Bibliographies thématiques / Sonates (Piano)

Sommaire

  1. Articles de revues
  2. Thèses
  3. Livres
  4. Chapitres de livres
  5. Actes de conférences
  6. Rapports d'organisations

Littérature scientifique sur le sujet « Sonates (Piano) »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 31 janvier 2023

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres

Choisissez une source :

Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Sonates (Piano) ».

À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.

Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.

Articles de revues sur le sujet "Sonates (Piano)"

1

ÇAĞLAK EKER, Tuğba, and Prof dr nezihe ŞENTÜRK. "SONAT FORMUNUN TARİHİ SÜREÇ İÇİNDEKİ GELİŞİMİ: JOAQUIN RODRIGO PİYANO SONATI ANALİZİ." Turkish Online Journal of Design Art and Communication 13, no. 1 (2023): 240–55. http://dx.doi.org/10.7456//11301100/016.

Texte intégral
Résumé :
Bu araştırmanın amacı Joaquín Rodrigo’nun Album Centanario Piano (Yüzyıllık Piyano Albümü) kitabında yer alan Cinco Sonatas de Castilla (Beş Kastilya Sonatı) olarak bilinen Sonata, Sonata en fa sostenido menor, Sonata en Re, Sonata como un Tiento, Sonata en La isimli piyano sonatlarının form ve armonik analizini yaparak piyano eğitimi repertuarına çalışma rehberi niteliğinde bir bilgi kaynağı olarak katkı sağlamaktır. Çalışmada sonatın ve sonat formunun tarihsel süreç içindeki gelişimi farklı örnekler üzerinden ele alınmış, ardından Rodrigo’nun piyano sonatları analiz edilmiştir. Sonuç olarak araştırmanın form analizi basamağında Rodrigo’nun sonatlarında sonat allegrosu, şarkı formu ve tiento biçimi ile neo-klasik yaklaşımının görüldüğü söylenebilir. Armonik analiz doğrultusunda Sonata Sonata en Re ve Sonata en La’nın Klasik dönem sonat allegrosu armonik yapısını yansıttığı; armonik çeşitliliğin görüldüğü Sonata en fa sostenido menor ve Sonata, como un Tiento’da ise bir 20. Yüzyıl bestecisi olarak Rodrigo’nun çağdaş stilini göstermiş olduğu belirtilebilir. Ulaşılan sonuçlardan hareketle, piyano derslerinde eser seçiminde Rodrigo’nun piyano eserlerine yer verilerek, bestecilik stilinin tanıtılması ve öğrencinin farklı kültürlere ilişkin bilgi sahibi olması; Rodrigo’nun Cinco Sonatas de Castilla eserindeki sonatları çalışacak veya öğrencilerine çalıştıracak piyano eğitimcilerinin araştırma kapsamında yer alan analizler doğrultusunda eserleri tanımaları önerilir.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.

Texte intégral
Résumé :
Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531, 462, 463; y además, que debido a numerosas revisiones editoriales específicas llevadas a cabo por Clementi para ser interpretadas al piano, presenta cambios significativos en el texto musical respecto a los manuscritos equivalentes. A través del estudio de estas revisiones editoriales, se pretende aportar información sobre la práctica interpretativa de los instrumentos de tecla de finales del siglo XVIII, sobre las características de los pianos ingleses para los que Clementi realizó dicha revisión y sobre el avance del lenguaje idiomático específico del piano en esa época.
Styles APA, Harvard, Vancouver, ISO, etc.
3

Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

Texte intégral
Résumé :
The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Kemova, Ksenia S. "Sonatas for Piano Four Hands by Muzio Clementi." Observatory of Culture 18, no. 5 (2021): 506–19. http://dx.doi.org/10.25281/2072-3156-2021-18-5-506-519.

