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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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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo with Three Recitals of Works by Mussorgsky, Brahms. Bartok, Dutilleux, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038907/.
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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VII (1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troiseme Sonatine (1933), and Jean-Michel Damase Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work.
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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<br>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.<br>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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Bencke, Ester. "Música e expressão do nacional nas sonatinas para piano de Camargo Guarnieri." Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/1588.
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Previous issue date: 2010-05-14<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation addresses the relationship between nationalistic discourse and composition in the context of Brazilian nationalistic musical tendencies in the twentieth century, focusing on the Sonatinas for piano by Camargo Guarnieri. Bibliographic research relating to nationalism, utilizing publications in the areas of Social Sciences and Musicology, raised questions which were later discussed in relation to the object of study. Musical analysis of the Sonatinas was realized, summarizing the typically Brazilian elements and the treatment given by the composer to these elements. The recurrence of several elements considered typically Brazilian, chosen and transformed by the composer, was observed in the Sonatinas. However, it was also noted that a gradual separation from more popular elements took place during the 54 years in which the Sonatinas were produced (1928 1982). Although such elements remained present, they became less and less obvious, sharing space with polyphonic, chromatic and non-tonal language<br>Esta dissertação trata da relação entre discurso nacionalista e prática composicional no contexto do nacionalismo musical brasileiro ocorrido no século XX e tem como objeto de estudo as Sonatinas para piano do compositor Camargo Guarnieri. Através de pesquisa bibliográfica a respeito da temática do nacionalismo, utilizando escritos de autores das Ciências Sociais e da Musicologia, foram levantadas questões posteriormente discutidas no âmbito do objeto de estudo.
Para isso, foi realizada análise musical das Sonatinas, levantamento dos elementos considerados tipicamente brasileiros e o tratamento dado pelo compositor a estes elementos. Foram encontrados alguns elementos considerados como tipicamente brasileiros constantes nas Sonatinas. Observou-se, entretanto, no decorrer dos 54 anos em que foram produzidas as Sonatinas (1928-1982), um gradual afastamento do compositor em relação aos elementos de fonte popular. Embora tais materiais estejam sempre presentes, eles tornam-se cada vez menos óbvios no interior de uma linguagem própria do compositor
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Ribas, Geraldo Majela Brandão. "Camargo Guarnieri: uma análise das sonatinas n.3 e n.6 para piano." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2002. http://hdl.handle.net/10183/2745.
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O presente trabalho pretende analisar as fugas das Sonatinas nº3 e nº6 para piano de Camargo Guarnieri, através de uma análise estilística e tendo em vista os procedimentos utilizados pelo compositor especificamente no tratamento da fuga como técnica composicional. Guarnieri compôs 8 sonatinas para piano escritas entre 1928 e 1982, período que abrange grande parte da vida criativa do compositor. A análise das duas as fugas enfocará cinco parâmetros, conforme o esquema analítico de Jan LaRue: Som, Harmonia, Melodia, Ritmo e Crescimento. Através desses parâmetros, verificaremos como se desenvolvem estruturalmente as fugas, destacando os aspectos mais importantes que caracterizarão o discurso musical desenvolvido pelo compositor.
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Albrecht, Cintia Costa Macedo. "Um estudo analitico das sonatinas para piano solo de Almeida Prado visando a sua performance." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284295.
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Previous issue date: 2006<br>Resumo: Com o intuito de contribuir para uma bibliografia ainda escassa de trabalhos sobre a performance de obras de compositores brasileiros, este trabalho tem como objetivo principal a performance e a gravação das Sonatinas n.1, n.2 e n.3 para piano de Almeida Prado, por meio do estudo individual, aulas com o compositor e a aplicação de diferentes técnicas de análise musical. As obras foram submetidas a um processo de etapas de estudo divididas em duas grandes fases 1: a primeira com comparações entre os resultados obtidos antes e depois do contato com o compositor e a segunda com técnicas de análise musical baseadas na Teoria dos Conjuntos de Sons. Gravações foram realizadas nas etapas 1, 3 e 5, possibilitando a escuta das modificações ocorridas durante o estudo. Anexos ao trabalho estão um glossário com traduções e definições de termos usados nas análises musicais da segunda fase, partituras das Sonatinas digitalizadas após as revisões e um compact disc com as gravações<br>Abstract: Seeking to contribute to a scarce bibliography of works about the performance of Brazilian music, this work targets the performance and recording of Almeida Prado's Sonatinas n.1, n.2 and n.3 for piano through studies alone, classes with the composer, and the application of different music analytical tools. The pieces went 7 Almeida Prado, Jose Antonio R. de (Jose Antonio Resende de).through a process of study stages, divided in two larger phases2: the first, with comparisons between the obtained results before and after the contact with the composer and the second, with the music analytical tools based on the Pitch Set Class Theory. Recordings were made during stages 1, 3 and 5 with the modified results. In addition to this work is a glossary with translations and definition of terms from the second phase's musical analysis, edited scores of the Sonatinas after their revision and a compact disc with the recordings<br>Doutorado<br>Doutor em Música
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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.
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Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.
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Hammond, Stephen Andrew. "An analysis of Carlos Guastavino's tres sonatinas para piano and the influence of Argentine dances bailecito, zamba , and chacarera." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Lim, Chong-Pil. "Ferruccio Busoni's Musical Thinking: A Study of His Sonatina Seconda and Toccata." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332670/.
