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Dissertations / Theses on the topic 'Sonatas for violin'

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Published: 10 December 2022
Last updated: 28 January 2023

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1

Hsieh, Shih-Yun. "Neoclassic violin sonatas, 1922-1977." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3176.

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2

Cho, Jung Yoon. "Re-interpreting Brahms' violin sonatas : understanding the composer's expectations." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/17924/.

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This practice-led research investigates late nineteenth-century Romantic performing practice with special reference to the Brahms violin sonatas. It is conducted with the aim of understanding the composer’s expectations, which lie behind the notation on the score. In the nineteenth century, performers used to approach notation in a much more liberal and musically inspired way, whereas our current approach tends to be constrained by a reliance on literal accuracy (i.e. keeping note values, articulations, dynamics, and other performing instructions on the score very strictly) as representing ‘the composer’s intentions’. The nineteenth- and early twentieth-century treatises and early twentieth-century recordings confirm that portamento, vibrato, tempo rubato, tempo and rhythmic modifications, arpeggiation, and dislocation were expressive performing techniques often used by performers in the late nineteenth century. These interpretative elements are only partially notated or completely omitted from the score, which means performers consciously or unconsciously following a modern notion of ‘faithfulness to the score’ may not be able to discern the composer’s expectations as they exist behind the notation, especially in relation to Romantic repertoire. This research demonstrates how expressive performing techniques of the nineteenth century may be the subject of experiments and later internalised by a performer emerging from the modern tradition, and how this information may contribute to understanding hidden messages behind Brahms’s notation. The process behind this research involves exploring late nineteenth-century expressive resources more closely by imitating selected early twentieth-century recordings. Chapter One discusses the research context including research questions and methodology. Chapter Two contains extensive investigations into the nineteenth-century expressive resources such as portamento, vibrato, and tempo rubato based on early recordings. Chapter Three presents the application of the accumulated experiences and insights gained from practical experimentation with early recordings and other historical sources to Brahms’s Violin Sonatas, for which there are no relevant early recorded examples. This research is not intended to provide definite interpretative ideas in relation to the Brahms violin sonatas. It is ultimately conceived as an example of how modern performers might utilise historical knowledge, including ideas about how the composer’s expectations may be recognised, and also as an encouragement to engage with historical practices in a more varied, interesting, and creative modern context. This thesis includes two CDs containing my imitations of early recordings and independent interpretations of Brahms’s Violin Sonatas, which were produced as an indispensable part of this research.
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3

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

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4

Baldwin, Philip Richard. "An analysis of three violin sonatas by William Bolcom /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933245537883.

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5

Lee, Young-Joo. "An examination of 19th century Austro-German violin sonatas." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9768.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;
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6

Hung, Yu-Hsien Judy. "The Violin Sonata of Amy Beach /." [Baton Rouge, La. : Louisiana State University, 2005. http://etd.lsu.edu/docs/available/etd-04142005-224115/.

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7

KIM, EUN-HO. "FORMAL COHERENCE IN J.S. BACH'S THREE SONATAS FOR SOLO VIOLIN, BWV 1001, 1003, AND 1005." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122323822.

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8

Lin, Shi-Ling. "The three violin sonatas of British composer Wilfred Josephs (1927-1997) /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488196781733282.

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9

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

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;
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10

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

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music
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11

Fairbanks, Donna Pauley, and Donna Pauley Fairbanks. "The Mozart Sonatas for Keyboard and Violin: The Realization of Equal Duo." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/626244.

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12

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

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13

Rittstieg, Jessika Ulrike. "Continuity and change in Eugène Ysaÿe's Six Sonatas, Op. 27, for solo violin." Thesis, Open University, 2018. http://oro.open.ac.uk/55874/.

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The Six Sonatas, Op. 27, for Solo Violin by the Belgian violinist and composer Eugène Ysaÿe (1858-1931), written in 1923/24, are increasingly adopted into the standard repertoire of violinists. Ysaÿe saw them as containing his legacy to future generations of violinists and composers and also as a statement of his aesthetic identity. However, not much research has been done on the aesthetics reflected in them. Yet, a greater awareness of Ysaÿe's aesthetics will add to the understanding of this important historical figure who did so much to popularise French and Belgian music of the turn of the twentieth century and very much identified with the circle of composers around César Franck. This thesis focusses on Ysaÿe's relationship with music history as represented in Op. 27. It explores his aesthetics, in particular his attitude to the past, present and future as well as his insistence on the continuity of history. Part I examines Ysaÿe's historical and biographical context as well as his aesthetic predilections. It particularly focuses on composers to whom he was close, notably the Franckists, as well as on the violin tradition of which he was part, with an emphasis on Henri Vieuxtemps. As each Sonata is dedicated to a violinist of the generation after Ysaÿe, their personalities and playing styles are also discussed. Part II turns to the Sonatas themselves and explores ways in which Ysaÿe engages with past and contemporaneous composers, notably J. S. Bach, César Franck and Claude Debussy, as well as with the violin tradition and the possible influence of the dedicatees on their Sonata. It also demonstrates Ysaÿe's contribution to music history, especially to the development of the technical and expressive possibilities of his instrument.
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14