Texte intégral
Résumé :
The article considers seven sonatas for piano four hands by Muzio Clementi. The relevance of the research is accounted for by the attention paid by performing piano duos to the four-hand repertoire in its diversity. In this connection, there is a necessity of a theoretical analysis of this topic, which has not yet been discussed in music science. The article aims to trace the evolution of Clementi’s sonatas for piano four hands, outline the historical context of their creation, and identify their typical features. The research suggests a two-aspect approach to the analysis of the sonatas: they are looked at from the point of view of the evolution of the composer’s style in the period 1779—1786, as well as in terms of the thematic process, sonata structure and four-hands piano texture.Clementi’s duet sonatas (belonging to the number of early four-hand works, together with the sonatas by W.A. Mozart, J.C. Bach, Ch. Burney) form a line reflecting his life impressions and representing his creative search. The first three sonatas for piano four hands — as an integral part of op. 3 — were written and published in London at the time when Clementi was gaining a reputation of a virtuoso and teacher. The sonata that opens op. 6 appeared in Paris, where Clementi started his European tour; it reflects his interaction with the contemporary music phenomena. Op. 14, which consists of three sonatas for piano four hands, was inspired by young composer’s romantic experience during his stay in Lyon (it is dedicated to Maria-Victoria Imbert-Colomes); the work sums up his achievements in this genre. Researchers list the sonatas of op. 14, which are full-fledged concert works, among Clementi’s best works and rank them on a par with four-hand sonatas by Mozart. In general, the sonatas show a tendency towards the unity of form, common thematic features within a piece, diversity of texture.It is fair to say that the sonatas for piano four hands, as well as the composer’s solo sonatas, became for Clementi a field of experiments in the sphere of piano — an instrument to which he devoted his performing, teaching and, eventually, business activities. The temperament and expression of Clementi’s sonatas, combined with their virtuosity, makes them concert compositions that can sound impressively on the big stage in the modern situation. At the same time, they can also be an excellent training material for performers of different levels.
Styles APA, Harvard, Vancouver, ISO, etc.
5

Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.

Texte intégral
Résumé :
A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?
Styles APA, Harvard, Vancouver, ISO, etc.
6

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

Texte intégral
Résumé :
El objeto de estudio de la presente investigación, en este caso, las sonatas tempranas para piano de Ludwig van Beethoven, como piezas esenciales en el repertorio pianístico de la historia de la música académica. El tema de investigación surge por la reciente publicación (2007) del conjunto completo de ellas, en una edición crítica, de las 35 sonatas para piano por el profesor Barry Cooper, reconocido especialista en Beethoven. Ésta es la única edición moderna que incluye, desde el principio, las tres sonatas WoO 47 y las siguientes 32 ya conocidas. Nuestra revisión está orientada a recopilar información de las tres Sonatas WoO 47 de Beethoven y la importancia de estas composiciones en el repertorio para piano del compositor. El presente artículo busca entonces mostrar como justificable la inclusión de estas obras en el catálogo de las sonatas completas para piano del compositor alemán, mediante la recopilación de fuentes a su respecto y la valoración de sus dificultades técnicas para el instrumento.
Styles APA, Harvard, Vancouver, ISO, etc.
7

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

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

Texte intégral
Résumé :
FEINBERG: Piano Sonatas Nos. 1, op.1 (1915)1, 2, op.2 (1915–16)2, 3, op.3 (1916)2, 4, op.6 (1918)1, 5, op.10 (1920–21)1, 6, op.13 (1923)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1413.FEINBERG: Piano Sonatas Nos. 7, op.21 (1924–28)2, 8, op.21a (1933–34)2, 9, op.29 (1939)1, 10, op.30 (1940–44)1, 11, op.40 (1952)1, 12, op.48 (1962)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1414.
Styles APA, Harvard, Vancouver, ISO, etc.
10

Rothstein, William. "Piano Sonata in E Major Op. 109. Beethoven’s Last Piano Sonatas: An Edition with Elucidation. By Heinrich Schenker; trans., ed., and annotated by John Rothgeb Piano Sonata in A flat Major Op. 110. Beethoven’s Last Piano Sonatas: An Edition with ElucidationPiano Sonata in C Minor Op. 111. Beethoven’s Last Piano Sonatas: An Edition with ElucidationPiano Sonata in A Major Op. 101. Beethoven’s Last Piano Sonatas: An Edition with Elucidation." Music and Letters 97, no. 4 (2016): 661–63. http://dx.doi.org/10.1093/ml/gcw094.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Thèses sur le sujet "Sonates (Piano)"

1

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.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Dejos, Virginie. "Analyse et interprétation des six dernières sonates pour piano d’Alexandre Scriabine." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040224/document.