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The objective of the dissertation is to examine certain correlations between Busoni the philosopher and Busoni the composer. His aesthetic and theoretical points of view, which are of vital importance for an appreciation of his compositions, are reviewed. The manifestation of his musical thinking in his own compositional practice is substantiated through an analysis of two of his late works for the piano: the Sonatina seconda and the Toccata. In addition to the lecture recital, based on the dissertation and given on February 18, 1991, three other public recitals were performed. The first, on November 30, 1987, included works of Bartok, Brahms, Mozart, and Granados. The second program, a chamber recital on January 16, 1989, featured works by Brahms. The third recital was performed on April 23, 1990, and included works by Beethoven, Prokofieff, and Chopin.
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Chang, Sangtae. "Boulez's Sonatine and the Genesis of His Twelve-tone Practice." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278125/.
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This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.
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Skinner, Myles. "Sonatina for trombone and piano." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ30692.pdf.
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Fearn, Raymond. "Luigi Dallapiccola's ‘Sonatina Canonica’: Neoclassicism... or?" Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36761.
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Manica, Solon Santana. "Edição e performance musical: a sonatina para flauta e violão de Radamés Gnattali." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/12666.
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Dissertação - Solon Santana Manica - 2012.pdf: 14031890 bytes, checksum: 5a9846b7f0d576c3864e61f2cbb1286d (MD5)<br>Esta pesquisa tem por objetivo delinear relações possíveis entre intérprete/obra/compositor, intermediados pelo ato editorial, enfocando os aspectos éticos presentes no processo interpretativo musical na tradição de música de concerto ocidental. A investigação desenvolve-se através do trabalho de revisão editorial da parte de flauta da Sonatina para Flauta e Violão de Radamés Gnattali, problematizando questões teóricas sobre o ato interpretativo - que envolvem tanto o editor como o músico - através do estudo de fontes para a obra, e as consequências de decisões editorias para a transmissão da mesma dentro de critérios éticos.<br>Salvador
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Bark, Josely Maria Machado. "Alceo Bocchino : sonatina para piano : analise critica e interpretativa." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284268.
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Previous issue date: 2002<br>Resumo: O presente trabalho tem como principal objetivo realizar uma análise da Sonatina para Piano de Alceo Bocchino. Para introduzir e contextualizar essa análise, apresenta na Primeira Parte um levantamento biográfico e histórico da vida do compositor. A Segunda Parte focaliza a obra. Introduz aspectos da Forma Sonata, bem como das formas características de cada um dos movimentos da Sonatina em questão: Toccata, Invenção e Cadenza. Segue com o estudo analítico da obra através das técnicas de análise musical desenvolvidas por Arnold Schoenberg e John White, e fundamentos teóricos sobre a harmonia do século XX, segundo Vincent Persichetti. Desse estudo são levantadas sínteses a respeito da linguagem empregada, quais os elementos composicionais característicos utilizados pelo compositor e como ele os manipula. Também de acordo com esse estudo analítico, estão indicadas sugestões sobre a execução da obra, apontando aspectos relevantes da interpretação pianística. A conclusão reúne as informações de maior interesse obtidas da análise efetuada, das orientações do próprio compositor a respeito da execução da obra, e da entrevista complementar realizada com o mesmo e com o fagotista Noel Devos no Rio de Janeiro. Em anexo se encontram: a edição do manuscrito original, realizada com uso de software de editoração de partituras musicais, e um CD com a gravação da obra; ambos executados pela autora dessa pesquisa<br>Abstract: The main objective of the present research is to ana1yzethe Sonatina for the Piano of Alceo Bocchino. In order to introduce and to structure the Analysis, the First Part presents biographical and historica1 data of the composer's life, while the Second Part focuses on the piece. The Second Part starts with aspects of Sonata Form and introduces the forms involved in each movement of the Sonatina: Toccata, Invention and Cadenza. It follows with the Analysis of the piece according to the techniques of musical ana1ysis developed by Amold Schoenberg and John White, and theoretical approaches about twentieth-century harmony by Vincent Persichetti. The analytical process leads up to syntheses, where it is possible to identify the compositional language used, the typical compositional elements, and how the composer uses them Furthermore, according to this ana1ytical study, there are suggestions concerning the performance of the piece, pointing to relevant aspects of piano interpretation. The conclusion gathers the most prominent information acquired from the Analysis, from the composer's advices on the performance of this piece and from the complementary interview with the composer and with the bassoonist Noel Devos in Rio de Janeiro. As appendixes, there are the edition of the original manuscript, which was developed with the use of appropriate eletronic software designed for musical editions, and a recording on CD ofthe piece, performed by the author ofthis research<br>Mestrado<br>Artes Musicais
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Drude, Matthias. "Sonatine für Klarinette und Klavier (2006)." Matthias Drude, 2017. https://slub.qucosa.de/id/qucosa%3A7826.
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Die Sonatine für Klarinette in B und Klavier wurde 2006 für die Klarinettenklasse Rolf Thomas Lorenz im Heinrich-Schütz-Konservatorium Dresden komponiert. Das einsätzige, ca. sechsminütige Werk wendet sich an fortgeschrittene Schüler, Studierende oder auch professionelle Musiker.
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Hasselaar, Silvia Cristina. "Sonatina nº 2 de Hector Tosar : uma visão histórica e analítica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/6411.