Ortega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.

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15

KIM, EUN-HO. "FORM AND FUNCTION IN THE SLOW MOVEMENTS OF J.S. BACH'S THREE SONATAS FOR SOLO VIOLIN, BWV 1001, 1003, AND 1005." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1022622648.

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16

Kim, Eun-Ho. "Formal coherence in J.S. Bach's three sonatas for solo violin, bwv 1001, 1003, and 1005." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1122323822.

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Thesis (Master of Music)--University of Cincinnati 2005.
Title from electronic thesis title page (viewed Feb. 25, 2006). Includes abstract. Keywords: Bach, Violin Sonatas. Includes bibliographical references.
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17

Kreutzfeldt, Hannah L. "Interpreting Bach: Sonata No. 3 in C Major For Solo Violin." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1405364000.

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18

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

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19

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

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20

Strieck, Katia. "The mystery of the Mystery sonatas : a musical rosary picture book." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21269.

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Heinrich Ignaz Franz von Biber's (1644--1704) Mystery Sonatas of 1676 are a set of fifteen sonatas for violin and continuo plus one unaccompanied passacaglia for solo violin. They are unusual in their use of scordatura and in the presence of an image associated with the Rosary devotion before each sonata. This association between image and music in the sonatas, and the correspondence to the fifteen mysteries of the Rosary closely resembles the structure of seventeenth-century Rosary picture books.
In this thesis the context, background, and meaning of the sonatas is explored. The first chapter examines the function of the sonatas and places them in context by outlining musical life in Salzburg, the sonata tradition, the Rosary devotion, Emblem books, and Rosary picture books. The second chapter focuses more on the collection as a whole and on elements such as key, dance affect, and scordatura. The third chapter consists of an examination of three sonatas---each one unique in placing the listener in a different relation to the mystery.
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21

Lewis, Nia Elizabeth. "The rhetoric of classical performance practice : giving 'life to the notes' in Mozart's Sonatas for Violin and Keyboard." Thesis, University of York, 2007. http://etheses.whiterose.ac.uk/9919/.

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22

Kostka, Magdalena. "Sonatas for violin and basso continuo written by British composers in the first half of the eighteenth century." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/67440/.

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The sonata for violin and basso continuo was one of the most popular instrumental genres in early eighteenth-century Europe, as is clearly evident from the numerous works by Italian, German and French composers of the period, whose contributions are widely known and documented. Violin sonatas by British-born composers of the period, on the other hand, have largely been neglected by scholars and performers and no systematic examination of this repertoire has thus far been conducted. The present thesis attempts to contextualise this rich and fascinating repertoire and view it holistically. It aims to contribute substantially to knowledge about the British violin sonata during the period and enhance our understanding of its function, content, dissemination and performance. Fifteen collections of sonatas for violin and continuo written by British-born composers in the first half of the eighteenth century have been selected for detailed analysis. These works have been examined from two different perspectives: as social phenomena and as aesthetic objects. Following relevant introductory materials contextualising the research, the first part of this thesis presents biographical accounts of the selected composers, their careers and musical environment, and the circumstances surrounding the publication and distribution of their sonatas. In Part II the sonatas under scrutiny are analysed in terms of their external designs and internal forms, tonal scope, and harmonic and melodic vocabulary, as well as their technical demands. Technical discussion focuses on issues such as range requirements, position-work and shifting, fingering, bowing, articulation, embellishment, dynamics, and chordal playing.
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23

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

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Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements.
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24

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

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.
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25

Zora, Viktoria. "Sergei Prokofiev's Violin Sonatas Op. 80 and 94bis : a historical and comparative study of manuscripts, early editions and interpretations by David Oistrakh and Joseph Szigeti." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20535/.

