17015.

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Chung, Inyoung. "Doctoral thesis recital (violin)." 2011. http://hdl.handle.net/2152/16127.

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Pizzichemi, Sarah. "Master's thesis recital (violin)." 2011. http://hdl.handle.net/2152/16475.

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Lee, Chag-Hee Kim Hyun-Jung Ko Eunae Shon Eun-Jung. "Works for violin and piano by French composers, 1870-1950." 2007. http://hdl.handle.net/1903/9733.

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Hsu, Chien-Tai. "Compositional traditions and innovations in violin literature the twentieth century and beyond /." 2005. http://hdl.handle.net/1903/9753.

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Kao, Pei-hsing, and 高珮馨. "The Study of Two Sonatas for Violin and Piano by Ravel." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/26862905895048497763.

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碩士
國立中山大學
音樂學系研究所
92
Maurice Ravel (1875-1937) composed two sonatas for violin and piano, first one in 1897 and the later one during the period between 1923 and 1927. The first sonata wasn’t discovered until 1975. The second one is more popular nowadays. In addition to the introduction and the conclusion, this thesis is divided into three chapters. The first chapter provides general information of these two sonatas. It emphasizes on the deep thoughts had given during Revel’s composing, and records of the leading performers and performances of the two sonatas for violin and piano. In chapter two, the author analyzes and compares the structures and the writing methods for each movement from both sonatas. In addition, the author integrates correlations and the breakthrough points in each movement from both sonatas. Last chapter explores the violin techniques of these two works. Musical and technical suggestions are provided on the execution and interpretation. These two sonatas are the only ones written for violin and piano among all the strings chamber music works by Maurice Ravel. They are also the first and the last strings chamber music works Ravel composed. Each of the sonatas represents different music era of Ravel. The similarities and differences of writing style and violin technique used by Ravel in these two sonatas are presented in this thesis. The diversity of Ravel''s sonatas for violin and piano certainly enriches the repertoire of performing violinists.

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Wang, Szu-Ying Ballena David Chang Kai-Ching. "The many faces of Paul Hindemith." 2006. http://hdl.handle.net/1903/9716.

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Garnica, Kevin. "Doctoral thesis recital (lecture recital)." 2011. http://hdl.handle.net/2152/16841.

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Kim, Min Jung Sinaisky Ilya. "The virtuoso violinist as composer from the Baroque period through the 20th century compositional insights and innovations." 2007. http://hdl.handle.net/1903/9727.

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Koo, Yunkyong. "Doctoral thesis recital (lecture recital)." 2011. http://hdl.handle.net/2152/16989.

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Kim, Min Ju. "Doctoral thesis recital (piano)." 2011. http://hdl.handle.net/2152/16985.

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Kim, Suyeon. "Doctoral thesis recital (collaborative piano)." 2011. http://hdl.handle.net/2152/16986.

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Rosado, Sara Yong. "From Brahms to the second Viennese school." 2005. http://hdl.handle.net/1903/9749.

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Hall, Bryan Emmon. "Doctoral thesis recital (violin)." Thesis, 2012. http://hdl.handle.net/2152/23578.

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Watkins, Marlene Jeanette. "The pianist and the Brahms sonata for piano and violin, opus 108 in D minor." Thesis, 1989. http://hdl.handle.net/10413/8934.

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This thesis deals in particular with the pianist's approach to the Brahms Sonata for Piano and Violin in D Minor, Opus 108. There are two chapters, the first of which takes the form of a bibliography in which different theoretical aspects for consideration in the learning of the work are presented. One of the sections in the first chapter which is entitled The Pianist, should prove helpful to a prospective piano teacher, as well as a student of the Brahms Sonata in D Minor, Opus 10 8. In this section sources presenting different solutions to technical problems which the pianist is likely to encounter both generally, and specifically with regard to this Sonata, are listed. The other sections in this chapter include a discography and comments concerning recordings of the Sonata in D Minor, Opus 108, which a student of this work and its composer may consult. The second chapter of the thesis deals with specific issues involved in the interpretation based on my performance of the Sonata in D Minor, Opus 108, for the practical examination. Three other possible interpretations by well-known pianists are briefly evaluated. Attached to the thesis is a cassette tape on which recommendations for the practising of certain passages may be heard.
Thesis (M.Mus)-University of Natal, Durban, 1989.