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Este estudo focaliza, sob os aspectos históricos e analíticos, a ‘Sonatina n° 2’ de Héctor Tosar (1923-2002). Trata-se de uma obra representativa do neoclassicismo musical da década de 1950, escrita por um compositor latino-americano com formação em seu país, o Uruguai e no exterior. A análise tem como referencial teórico os pressupostos do próprio Tosar (1992) e de Joseph Straus (1990). Através da análise dos conjuntos, mostram-se a recorrência de um grupo de sons e a resultante fixação da sonoridade característica da obra.
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Drude, Matthias. "Sonatine für zwei Vibraphone und zwei Marimbaphone (2004)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1236597879543-70295.
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Sonatine für zwei Vibraphone und zwei Marimbaphone (2004) Das Schlagzeug spielt in meinem bisherigen Schaffen keine zentrale Rolle, da mein kompositorisches Denken sehr stark von der Arbeit mit Tonhöhen geprägt ist. So lag es für mich nahe, mich nach dem Besuch der „Schlagzeugwerkstatt“ 2004 des Sächsischen Musikbunds e. V. in Leipzig einer für mich sehr reizvollen Besetzung ausschließlich mit Mallet-Instrumenten zuzuwenden. Ein mit Kontrabass-Bogen gestrichenes Vierton-Motiv (g-Moll-Dreiklang mit hinzugefügter großer Sexte) bildet den Ausgangspunkt für die einsätzige ca. sechsminütige „Sonatine“, deren zugegeben nicht sehr origineller Titel einen Hinweis auf die nicht als Schablone sondern als lebendiger Organismus und als Orientierung zugrunde liegende Sonatensatzform darstellt. Die Uraufführung fand 2005 mit dem Leipziger Schlagzeugensemble statt (Matthias Drude). - Dauer: ca. 5'40&quot;
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Queiroz, Rucker Bezerra 1970. "Abordagem analitico-interpretativa da sonatina (1995) para violino e piano de Danilo Guedes Guanais." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285117.
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Previous issue date: 2002<br>Resumo: o jovem compositor brasileiro Danilo Guanais reitera em sua Sonatina(1995) para violino e piano, o valor da música brasileira. Trata-se de uma obra, estilisticamente falando, bastante eclética. Isso se revela em
cada um dos movimentos, nos quais o compositor percorre caminhos tradicionais e chega até o armorial, colocando a obra num grau de importância elevado dentro de um cenário musical brasileiro que se
caracteriza justamente por sua diversidade, mas não oferece um vasto repertório para a formação violino-piano que contemple essa riqueza estilística. O estudo a seguir aborda aspectos analíticos, históricos e
interpretativos. O objetivo final é uma edição de performance da Sonatina, onde todo esse trabalho estará à disposição do intérprete, sugerindo uma interpretação coerente com os aspectos musicais e folclóricos inseridos na obra<br>Abstract: The Sonatina (1995) for violin and piano by Danilo Guanais, a young Brazilian composer, is a fine piece of Brazilian music. This eclectic work unveils, in each of its movements, many compositional features, from the traditional to the armoria!. It deserves a prominent position in the Brazilian music scene, which despite its diversity still has some shortages in the repertory for violin and piano. This study focuses on analytical, historical and performance aspects of the work, and aims to present a performance edition that is coherent to the musical and folk elements present on it<br>Mestrado<br>Mestre em Artes
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Chang, Sangtae. "Boulez's Sonatine and the genesis of his twelve-tone practice /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659542w.
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Melo, Raissa Anastasia de Souza. "A Sonatina para Flauta e Violão de Radamés Gnattali: estudo de aspectos estruturais e interpretativos do primeiro movimento." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/AAGS-7ZXFLL.
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The present article has as purpose an analytic and interpretative survey of the first movement from Sonatina for flute and guitar of Radamés Gnattali. The methodological procedure used was one that focused on the score analysis and the analysis of three recordings of this work. The analysis was focused on the structural and formal elements of the musical discourse which provided subsidies to the best understanding of Gnattalis compositional style. While comparing the recordings it was observed the way with which each duo of interpreters understands and brings to the world of the sounds their own conception of the Sonatina. This article also discusses the relationship between the interpreter and the work, as well as it attempts a definition of musical analysis.<br>O presente artigo tem por objetivo o estudo analítico interpretativo do primeiro movimento da Sonatina para flauta e violão de Radamés Gnattali. A base metodológica usada se concentrou na análise da partitura e na análise de três gravações dessa obra. Enfocou-se na análise os elementos estruturais e formais do discurso musical que forneceram subsídios para o conhecimento do estilo composicional de Gnattali. Na comparação das gravações se observou a maneira como cada duo de intérpretes analisado compreende e traz ao mundo dos sons a sua concepção da Sonatina. Discute também acerca do relacionamento do intérprete com a obra e sobre o que é análise musical.
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Gärtner, Susanne. "Werkstatt-Spuren: die Sonatine von Pierre Boulez eine Studie zu Lehrzeit und Frühwerk." Bern Berlin Bruxelles Frankfurt, M. New York, NY Oxford Wien Lang, 2005. http://d-nb.info/989810186/04.
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Gärtner, Susanne. "Werkstatt-Spuren : die Sonatine von Pierre Boulez : eine Studie zu Lehrzeit und Frühwerk /." Bern [etc.] : P. Lang, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783039112029.
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Kam, Jikyung. "Analytical and pedagogical approach to the Sonatine for piano by Donald Martin Jenni." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2910.