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The thesis investigates Sergei Prokofiev’s Violin Sonatas (Op. 80 and Op. 94bis) within the historical contexts of their years of composition (1938-46), dissemination (1944-48) and publication (1946-51) in the Soviet Union, the USA and, partially, the UK. It therefore considers Sergei Prokofiev’s Soviet years (1936-53) from a new perspective and unfolds the Western dissemination history of the Violin Sonatas and Prokofiev’s relationship with Western musicians during the Second World War and the Stalinist era. Moreover, the thesis sheds light upon the Soviet and Western cultural and diplomatic organisations that facilitated the dissemination and publication of the Violin Sonatas in the USA and the UK during the 1940s. The thesis examines and deduces via extensive study of primary sources the chronology of the composition of the Violin Sonatas. The First Violin Sonata (Op. 80, 1938-46), which has hitherto been examined most briefly in the literature, is traced from sketches to the Autograph Manuscript. The sketches are organised chronologically around the interrupted compositional period (1939-44), while the Autograph Manuscript dates from 1946. The Second Violin Sonata (Op. 94bis, 1944), a transcription of the Flute Sonata, is examined via copyist manuscripts, which trace the collaboration process between Prokofiev and the violinist David Oistrakh, who initiated the transcription of the Flute Sonata into the Second Violin Sonata, and subsequently became the dedicatee of the First Violin Sonata. Furthermore, the thesis evaluates the perception of the Violin Sonatas through the press reviews of premieres and interpretations of the works during the 1940s, both in the Soviet Union by David Oistrakh, and in the USA by Joseph Szigeti. The analysis of the first performance editions edited by Oistrakh and Szigeti in late 1940s and early 1950s (Muzgiz, Leeds Music Corporation, Anglo-Soviet Music Press) sheds light upon different historical approaches to the interpretation of the Violin Sonatas and is reflected in the recital that supplements the thesis.
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26

Gebel, der Jüngere Georg. "Sonata Es-Dur." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70100.

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Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.
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27

Gebel, der Jüngere Georg. "Sonata Es-Dur." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149779.

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Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.
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28

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

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La thèse considère la double inconnue d’un répertoire et d’un jeu violonistique encore inexplorés. Elle dévoile les sonates françaises pour piano et violon de la période 1800-1870, mais questionne aussi leur interprétation. Une étude historique est menée sur le jeu des violonistes français : la base de données Mélos, deux inventaires inédits, l’analyse de maintes sources et témoignages, notamment un imposant corpus de traités pédagogiques de violon publiés en France au XIXe siècle et les partitions annotées du fonds Baillot de la Bibliothèque nationale de France (BnF), apportent des éclairages originaux sur ce sujet. L’ambition est de construire aujourd’hui, violon en main, une interprétation de ces sonates méconnues et, avec la création d’outils destinés aux interprètes et aux scientifiques, d’œuvrer à leur diffusion
This dissertation addresses the twofold issue of a violin repertoire and a performance practice, both of which had yet to be explored. French sonatas for piano and violin ranging from the 1800s to the 1870s are unveiled. Their interpretation is also discussed. The performance practices of French violinists are studied from a historical perspective. The Melos database, two previously unpublished inventories, the analysis of numerous sources and testimonies, including an extensive corpus of 19th-century French violin methods and the annotated scores from the French National Library’s Baillot collection are used to tackle this question in the light of multiple criteria. The final purpose of this thesis is to combine theory and practice to bring about an interpretation of these little-known sonatas and to foster new tools for interpreters and scientists with a view to promulgate these works
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29

Theunissen, Tricia. "Die begeleide vioolsonate in Suid-Afrika : die bydraes van Temmingh, Klatzow en Hofmeyr." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96004.