Texte intégral
Résumé :
La thèse porte sur les six dernières sonates de Scriabine. L’analyse des œuvres a été pensée en relation avec l’interprétation pianistique. L’univers de référence et l’imaginaire sonore de Scriabine sont reconstitués à partir de la perception des œuvres et des indications d’interprétation présentes dans les partitions. Une méthode inspirée par l’analyse schenkerienne est développée pour étudier les logiques d’écriture d’un langage dans lequel la notion de tonalité est considérablement élargie. La dernière partie, plus directement liée à l’interprétation, étudie les spécificités de l’écriture pianistique et des paramètres du timbre et du temps en s’appuyant sur l’étude d’enregistrements historiques<br>The following thesis focuses on the six final piano sonatas by Alexander Scriabin from the point of view of pianistic interpretation. The first part reconstitutes Scriabin’s unique musical and image-oriented universe from the basis of the listener’s perspective. The second part analyses the works from a musicological stand-point, taking into consideration indications on interpretation found in the scores. In order to more clearly identify the logic and structure of the musical language, which is marked by the usage of extended tonality, the analyses presented are inspired from Schenkerian traditions. The third part, directly linked to performance practises, explores the pianistic writing style as well as the timbral and temporal parameters, with an important place given to historical recordings
Styles APA, Harvard, Vancouver, ISO, etc.
3

Jancewicz, Peter. "Four piano recitals and an essay, Franz Liszt's Sonata in B-minor : interpreting articulation markings." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23104.pdf.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Krause, Andreas. "Die Klaviersonaten Franz Schuberts : Form, Gattung, Ästhetik /." Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb355245956.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

Rossignol, Paule Renée Laure Lola. "Poétique de la sonate pour piano d'Alexandre Scriabine : Analyse, signification." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10114.

Texte intégral
Résumé :
Personnalité fascinante et originale, véritable figure de proue du courant musical moderne de la Russie au début du XXe siècle, Alexandre Scriabine a souvent été déconsidéré. Cette étude sur la poétique du piano chez Scriabine à travers ses dix sonates (douze en comptant les deux qui n'ont pas de numéro d'opus) essaiera de ne pas séparer la dimension pratique d'exécution de ses oeuvres et la dimension réflexive visant ici à découvrir la "poétique" qui leur est implicite. L'analyse centrale de l'ensemble du cycle des Sonates sera axée sur l'étude des formes, des morphologies, architectures musicales que forment ces Sonates dans leurs agencements internes, autant que dans les relations intertextuelles qu'elles entretiennent entre elles. La Poétique musicale de Scriabine sera alors approchée et pourra mener à la signification.
Styles APA, Harvard, Vancouver, ISO, etc.
6

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.

Texte intégral
Résumé :
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<br>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
Styles APA, Harvard, Vancouver, ISO, etc.
7

Lagoumitzis, Nicolas. "Les sonates pour piano de Beethoven : regard sur l'évolution de l'interprétation des op. 2 N1, op. 53 et op. 111au XXème siècle." Paris 1, 1998. http://www.theses.fr/1998PA010588.

Texte intégral
Résumé :
Ce travail est une étude historico-esthétique de l'interprétation des sonates pour piano de Beethoven, fondée sur la comparaison d'enregistrements réalisés au cours de diverses périodes du XXeme siècle. Selon la méthodologie adoptée - l'analyse interprétative comparée - nous relevons les options interprétatives de chaque exégète lors de sa lecture "personnelle" de ce corpus beethovenien considéré dans sa matérialité "objective". Nous essayons de dégager les perspectives esthétiques des artistes-interprètes en tenant compte des différentes périodes de composition des sonates, des différentes époques de leur interprétation et, de plus, de l'influence de la tradition interprétative du XIXeme siècle, comme de l'esthétique de certains courants d'art du XXeme siècle, sur les options exégétiques des pianistes. Les œuvres (op. 2 n01, op. 53 et op. 111) ont été choisies en tant que représentatives et révélatrices des trois périodes de la création beethovenienne entre classicisme et romantisme. Les interprètes (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda et Michael Levinas) possèdent tous des formations musicales distinctes car ils appartiennent à des écoles pianistiques européennes majeures aux fondements différents. Pour chacun d'entre eux, nous avons choisi le moment correspondant à l'enregistrement de l'intégrale des sonates pour piano, afin d'obtenir, grâce à leur comparaison, des éléments représentatifs de l'évolution de l'esthétique pianistique au XXème siècle<br>The present thesis is a historical-aesthetic study of the interpretation of Beethoven's piano sonatas. As such, it is based on the comparison of certain recordings during different periods within the 20th century. Through the methodology we e adopted -the comparative interpretative analysis- we reveal each artist's interpretative choice, consistent with his "individual" reading of beethoven's piano sonatas "corpus". We have strived to uncover the aesthetic perspectives of the artists taking into account the different chronological periods of the creation and interpretation of the sonatas, as well as the influence of the 19th century interpretative tradition and 20th century aesthetic currents, on the artists' interpretative preferences. The works (op. 2 n01, op. 53 and op. Ill) were selected as being representative and revealing of the three periods of beethoven's creation between "classicism" and "romanticism". The interpreters (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda and Michael Levinas) possess a remarkable musical education, especially as they all belong to grand european piano schools, each being characterized by different founding principles. Each artist has recorded beethoven's piano sonatas in their entirety. These complete recordings provided the chronological framework against which our comparisons were made. Our ultimate aim has been to capture those unique elements reflecting the evolution of piano- playing aesthetics in the 20th century
Styles APA, Harvard, Vancouver, ISO, etc.
8