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Composer Donald Martin Jenni (1937 - 2006) produced numerous compositions in many genres such as instrumental works, orchestral works, vocal and choral works and opera. Despite his large body of work, there are few or no formal biographical materials of his life or published studies of his compositions. Due to a lack of such publications, Jenni's music has neither been widely performed nor recognized by professional musicians, teachers, students, and classical music devotees. The aim of this essay is to introduce readers to an account of the major life events of Jenni and provide an introduction to his compositions. An analytical survey of his Sonatine for Piano (1952) will help pianists and teachers to understand Jenni's compositional style as well as many of the twentieth-century musical traits and aesthetic. Moreover, the pedagogical approach to the Sonatine for Piano will guide teachers to introduce students the styles and techniques of the twentieth century repertoire through Jenni's music.
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Scheffs-Endres, Barbara. "Sonate nº 2 e sonatine de Milosz Magin: a ideia do compositor na interpretação do executante." Doctoral thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/11959.
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This Doctoral Thesis is the first study about the interpretation of the Sonate Nº2 and the Sonatine for piano composed by Milosz Magin (1929-1999). The composer was also an excellent pianist and a great interpreter of the works of Frédéric Chopin. The dissertation combines the scores and the recordings of the Sonate Nº2 and the Sonatine made by Milosz Magin, shares them with the reader, interprets them and therefore, presents a personal conception about the interpretation of these works. The understanding of the composer's musical language, obtained through the analysis of the compositional processes of Milosz Magin and piano interpretations recorded by him is the basis for the interpretation of the Sonate Nº2 and the Sonatine. The individual and practical organization of these works made by the author of the dissertation takes into consideration this basis. Besides registering the author's personal experience of the said works, the dissertation has also the aim of helping other interpreters to find their own interpretative expressions regarding these pieces. Therefore, this dissertation starts from the point of view of the performer and it is written in a form of 'practical guide', which includes the examples in multimedia format, i.e., in video and audio formats;
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Esta tese de doutoramento é o primeiro estudo sobre a interpretação quer da Sonate Nº2 quer da Sonatine para piano do compositor Milosz Magin (1929-1999). Milosz Magin foi também um excelente pianista e um grande intérprete das obras de Frédéric Chopin. Reunindo as partituras e gravações da Sonate Nº2 e da Sonatine, realizadas por Milosz Magin, esta tese compartilha-as com o leitor, analisa-as e em consequência apresenta uma concepção pessoal da interpretação das referidas obras. O entendimento da linguagem musical do compositor, obtido através da análise dos processos composicionais e das interpretações pianísticas gravadas por Milosz Magin, constitui o fundamento para a interpretação da Sonate Nº2 e da Sonatine. A elaboração prática destas obras, realizada pela autora, leva em consideração a dita base. Esta experiência está documentada e tem também o objectivo de ajudar outros intérpretes a que encontrem as próprias expressões interpretativas destas peças musicais. Sendo assim, este trabalho parte do ponto da vista do executante e está escrito na forma dum guia prático, que inclui exemplos em formatos áudio e vídeo.
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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.
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Holmgren, Lisa. "Musikalisk kommunikation : En studie kring vilka medel man kan använda sig av vid ett interpretationsarbete." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4126.
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Detta skriftliga arbete inom konstnärligt självständigt examensarbete undersöker vilka metoder man kan använda sig av vid ett interpretationsarbete och vad som kan vara viktigt att ta hänsyn till när denna interpretation ska presenteras för en publik. Syftet med studien var att skapa en ökad förståelse och större medvetenhet kring interpretation, för att som musiker på ett bättre och mer övertygande sätt kunna nå ut med musikens budskap till åhöraren. Arbetet inkluderar litteraturstudier kring interpretation och musikkommunikation, samt en analys av Sonatine pour trompette (1950) av kompositören Jean Françaix (1912-1997) både på ett teoretiskt och ett gehörsmässigt plan. Arbetet resulterade i en bredare kunskap kring interpretation samt en tydligare bild av hur man kan jobba för att på ett tydligt sätt kunna nå publiken med sitt musikaliska budskap. Genom analys av stycket uppnåddes en god grund på vilken medvetna musikaliska val kunde göras och även en förståelse för hur olika tolkningar skiljer sig åt och kan ge dig som musiker inspiration för din egen tolkning. Det är genom interpretation, den egna tolkningen av musiken, som musikern kan ge något av sig själv och dela med sig av ett budskap till lyssnaren. Genom en tydlig bild av vilka medel som kan användas för att förstärka ens musikaliska intentioner kan detta bli ännu tydligare och mer övertygande både för musikern och publiken.
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Mercer, Bjorn. "Pierre-Max Dubois, a biography and performance analysis of three representative works: "Serenades", "Concerto Ironico", and "Sonatine-Tango"." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/305373.
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Pierre-Max Dubois (1930-1995) is an important composer of works for the bassoon in the late twentieth century. Steeped in a French tradition that includes Darius Milhaud, Dubois composed music with a sense of humor and precise compositional craft. Throughout his career, Dubois wrote 15 works for solo bassoon and 13 chamber works that include bassoon. This paper is a thorough examination of three representative works by Pierre-Max Dubois, Serenades (1954), Concerto Ironico (1968), and Sonatine-Tango (1984). This paper will demonstrate that Dubois' works for bassoon merit consideration as quality music for bassoon.
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Meixner, Brian Daniel. "A pedagogical study and practice guide for significant original euphonium solo compositions for the undergraduate level student." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3939/.