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Thesis (MMus) – Stellenbosch University, 2014.
ENGLISH ABSTRACT: The sonata for violin and piano has a well-deserved place within chamber music in South Africa. It has always been one of the most prominent chamber music genres within Western art music. Between 1800 and 1900 this genre took up 21% of all composed sonatas at the time. This study provides insight into the situation in South Africa about 100 years later and it provides a critical text analysis of three violin sonatas by three of the most prominent composers of art music in South Africa. These composers are Roelof Temmingh (1993), Peter Klatzow (1996) and Hendrik Hofmeyr (2008). These are the only sonatas for violin and piano written by these three composers. There is a limited amount of violin sonatas in South Africa. A list acquired from SAMRO, statistically the most reliable source of worklists in South Africa, contains only eleven sonatas for violin and piano. These do not even include the violin sonatas of Temmingh and Hofmeyr. The limited amount of sources forces a unique aspect of research method, namely conversations with two of these composers themselves (Klatzow and Hofmeyr). This primary source of information from the two living composers assisted in the analysis of the music. European influences can be seen in all three of these sonatas. The three composers adapt and transform the music to fit their individual use of sonata form. Each of these three works contains three movements, as is customary with traditional sonata form. The second movements function as intermezzi, that leads the narrative through from the first to the last movement. Each of the three composers have their own unique sense of tonality and thematic use. Temmingh uses a main theme that resurfaces throughout the three movements – leading the whole work to sound like one large movement. Klatzow uses complicated thematic structures and thick textures. From these thematic material he extracts smaller parts later in the movement to recapture the essence of the main theme complex and to add unity to the work as a whole. Hofmeyr uses carefully planned structures and this makes his sonata the most structured of the three. His textures are thick and his tessituras are wide, and he is the only one of the three composers who uses key signatures. Like Temmingh he also makes use of a main motto-theme that resurfaces in the last movement adapted to fit the movement’s structure. In terms of the traditional use of form structure these three sonatas fit the 19h century conventions. The main outcome of this study is to introduce these works to especially the younger generation of performers in South Africa.
AFRIKAANSE OPSOMMING: Soos menige ander kunsmusiek-genre het ook die (begeleide) vioolsonate ‘n stewige plek in die Suid-Afrikaanse musiek verkry. Die sonate vir viool en klavier is een van die mees prominente kamermusiek-genres in Westerse kunsmusiek. Tussen 1800 en 1900 was soveel as 21% van alle sonates, werke vir viool en klavier. Dit is dus van spesiale belang om kennis te neem ten opsigte van hierdie situasie in Suid-Afrika ongeveer 100 jaar later. Die kern van hierdie tesis is ‘n stylkritiese teksanalise van drie Suid-Afrikaanse vioolsonates deur drie prominente Suid-Afrikaanse komponiste, nl. Roelof Temmingh (1993), Peter Klatzow (1996) en Hendrik Hofmeyr (2008). Met uitsondering van ‘n sonate vir solo viool deur Klatzow, is hierdie werke die enigste vioolsonates deur dié komponiste. Daar is ‘n beperkte aantal vioolsonates in Suid-Afrika. Selfs by SAMRO, wat ‘n aanvaarde statistiese bron van die werkslyste van komponiste in Suid-Afrika is, is daar slegs elf vioolsonates op rekord (dit sluit die vioolsonates van Temmingh en Hofmeyr uit). Die skaarste aan bronne wat oor dié onderwerp handel, dwing die navorser om onderhoude met die oorlewende twee komponiste te voer. Dit is uniek om musiek te kan bespreek met die komponis daarvan. Hierdie primêre bron van inligting vertoon unieke insigte, wat ‘n invloed op die analises van die musiek gehad het. Europese invloede is by al drie komponiste sigbaar. Die toepassings van die struktuurelemente van sonatevorm kom by al drie komponiste voor. Al drie werke is driedelig en die eerste bewegings is almal in aangepaste sonatevorm. Die tweede bewegings vorm deel van ‘n deurloop (ter ondersteuning van die narratief) na die laaste beweging toe en die laaste bewegings sorg by elke werk vir ’n unieke vorm van “konflikoplossing”. Al drie komponiste toon hul eie spesifieke sin vir tonaliteit en tematiek. Temmingh se sonate loop amper as ‘n eenbewegingstruktuur, deur middel van ‘n “motto”-tema, wat deurgaans in dieselfde toonsoort voorkom. Klatzow gebruik ‘n verskeidenheid teksture en tessiture, asook lang temakomplekse, waaruit sekere kleiner motiewe gehaal word om die musiek se eenheidsin weer te gee. Hofmeyr se uiteengesette vormplanne maak sy werk meer gestruktureerd. Ook by hom is die teksture omvangryk, maar sy gebruik van toonsoorttekens (wat afwesig is by die ander twee komponiste) vertoon nie deurgaans die toonsoort waarin die musiek werklik is nie. Hy maak ook van ‘n motto-tema gebruik. Die eerste beweging open daarmee en in die derde beweging keer dit in ‘n aangepaste vorm terug. In terme van die tradisionele Europese vormgebruike, kan hierdie drie vioolsonates onder 19de-eeuse kunsmusiek geklassifiseer word. Hierdie studie poog om ‘n bydrae te maak tot die bekendstelling van hierdie werke by veral jong musici in Suid-Afrika.
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Kim, Seong Ae. "Sonata for Violin and Piano." Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.