Bélanger, Anne-Marie. "Les personnages narratologiques du 1er mouvement de la sonate pour piano K.457 de Mozart : une démarche de recherche-création." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/31907.

Texte intégral
Résumé :
De nombreux préjugés entourant les sonates pour piano de Mozart, notamment leur trop grande simplicité, font en sorte qu’elles ne font pas partie du répertoire de prédilection (Newman 1983). De manière générale, les problèmes d’interprétation reliés à la musique de Mozart ont souvent été relevés (Badura-Skoda 1980; Levin 1992; Ogata 2012) et sa musique instrumentale a fait l’objet d’analyses comparatives avec sa musique vocale (Chantavoine 1948; Keefe 2001; Klorman, 2013). Plus précisément, Jones (1985) compare les sonates pour piano de Mozart avec ses opéras, mais ne suggère pas un renouvellement concret du jeu pianistique –et donc une revalorisation de ce répertoire. De plus, Irving soutient que la sonate K.457 emprunte le langage de l’opéra (1997: 100): «The material is of narrative, even dramatic kind. This is evident from the beginning, which presents a dialogue suggestive of two radically conflicting characters, [...]» (Irving 2010 : 99). Nous aborderons donc la sonate K.457 en tant que «récit» au sens de Grabócz (2009b), c’est-à-dire: des productions sonores qui se déroulent comme une «intrigue». Ainsi, suivant une démarche narratologique, en quoi un examen des stratégies d’écriture opératiques de Mozart permettrait-il de mieux comprendre celles présentes dans la sonate K.457 ? Comment cette approche pourrait-elle influencer notre jeu pianistique ? Nous associerons d’abord les paramètres musicaux caractérisant quelques personnages de certains des opéras de Mozart (Idomeneo 1781, Die Entführung aus dem Serail 1782, Le Nozze di Figaro 1786, Don Giovanni 1789, Die Zauberflöte 1791) aux éléments musicaux propres au 1er mouvement de la sonate K<br>Mozart’s piano sonatas suffer from prejudices, such as unnecessary difficulties, which lead pianists to set this music aside(Newman 1983). Mozart’s performance practice is often discussed (Badura-Skoda 1980; Levin 1992; Ogata 2012) and his instrumental music is the purpose of many comparative analysiswith his vocal music (Chantavoine 1948; Keefe 2001; Klorman, 2013). More precisely, Jones’ (1985) compares Mozart’s piano sonatas with his operas, but he does not propose new interpretation tools. Moreover, Irving suggests that Mozart’s piano sonata K.457 shows an operatic language (1997 : 100): «The material is of narrative, even dramatic kind. This is evident from the beginning, which presents a dialogue suggestive of two radically conflicting characters, [...]» (Irving 2010: 99).Thus, this work will be regarded as a “story” following Grabócz’s definition (2009), whic his, sounds’continuity taking the form of a plot . How could narratology give a new understanding of the writing strategies specific to the first movement of this sonata? How could it influence our influence our own piano playing? We will first compare writing strategies related to the opera’s characters appearing at the same time in some of Mozart’soperas(Idomeneo 1781, Die Entführung aus demSerail 1782, Le Nozze di Figaro 1786, Don Giovanni 1789, Die Zauberflöte 1791) and in this movement. These similarities will then be associated with Grabócz’s “figures dynamiques de la mise en intrigue”, which are “suspense” and “curiosity”. Finally, we will take a look at how these analyses influencedour interpretation of this work, and how our creative process impacted our researches.
Styles APA, Harvard, Vancouver, ISO, etc.
9

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.

Texte intégral
Résumé :
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<br>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
Styles APA, Harvard, Vancouver, ISO, etc.
10

Kim, Jungsun. "Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4504/.

Texte intégral
Résumé :
This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.
Styles APA, Harvard, Vancouver, ISO, etc.