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Euphonium concertos and similar masterworks for euphonium have been recorded, written about, analyzed, and discussed at length numerous times in recent years. Unfortunately, the most frequently studied and performed euphonium solos have been almost completely ignored in this regard. These works are useful for performance by the undergraduate-level euphonium player. Solos in this category are played by strong high school players and undergraduate euphonium students all over the world. These solos receive countless performances and play a crucial role in the development of young euphonium players, yet have never received attention in the form of a published pedagogical guide. The pieces of greater difficulty and substantial length have received more attention for obvious reasons, but solo pieces most useful for the developing euphoniumist need to be analyzed and discussed on a pedagogical level. This paper is a pedagogical guide to commonly played euphonium solos by the undergraduate level student. The three pieces used in this study are Sonatina by Warner Hutchison, Sonata for Unaccompanied Euphonium by Fred Clinard, and Lyric Suite by Donald White. Pertinent background information about each piece is presented in order for the reader to understand the historical context in which it was written. A list of relevant information and minimum performance skills (instrumentation, length, range, articulation skills, etc.) are included for each selection. An analysis of particular sections of each piece are presented for the reader to adequately grasp concepts and practice ideas that are explained, although the bulk of analysis is of a pedagogical nature. The main body of the paper focuses on assisting the reader with ways to approach this solo literature in daily practice as well as effective performance ideas. Particularly troublesome areas of each piece are identified and strategies to overcome common pitfalls and performance errors are noted.
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Hsu, Yi-Hsien, and 徐逸嫻. "The Pedagogic Research of Kuhlau’s Piano Sonatinas Op. 88." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/28260385732443335271.
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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>101<br>German born Danish composer F. D. R. Kuhlau's piano sonatinas, playing an significant role in the classical period, are exquisite and tinny. Therefore, they are good preparatory material for students, entering the world of sonatas, and demonstrate the characteristics of classical period completely.
This thesis will study Kuhlau's life, music works, related literature of his sonatinas, and performance skills and teaching pedagogy of Kuhlau's piano sonatina, Op. 88.
This thesis takes content analysis as the research method ; Kuhlau's piano sonatina book II Op. 88 No. 1-No. 4, edited by G. Schimer Inc., as a research target, each movement as a unit, totally 12 units. "The Categories of Piano Playing Techniques from Kuhlau's Piano Sonatinas, Op. 88" contains 13 skill analysis categories which are created by the author. Those categories are designed as a tool according to expert validity, scorer reliability and suggestions from Prof. Chung-Shu Liu.
Kuhlau's piano sonatina, Op. 88, as a preparatory material for intermediate or advanced students, is suitable for students who had studied piano for more than 3 years. Studying this work can not only strengthen piano techniques but also enhance piano performing interpretation. In the end, this thesis provides suggestions for piano teaching, musical research and music publishers in Taiwan.
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"The Five Sonatinas for Piano by Walter Saul: A Recording and a Guide for Teachers and Performers." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44067.
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abstract: This research concentrates on the five sonatinas for piano by Walter Saul. It consists of a recording and a document providing musical analyses and performance guides to these sonatinas.
The purpose of the research is to introduce Walter Saul’s five sonatinas, composed from 1998 to 2015. Walter Saul is a gifted living American composer and pianist. He has written a quantity of piano music intended for study by young performers. His five sonatinas, in traditional sonata forms, use a variety of compositional techniques, including twelve-tone rows, jazz elements, modulations, modes, scales, and contrapuntal procedures. Performers may find that the analyses in this document are useful in understanding these pieces. The guides are likewise provided to teachers and students studying these pieces.
This paper consists of six chapters. It begins with an introduction in Chapter 1; Chapter 2 presents a biography of Walter Saul; Chapter 3 observes characteristics of Walter Saul’s piano music; Chapter 4 deals with background of the five sonatinas; Chapter 5 provides performance guides including simple analyses; Chapter 6 arrives at a conclusion.<br>Dissertation/Thesis<br>APPENDIX B: A RECORDING OF FIVE PIANO SONATINAS OF WALTER SAUL BY AHYEON YUN, PIANO<br>Doctoral Dissertation Music 2017
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Senécal, Marianne. "Sonatines ; suivi de Son, thème, sonate." Mémoire, 2009. http://www.archipel.uqam.ca/2590/1/M11175.pdf.
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Sonatines est un recueil thématique composé d'une douzaine de nouvelles qui ont le son comme thème central. Il a été pensé comme l'exploration d'un sens, l'ouïe, à travers différents contextes de fiction. Cette volonté d'approfondir l'ouïe ne se prétend pas scientifique. Elle reflète plutôt un désir de confronter des personnages à différentes réalités sonores du quotidien. Bien que le thème du son soit généralisé à l'ensemble du recueil, d'autres thèmes, tel celui de la rupture, font parfois irruption. La forme de Sonatines imite la construction d'une sonate (divisée en trois mouvements), développant une thématique générale dans le but de confronter les différents personnages à leurs propres limites et ce, à partir d'un simple évènement (voire d'un non-évènement) sonore. L'appareil réflexif accompagnant le recueil est divisé en trois parties. La première prend forme de prolégomènes et aborde divers aspects du sonore (la musique, la parole, le silence, le bruit), son impact sur l'humain et sa capacité de déclencher chez lui des émotions et des souvenirs et ce, parfois, tout à fait inconsciemment. L'objectif de cet essai n'est pas de couvrir l'ensemble des connaissances répertoriées sur le son, mais de démontrer le rapport hautement sensible qu'il entretient avec l'humain (et, potentiellement, avec le personnage), que ce dernier en soit conscient ou non. La deuxième partie de cet essai pose une réflexion sur les différents enjeux reliés à l'écriture d'un recueil thématique. Elle cherche à approfondir les diverses composantes qui sont affectées par le principe de variation du thème (le genre de la nouvelle, le personnage, la narration et la structure du récit). La dernière section aborde l'agencement des nouvelles dans le recueil. Il y est également question de la forme des nouvelles et du recueil en rapport avec celle de la sonate, ce qui explique non seulement la construction formelle des nouvelles, mais aussi celle du recueil en entier. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Son, Thème, Nouvelle littéraire, Rupture, Sonate.