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

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

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

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La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violon
A great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin
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Verwaerde, Clotilde. "La pratique de l'accompagnement en France (1750-1800) : de la basse continue improvisée à l'écriture pour clavier dans la sonate avec violon." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040086/document.

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Entre 1750 et 1800, l’émergence et l’adoption de nouveaux genres musicaux et modèles stylistiques, bouleversent la pratique de l’accompagnement au clavier en France. La basse chiffrée se raréfie dans les œuvres gravées et cède progressivement le pas à des parties de clavier entièrement écrites dans la musique vocale. La première partie de cette thèse définit la place de l’accompagnateur et l’évolution de la notation. La seconde est consacrée à l’enseignement dispensé par les méthodes et traités, et établit des passerelles avec les écoles étrangères et le siècle suivant. Enfin, la troisième partie reconsidère la question de l’accompagnement dans les sonates pour clavier et violon. La confrontation des écrits théoriques et des partitions trouve une application directe dans la pratique de la basse continue et de l’accompagnement au clavier, et permet de proposer des modèles de réalisation conformes aux caractéristiques observées dans les œuvres de cette période
Between 1750 and 1800, the emergence and adoption of new musical genres and stylistic models radically change the accompaniment practice on keyboard instruments in France. Figured bass becomes scarce and is gradually replaced by written-out keyboard parts in vocal music. The first part of this thesis defines the role of the accompanist and the evolution of the notation. The second part is devoted to the instructions given in methods and treatises and establishes links with foreign schools and the following century. Finally, the third part reconsiders the question of the accompaniment in the sonatas for keyboard and violin. The comparison between theoretical writings and scores finds a direct application in the continuo and keyboard accompaniment practice, and leads to the proposition of realisation models in accordance with the characteristics observed in the musical works of that period
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Costa, Gustavo Silveira. "O processo de transcrição para violão de Tempo di Ciaccona e Fuga de Béla Bartók." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-19052009-170616/.

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Esta dissertação de mestrado trata do processo de transcrição para violão solo dos movimentos Tempo di Ciaccona e Fuga, da Sonata para violino solo (1944) de Béla Bartók. O primeiro capítulo contempla análises estruturais básicas dos movimentos Tempo di Ciaccona e Fuga, assim como o histórico da Sonata para violino solo e uma breve abordagem sobre a vida e obra musical de Bartók. Também é apresentado neste capítulo um apanhado das edições e transcrições da Sonata para violino solo, além de uma coleta de dados sobre transcrições para violão de outras obras de Bartók. O processo de transcrição é abordado no segundo capítulo por meio de comparações entre os recursos instrumentais específicos do violão e do violino, levando-se em conta também outros procedimentos usados em transcrições para violão solo de obras originalmente compostas para violino ou violoncelo solo por Johann Sebastian Bach. A transcrição para piano do próprio Bartók de alguns de seus Quarenta e quatro duos para dois violinos também foi tomada como processo análogo a ser observado em nossa transcrição. No terceiro e último capítulo desta dissertação encontra-se nossa edição da transcrição para violão solo de Tempo di Ciaccona e Fuga de Béla Bartók.
The present dissertation deals with the process of transcription for guitar of Tempo di Ciaccona and Fuga from the Sonata for solo violin (1944) by Béla Bartók. The first chapter introduces essential structural analysis of the movements of Tempo di Ciaccona and Fuga, as well as the historical background of the Sonata for solo violin, and a brief study of the life and musical work of Bartók. It also presents a review of the editions and transcriptions of the Sonata for solo violin, apart from a collection of data about guitar transcriptions of other works by Bartók. The transcription process is approached in the second chapter through comparisons with the violin and the guitar specific instrumental resources, taking in account also other procedures used in guitar transcriptions of works composed for cello or solo violin by Johann Sebastian Bach. Bartóks own piano transcription of some of his Fourty-four Duos for two violins was also taken as an analogous process to be observed in our transcription. In the third and last chapter of this dissertation we present an edition of our transcription for solo guitar of Tempo di Ciaccona and Fuga by Bartók.
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Setsu, Eya. "Beethoven's “Kreutzer” SonataAn Analysis." University of Akron / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1619616899745278.

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Cifrino, Emma A. ""Tentative and Feminine": Viola Sonatas by British Women." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467237993.