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"A Comparative Analysis of the Two Sonatas for Violin and Piano by Krzysztof Penderecki." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.38612.

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abstract: One of the most notable composers of the twentieth century, Krzysztof Penderecki played a vital role in the development of new sonorities and compositional movements in the latter half of the century. Penderecki wrote two sonatas for violin and piano, one in his student days in 1953 and the second in the twilight of his career in 1999. Given the almost fifty years that separate the two works, these sonatas provide valuable insight to Penderecki’s development as a composer over the course of his career as well as give evidence that his own unique compositional style was in place at a very early age. Despite the large span of time between the completions of these two great works, these sonatas share many commonalities. With regards to key aspects such as form, tonality, rhythm, texture, articulation, and more, this paper will analyze and compare the two works to define the ways in which they are similar as well as the ways in which they differ.
Dissertation/Thesis
Doctoral Dissertation Music 2016

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Wu, Ching-Wen, and 吳靜雯. "Beethoven : A Survey of 3 sonatas for violin and piano, Op.30,No.1,2,3." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/v95r85.

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Lipova, Lora Vaskova Jiménez Alexander. "Sonatas for violin and piano by the Bulgarian composers Pancho Vladigerov, Lubomir Pipkov, Dimitar Nenov, Veselin Stoyanov, and Marin Goleminov." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-11132007-131103/.

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Treatise (D.M.A.) Florida State University, 2007.
Advisor: Alexander Jiménez, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-26-2008). Document formatted into pages; contains 42 pages. Includes biographical sketch. Includes bibliographical references.

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Zlateva, Maria Zlateva 1970. "Romanian folkloric influences on George Enescu's artstic [i.e. artistic] and musical development as exemplified by his third violin sonata." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3119655.

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Crowne, Scott F. "The piano in the works of Herbert Howells and his British contemporaries." 2007. http://hdl.handle.net/1903/9735.

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Coleman, Jacob A. "Doctoral thesis recital (collaborative piano)." Thesis, 2012. http://hdl.handle.net/2152/23944.

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Ko, Nai-Hsin, and 柯乃心. "The Analysis and Piano Collaborative Interpretation of Poulenc’s Sonata for Violin and Piano." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/udcz6x.

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碩士
國立臺灣師範大學
表演藝術研究所
105
Francis Poulenc (1899-1963) was a representative French composer in the first half of the Twentieth-century. He did not attend any music school, yet, he was considered as the member of Les Six that regarded Erik Satie (1866-1925) as their mentor. He was also influenced profoundly by Igor Stravinsky’s (1882-1971) works in Neo-Classical style.For his partner baritone Pierre Bernac (1899-1979), Poulenc wrote numerous fine art songs. Thus, he was acclaimed as one of excellent French art-song composers after Gabriel Fauré (1845-1924). Poulenc’s two hundred and ninety-three works include choral music, operas, ballet, concerto, piano solo, artsongs and chamber music.Sonata for Violin and Piano was dedicated to the memory of the Spanish poet Federico Garcia Lorca (1899-1936),a victim of the Spanish Civil War.Many writing skills can be traced to Stravinsky’s influence, like frequent meter changes, repeating rhythmic patterns and tonal instability in three movements.Besides, Poulenc also wrote with elements of French popular music, such as songlike melody and quick rhythm. This paper contains five chapters: introduction, the background of Poulenc and his style of writing music, structural analysis, piano collaborative interpretation of Sonata for Violin and Piano and conclusion. The author wishes to reach detailed understanding and collaborative performing techniques of this sonata and let another collaborative pianist interpret the composer and the main points of playing through this study.

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

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