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Roberts, Melissa Garmon. "The free serial style of Nikos Skalkottas an examination of the twelve-tone methods in his late serial compositions /." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3082893.
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Grobárová, Dagmar. "Sonatina G dur op. 100 Antonína Dvořáka v pedagogické praxi." Master's thesis, 2009. http://www.nusl.cz/ntk/nusl-273255.
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This Dissertation deals with an analysis of Sonatina G major op. 100 for violin and piano by one of the greatest, 19th-eentury composer - Antonín Dvořák. After a concise introduction, the content is spread to five chapters. Chapter 1 denotes the composer's life and his complex work. Chapter 2 is purely focused on his violin works. Chapter 3 contains formal analysis of Sonatina G major for violin and piano. The dissertation's emphasis is introduced in Chapter 4, where I engage my interest in both the interpretative analysis of the Sonatina G major and the questions from the violin methodology's point of view. Chapter 5 records the teacher's pratice of the opus in the Elementary School of the Arts in the first three lessons. And further in the Attachment, there is a notation score of the studied piece according to the critical edition.
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周姵君. "The Interpretation of Darius Milhaud sonatine." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/02060880346152747160.
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Chen, Ying-Chen, and 陳穎貞. "A Study of Maurice Ravel’s “Sonatine”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/kqm6e9.
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碩士<br>國立臺南大學<br>音樂學系碩士班<br>107<br>Maurice Ravel (1875-1937) was an French composer of the twentieth century, generally categorized as an impressionist; however, he had kept a connection to music traditions with his internal compositional characteristics and also embraced new trends before he internalized those elements into his own music language and reached a balance between tradition and innovation.
This study aimed to explore the style of “Sonatine”, the piano work written by Ravel in 1905. It first looked into the development of French music in the early twentieth century, followed by the investigation on the definition of sonatina, pertinent forms and its development in all periods. Afterwards, aspects such as Ravel’s life, his piano compositions in all periods, and his music creation were all examined to understand the background information of this composition. Finally, the paper made a thorough analysis of Ravel’s compositional techniques by exploring the form, tonality, harmony, motive, melody, rhythm, and other elements of his “Sonatine”. In addition, it conducted an overall study of the appropriate performance interpretation of this composition in terms of its tempo, dynamics, touch, ornaments, and pedaling.
According to the findings of this study, apart from traditional forms and tonality applied in the “Sonatine”as its basis, Ravel also combined modal elements at appropriate times to add novelty to the music, created clear, precise melodies, and connected three movements by using motivic development methods in a fashion of neoclassicism as well. In regard to the performance of this composition, Ravel put many detailed markings for tempo, expression, dynamics, articulations in music scores and therefore created abundant speed and timbre changes, which embodied the meticulous compositional language of his music. As a result, players have to read all musical markings carefully when performing to deliver the clear, round sounds of traditional French keyboard music in a more comprehensive way.
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CHEN, YI-KAI, and 陳羿愷. "A Study on Guo, Zhi-Yuan's Sonatina for Clarinet and Piano." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/r3n6j8.
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Tsai, Wei-Ko, and 蔡維格. "A Study of Darious Milhaud’s Flute and Piano Sonatina, Opus 76." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/17782538357036405200.
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碩士<br>國立中山大學<br>音樂學系研究所<br>103<br>Darious Milhaud (1892-1974) was a French composer who is also known as Les Six and one of important representatives of Neoclassicism. He received his music education from Paris Conservatoire. His diversity of music styles are influenced by traveling many countries through World War I and World War II.
Milhaud composed Flute and Piano Sonatina, Opus 76 in 1922. In this time, right after World War I, which impacted by different music styles from diverse places. The piece shows Milhaud’s jazz music style and also influenced by Late Romantic Music.
This study is divided into four chapters. The first chapter mainly focuses on Milhaud’s life and background. The second chapter is concerned with Milhaud talk about his own works and his music style. The third chapter is about the analysis of the melody of the composition. The fourth chapter will present the Musical interpretation and skill of Flute and Piano Sonatina, Opus 76.
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Chin, Ko Yi, and 柯懿芹. "The Guitar Performing Analysis and Discussion of Sonatina by Federico Moreno Torroba." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/41164179739726277222.
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Su, Wan-Lin, and 蘇琬玲. "The Analysis and Interpretation of Gordon Jocob《Sonatina for Oboe and Harpsichord》." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/09405830188672526222.
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碩士<br>國立臺灣師範大學<br>音樂學系<br>103<br>Gordon Jacob (1895-1984) was a composer in the twenty century. He had many kinds of compositions, including orchestrates, concertos, choirs, ensembles, wind music, movie music and ballet music. His works showed various styles, from traditional to crossover. Besides, many of them were especially inspired by Russia music.