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Manig-Sylvan, Joseph T., and Joseph T. Manig-Sylvan. "Bela Bartok: Sonata for Solo Violin (1944)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626226.

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Rosenbaum, George G. (George Gene). "Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278956/.

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These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).
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Babcock, Ronald D. (Ronald Dean). "A Study of Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 by Johann Joseph Fux: the Historical Significance as Works for Alto Trombone and Performance Considerations, a Lecture Recital together with Three Recitals of Selected Works by J. Albrechtsberger, R. Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278148/.

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Johann Joseph Fux's influence on the development of eighteenth-century alto trombone literature is significant. His music, when compared with that of other composers who wrote for the alto trombone before 1730, reveals a more elaborate and frequent use of the instrument. Many of Fux's compositions call for alto, tenor, or bass trombone, but his Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 are of particular interest in regard to the composer's treatment of the alto trombone. This study points out the technical demands placed on the trombonist in Fux's works as compared to such contemporary composers as Antonio Caldara and Marc'Antonio Ziani. The primary goal of this study is to substantiate the importance of Fux's role in the development of the alto trombone repertoire. Published and unpublished works by Fux that significantly incorporate the instrument have been studied and compared to compositions of his contemporaries. A thorough discussion of Sonata a Quattro and Alma Redemptoris Mater illustrates the technical aspects of his alto trombone writing. The secondary goal of this study is to create a performing edition of Sonata a Quattro and Alma Redemptoris Mater. The existing editions in Denkmaler der Tonkunst in Osterreich and Johann Joseph Fux, Samtliche Werke are less than complete. There are no individual parts for performers, and tempo indications for several movements are missing. Mistakes in the parts of Sonata a Quattro and discrepancies between the figured bass and continuo realization have been corrected for the creation of a new edition. Tempo, ornamentation, instruments, and articulation are also discussed to assist in the presentation of an historically informed performance of the Sonata a Quattro and Alma Redemptoris Mater.
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Brown, Brittni Taylor. "Doctoral thesis recital (violin)." Thesis, 2012. http://hdl.handle.net/2152/23786.

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Žeželj-Gualdi, Danijela. "Leoš Janáček's violin sonata and how it compares to the violin sonatas of Brahms and Debussy." 2006. http://purl.galileo.usg.edu/uga%5Fetd/zezelj-gualdi%5Fdanijela%5F200605%5Fdma.

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

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Koo, Yunkyong. "Doctoral thesis recital (violin)." 2011. http://hdl.handle.net/2152/16305.

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Corral, Andrew R. "Master's thesis recital (violin)." Thesis, 2013. http://hdl.handle.net/2152/23457.

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Bivona, Kathryn L. "Master's thesis recital (violin)." Thesis, 2013. http://hdl.handle.net/2152/23592.

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Violin sonata in D minor, op.108 / Johannes Brahms -- Romance in G major, op.40 (Andante) / Ludwig van Beethoven -- Road movies for violin and piano / John Adams -- Elegy for viola solo (trans. for violin) / Igor Stravinsky -- Introduction and tarantella, op.4 / Pablo de Sarasate.
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Lee, Julie. "Doctoral thesis recital (violin)." Thesis, 2012. http://hdl.handle.net/2152/23776.

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Much ado about nothing suite, op.11 / Erich Wolfgang Korngold -- Phantasy / Arnold Schoenberg -- Melodie / Christoph Willibald Gluck -- Violin sonata no.3 in d minor, op.108 / Johannes Brahms -- Roumanian folk dances / Bela Bartok.
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Riley, Meredith A. "Artist Diploma recital (violin)." Thesis, 2013. http://hdl.handle.net/2152/24029.

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Park, Jieun. "Master's thesis recital (violin)." Thesis, 2014. http://hdl.handle.net/2152/24464.

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Lin, Yi-Hsuan. "Doctoral thesis recital (violin)." Thesis, 2014. http://hdl.handle.net/2152/24490.

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Pittman, Rebecca. "Master's thesis recital (violin)." Thesis, 2014. http://hdl.handle.net/2152/24527.

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Tempo di minuetto / Fritz Kreisler -- Sonata in G major, KV 301 / Wolfgang Amadeus Mozart -- Sonatina, op.100 / Antonin Dvorak -- Sonata for violin and piano in A major, op.100 / Johannes Brahms.
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Nam, Soo Jin. "Doctoral Thesis Recital (violin)." Thesis, 2012. http://hdl.handle.net/2152/19433.

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