Livres sur le sujet "Sonates (Piano)"

1

Beethoven, Ludwig van. Sonaten für Klavier =: Piano sonatas = Sonates pour piano. Wiener Urtext Edition, 1997.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Les 32 sonates pour piano: Journal intime de Beethoven. L. Courteau, 1988.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Beethoven, Ludwig van. Klaviersonaten, op. 49/1, 2 =: Piano sonatas, op. 49/1, 2 : deux sonates faciles. Schott/Universal Edition, 1986.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

A companion to Beethoven's pianoforte sonatas: (bar-to-bar analysis). Associated Board of the Royal Schools of Music, 1989.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

1949-, Cooper Barry, ed. b companion to Beethoven's pianoforte sonatas: Bar by bar analysis. Associated Board of Music of the Royal Schools of Music, 1998.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

Nürnberg, Germanisches Nationalmuseum, ed. Piano-Perspektiven: Die Klaviersonaten W.A. Mozarts auf historischen Hammerflügeln = Pianos in perspective : W.A. Mozart's sonatas on historical pianofortes = Pianos en perspective : les sonates pour piano de W.A. Mozart sur pianos-forte historiques. Verlag des Germanischen Nationalmuseums, 2006.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
7

Cinq pianistes interprètent Beethoven: Claudio Arrau, Friedrich Gulda, Michaël Levinas, Tatiana Nikolayeva face aux sonates op. 2 no. 1, op. 53 et op. 111. Harmattan, 2010.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

Beethoven and the voice of God. Travis & Emery, 2008.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

The piano sonatas of Carl Loewe. P. Lang, 1996.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

Scarlatti, Domenico. Piano sonatas. Edited by Hinson Maurice. Alfred Pub. Co., 1990.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Chapitres de livres sur le sujet "Sonates (Piano)"

1

SCARLATTI, DOMENICO. "Sonata in E major, K380, and an overview of other sonatas." In The Piano. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.8.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
7

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

Berman, Boris. "in C Major, op. 38 (First Version), op. 135 (Second Version)." In Prokofiev's Piano Sonatas. Yale University Press, 2008. http://dx.doi.org/10.12987/yale/9780300114904.003.0007.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Actes de conférences sur le sujet "Sonates (Piano)"

1

Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

Texte intégral
Résumé :
The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
Styles APA, Harvard, Vancouver, ISO, etc.
2

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.73.

Texte intégral
Résumé :
In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.
Styles APA, Harvard, Vancouver, ISO, etc.
5

Cox, Susanne, and Richard Sänger. "Digitale Fassungsvergleiche am Beispiel von Beethovens Eigenbearbeitungen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.99.

Texte intégral
Résumé :
In its second module, „Beethovens Werkstatt“ deals with five of Beethoven’s compositions which exist both in their original versions and as authentic arrangements (Piano Sonata op. 14/1 arranged for string quartet, Septett op. 20 and Trio op. 38, Opferlied op. 121b and Bundeslied op. 122 as piano reductions, Große Fuge op. 133 as arrangement for piano for four hands op. 134). To demonstrate Beethoven’s arrangement practices, the original version of each work is synoptically linked with its arrangement in a digital edition called „VideApp Arr“. Through digital tools for comparison the relationships between the two versions can be investigated from different perspectives. It becomes visible how the versions are related to each other both by „invariance“ (text elements with the same structure), by „variance“ (text elements with a similar structure) and, in special cases, also by „difference“ (text elements without corresponding parameters). Each view within the „VideApp Arr“ is generated from the underlying MEI data.
Styles APA, Harvard, Vancouver, ISO, etc.
6

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

Texte intégral
Résumé :
This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
Styles APA, Harvard, Vancouver, ISO, etc.
7

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

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

Cheng, Yingjie. "The Music Analysis of Beethoven 's Piano Sonata qFarewellq." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.75.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

Ruchkina, Natalia. "qNaturalq Music of Ivan G. Sokolov: Sonata for Cello and Piano." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.101.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

"Analysis of the Third Movement of Beethoven Piano Sonata Op.13, Pathetique." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.52.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.

Rapports d'organisations sur le sujet "Sonates (Piano)"

1

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

Texte intégral
Résumé :
Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
Styles APA, Harvard, Vancouver, ISO, etc.
Nous offrons des réductions sur tous les plans premium pour les auteurs dont les œuvres sont incluses dans des sélections littéraires thématiques. Contactez-nous pour obtenir un code promo unique!

Vers la bibliographie