Jacob began to compose oboe music from 1934. In his life, he wrote 2 concertos, 1 Sonata for oboe and piano, 1 Sonatina for oboe and harpsichord, an oboe quartet and still some works for oboe players or delegators.
This analysis and interpretation is themed with “Sonatina for oboe and harpsichord”. There are four chapters in this interpretation. The first chapter contained research motivation and purpose. Introduction for Jacob’s life is briefly described in the second chapter. The third chapter is the analysis and interpretation. In the last, the fourth chapter is the summary of the oboe sonatina.
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CHOU, HOU-CHUN, and 周厚君. "The Analysis and Interpretation of Sonatina for Clarinet and Piano by Joseph Horovitz." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/nf32gj.
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碩士<br>國立臺灣藝術大學<br>音樂學系<br>105<br>The major topic of this thesis is about Joseph Horovitz’s (1926- ) Sonatina for Clarinet and Piano, which was written in 1981. There are five chapters in this thesis. The “Introduction” talks about the initiative of the research and its purpose; Chapter two introduces the life of Horovitz, his discography in clarinet and the background of this work; Chapter three is the analysis of the sonata; Chapter four provides the interpretation; Chapter five leads to the conclusion. As one of the very important clarinet compositions in 20th century, I recommend every clarinet student to learn it. This thesis offers different perspectives about the work that will help the future players to perform the piece with a better understanding and interpretation.
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Lin, Yu-Hsuan, and 林毓軒. "An Analysis and Interpretation ofXavier Montsalvatge’s"Sonatine pour Yvette"." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/71407403572991161820.
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碩士<br>輔仁大學<br>音樂學系<br>102<br>At the Beginning of 18th Century, Giuseppe Domenico Scarlatti（ 1685-1757 ）moved to Spain, Scarlatti use folk music as his composing ingredients－this composing way not only influenced to Spanish composers, but also create some different new ideas for Spanish piano music. At 19th, influenced by Nationalism, Spanish piano music became even more popular than before. At this time, famous composers such as Albéniz , Granados, Falla, etc., they use much Spanish traditional music as composing ingredients. Because of this, Spanish music became really popular by people, and people called this era as “ The Garden age of Spanish Piano music ”.
With background of this era, Xavier Montsalvatge ( 1912-2002 ) created a really different way. Montsalvatge had various works such as Orchestra works, string music, piano pieces, vocal works and ballet music, etc. Except using Spanish traditional music as compose ingredient, Montsalvatge also influenced by Impressionism，he use chromatic, polytonal, twelve-tone to compose his works at the same time.This essay is about Montsalvatge’s piano work Sonatine pour Yvette which composed on 1961 and dedicated to his daughter Yvette. There are three movements of this work. There are some specialties in each movement, especially in the last movement, which use worldwide famous nursery rhyme Twinkle, Twinkle, Little Star as main melody to create some variations.
This essay will start reseach from the biographic sketch of Montsalvatge, background of the era, discuss about the composing ingredients and performing techniques.
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潘玟蒨. "Darius Milhaud: Sonatine for Clarinet and Piano, Op. 100." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/12864723915423756974.
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Wu, Mei-ying, та 吳美瑩. "The analysis and interpretation of Sonatina for Clarinet Solo, op. 27 by Mikl�瀛 R�爆sa". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/63439836087642039437.
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碩士<br>東吳大學<br>音樂學系<br>97<br>Mikl�瀛 R�爆sa ( 1907 – 1995 ) is the 20th century composer, he composed many works in his life. However, the achievement of writing scores for film music is better than the instrument music a lot. But, R�爆sa still kept writing the classic music for the instrument works.
Nowadays, Sonatina for Clarinet Solo, op. 27 is more and more loved to be performed in the concert programs. In this thesis, it will discuss the influence of the environment on his unique music style. During the childhood in Hungary, studying in German, staying in France and England, and settling in America, he was determined to be a composer. These rich experiences could be felt in his works. Especially the memories about the Hungarian Peasant folk song in his childhood, it affected R�爆sa’s music style most. Therefore, this thesis will introduce the background of Hungarian music culture generally in Chapter 2, Section 1, and then the biography and music style. In Chapter 3, the analysis will be divided into three parts: Hungarian folk tune style and dance rhythm, form structure, using of modes. Eventually, it will generalize the Hungarian folk features used in this work, and then search appropriate and complete interpretation.
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Hou, Chia-Yu, and 侯迦宇. "The Analysis and Interpretation of "Sonatine pour Flûte et Piano" by Pierre Sancan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/t5mtbn.
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Chung, Man-Lin, and 鐘曼綾. "A Study of Kabalevsky’s Piano Works ---Thirty Children’s Pieces, Op. 39; Easy Variation, Op. 40; and Sonatina Op.13." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/57930216570321423276.
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碩士<br>國立屏東教育大學<br>音樂學系碩士班<br>95<br>Russian piano art has astonished the world since 19th century. Either music performers or composers, they all highly receive the world’s attention and focus. Numerous people are enchanted by Russian’s unique ethnicity and music style. This research aims to explore in depth the piano works and educational ideals of contemporary Russian musical educationist, and hereby reveal the mysterious Russian music historical culture. By analyzing Kabalevsky’s children piano works, we can further get familiar with Russian music characteristics and education and gain a good command of this composer’s style of interpretation and implication.
After analyzing three Kabalevsky piano works(“Thirty Children’s Pieces, Op. 39; Easy Variation, Op. 40; and Sonatina Op. 13), the following conclusions were made:
(1) His work is integrated with “three whales” music educational ideals and diverse styles are created. (2) The structure of his work is simple, but he made an attempt on various forms. (3) Step-by-step playing skills take both old experiences and new skills learning into account. (4) Polished melody and the changes of the beat all present Russian ethnic styles. (5) Rhythms are distinct and obvious; various changes appear in the acoustics of harmony.
Finally, according to research results, suggestions are provided for musical instrument playing, teaching and future studies, hoping to bring up references for Russian contemporary music pieces players and future researchers.
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Tseng, Ching-Kai, and 曾欽愷. "A Research and Interpretation of Darius Milhaud Sonatine for Flute and Piano,OP. 76." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/mvym67.
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碩士<br>東吳大學<br>音樂學系<br>107<br>Darious Milhaud (1892-1974), was born in Marseille in southern France, loved traveling around the world and formed unique world view for his music creations. He created a new style in European music by merging different cultures from various countries he visited. A Chinese scholar, Rong Kong, has learned from interviewing with Mrs. Milhaud in 1994 that Milhaud was very serious and rigorous towards his music creations. With lots of careful planning during the creations, there were seldom needs for changes with Milhaud’s music.
This piece is completed in 1922, when Milhaud just finished his travel to Brazil and New York. Although this may be one of the smaller pieces of his work, the use of classical church mode and Arabic like exotic scale with polytonal techniques show the exquisiteness of the music. Combining with Milhaud’s unique way of using fixed rhythm, changing stress rhythm and clever usage of cross rhythm, this piece ends up with rich harmonies, intense accent contrast, intricate uses of cross rhythm, jazz style, and the polytonal composition proving to be a great challenge for player to show skills and timbres of flute playing.
This thesis is divided into five chapters, Chapter I is the introduction, Chapter II briefly describes Milhaud’s life and backgrounds for his music creations, Chapter III is the music analysis, Chapter IV is the interpretation, and Chapter V is the conclusion.
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Lee, Yun-Ning, and 李韵寧. "An Analysis and Interpretation of Ravel's Paino Music "Sonatine" and "Le Tombeau de Couperin"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/17942383837408125582.
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"A Study of Two Nationalistic Puerto Rican Compositions: Hector Campos Parsi's Sonatina No. 2 for Violin and Piano, and Jack Delano's Sonata for Violin and Piano." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.51703.
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abstract: Puerto Rican composers Hector Campos Parsi (1922-1998) and Jack Delano (1914-1997) form an integral part of the nationalistic school of composition that revolutionized the island during the mid to late twentieth century. They both sought to combine Western Classical composition techniques with folkloric and traditional musical elements from Puerto Rico. In doing so, not only did they transform the way Western Classical music was made on the island, but they also brought validation and recognition to Puerto Rico’s culture as well as folkloric and popular musical heritage. Furthermore, both of these composers wrote works for violin and piano that form an important part of Puerto Rico’s musical legacy.
This research document presents biographical studies of both composers, as well as studies of Hector Campos Parsi’s Sonatina No. 2 for Violin and Piano, and Jack Delano’s Sonata for Violin and Piano. In addition, this document includes the first ever printed edition of Jack Delano’s Sonata for Violin and Piano, as well as a copy of the out of print Peermusic edition of Campos Parsi’s Sonatina No. 2 for Violin and Piano. This document also presents detailed charts of discrepancies and corrections to both scores.
With the gathering and presentation of this biographical and musical information, this research document seeks to bring international recognition to two important Puerto Rican nationalistic composers, Hector Campos Parsi and Jack Delano; spark an interest in their two little-known works for violin and piano (Campos Parsi’s Sonatina No.2 for Violin and Piano and Jack Delano’s Sonata for Violin and Piano); as well as make these two works more accessible to performers, educators, and the general public alike.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2018
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Chang, Shu-Ching, and 張書菁. "The Analysis and Interpretation of Sonatine pour Hautbois et Piano, Op.337 by Darius Milhaud." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/41206755559637814933.
Full textAbstract:
碩士<br>輔仁大學<br>音樂學系<br>101<br>In the early 20th century, impressionism was the mainstream style of music in France. The launch of Les Six, a group of six French composers, initiated a new musical genre in France after World War I. The group disliked foggy impressionist music and maintained that music should contain the characteristics of simplicity, clarity and certainty. They breathed new life into music of France and ushered in a new atmosphere.
Darius Milhaud (1892-1974) was one of Les Six’s founding members. He was the most prolific and created the widest range of music genres of the members of the group. He could write music extremely fast anytime, anywhere. Even though he was on a journey, in a noisy environment or suffering some illnesses, Darius Milhaud still continued composing. He composed a variety of works for musical instruments. Among Darius Milhaud’s compositions were two pieces for oboe solo----Sonatine pour Hautbois et Piano,op.337, composed in 1954, and Concerto pour Hautbois et Orchestre, op.365, composed in 1957.
This thesis delves into the analysis of Darius Milhaud’s Sonatine pour Hautbois et Piano, op.337. The musical elements is simple but specific, and the piece centers around these elements partly or wholly in other voice parts with the music styles switching to modulation and retrograde. Via the research of Darius Milhaud’s life history and background, style of composition and analysis of music, the writer of the thesis, hopefully, can better comprehend the music piece and perfectly perform.