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Dissertations / Theses on the topic 'Sonatas (Piano) Analysis'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Yang, Eun-Kyoung. "The Piano Sonatas of Carl Vine: A Guideline to Performance and Style Analysis." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1048801477.

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Thesis (D.M.A.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains ix, 97 p.: ill., music. Includes abstract and vita. Advisor: Caroline Hong, School of Music. Includes bibliographical references (p. 96-97).

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2

Seidel, John A. (John Allen). "The Trombone Sonatas of Richard A. Monaco." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330825/.

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This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.

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3

Campbell, Grace M. "Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc279098/.

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When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit "invariance under a transformation."

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4

Tentser, Alexander. "The second piano sonata by Dmitrii Shostakovich a style analysis /." Full text available online (restricted access) Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/9713417.pdf.

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5

Andrade, Liliana Michelsen de. "O primeiro movimento da Sonata II para piano solo de Bruno Kiefer : uma análise interpretativa." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10551.

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Este estudo do primeiro movimento da Sonata II para piano de Bruno Kiefer parte do ponto de vista do executante. Reunindo cartas, documentos e outras evidências do arquivo do compositor, apresenta uma análise que expõe uma concepção pessoal dos significados referenciais transmitidos pela obra. O entendimento da linguagem musical do compositor, obtido através dos processos composicionais e dos ambientes emocionais constituem-se em ferramentas de suporte para a interpretação.
This study approaches the first movement of Bruno Kiefer’s Piano Sonata II from the performer standpoint. Based on letters and other archival material as well as an extensive analysis of compositional elements, the author presents referencial meanings related to emotional states resulting in an interpretive analysis.

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6

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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7

Polk, Kristin Marie. "An analysis of form and tonality in Arnold Cooke's Sonata for oboe and piano (1957)." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6061.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 7, 2005, Oct. 10, 2005, Mar. 6, 2006, and Feb. 4, 2008. Includes bibliographical references (p. 29-30).

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Jones, Everett N. III. "Intervallic coherence in four piano sonatas by George Walker an analysis /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1119363851.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2005.
Title from electronic thesis title page (viewed Feb. 26, 2006). Includes abstract. Keywords: George Walker. Includes bibliographical references.

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JONES, EVERETT N. III. "INTERVALLIC COHERENCE IN FOUR PIANO SONATAS BY GEORGE WALKER: AN ANALYSIS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1119363851.

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10

Treber, Stefan L. "A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28486/.

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This thesis examines the history and origins of Beethoven's E minor Piano Sonata and examines the possibility of the programmatic conception of the work. Dedicated to Beethoven's friend Count Moritz Lichnowsky, the sonata may have been inspired by the Count's illicit affair with his future wife, the singer and actress Josefa Stummer. Providing a thorough Schenkerian analysis of both movements, the inner harmonic structure of the composition is revealed and explained. The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse. Both English and German language sources are incorporated into a comprehensive examination of Beethoven's Piano Sonata, op. 90.

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Freitas, Stefanie Grace Azevedo de. "Marlos Nobre - sonata para piano sobre tema de Bartók Op. 45 : uma abordagem analítica do fenômeno intertextual." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17708.

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Este trabalho apresenta uma análise da Sonata para piano sobre tema de Bartók op.45 (2003) do compositor Marlos Nobre (1939) com o objetivo de identificar os elementos apropriados do primeiro movimento do Concerto para Orquestra (1943) do compositor húngaro Béla Bartók (1881-1945) e investigar como esses elementos são inseridos e metamorfoseados na linguagem de Nobre. Foram utilizados como referenciais teóricos os autores Straus (1990) e Hyde (1996) que estudam o fenômeno da intertextualidade na música. Este trabalho divide-se em duas etapas: a primeira consiste em uma revisão da literatura sobre a intertextualidade na música e sobre estilos e influências detectadas nos processos composicionais e a segunda, em uma análise formal, intertextual e comparativa entre a Sonata op. 45 de Nobre e o Concerto de Bartók.
This dissertation, while presenting an analysis of Sonata para piano sobre tema de Bartok op. 45 (2003) composed by Marlos Nobre (1939), aims at identifying elements appropriated from the first movement of Concerto for Orchestra (1943) composed by the Hungarian Bela Bartok (1881-1945). Based on works by Straus (1990) and Hyde (1996), phenomena identified as intertextuality in music establish the main focus of this text divided into two mains sections. The first section deals with a review of the literature geared to the study of intertextuality in music, as well as aspects of style and matters of influence within the compositional processes. The second section offers a formal, intertextual and comparative analysis of Nobre´s Sonata op. 45 in relation to Bartok´s Concerto for Orchestra.

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Hsu, Yu-Ching. "The Orchestral Mentality of Johannes Brahms' Piano Sonata No. 3." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011840/.

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Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his most mature, comprehensive style. This dissertation will therefore examine the orchestral underpinnings of this monumental work which owes most often its already mature artistic essence to Brahms' multi-instrumental approach.

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Proctor, Jordan. "The solo piano sonatas of Cipriani Potter (1792-1871): An analysis, reappraisal, and historical performance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2411.

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The solo piano sonatas (Op. 1, 3, and 4) of once eminent English pianist/composer Cipriani Potter (1792-1871) are a collection of works that have for the most part fallen into obscurity. Potter produced three such sonatas in his lifetime, each at approximately the same time during his educational trip to Vienna between 1817 and 1818. Potter was much celebrated in his own time as a virtuoso pianist, teacher, and eventual principal at the Royal Academy of Music, and as an editor of the works of Mozart and Beethoven amongst others. This study examines Potter’s sonatas in light of both modern and eighteenth- and nineteenth-century methods of analysis, as well as in the light of his two greatest influences: Joseph Wölfl (1773-1812) and Ludwig van Beethoven (1770-1827). The study comprises an analysis, reception history, critical reappraisal, and historical performance. It applies three analytical frameworks: the stylistic taxonomy (sublime, beautiful, and ornamental) of contemporaneous commentator and teacher of Potter, William Crotch (1775-1847); late-eighteenth and nineteenth-century key characteristics (largely drawn from Rita Steblin’s History of Key Characteristics); and the analytical approach of James Hepokoski and Warren Darcy’s Elements of Sonata Theory. The analysis, alongside historical performance concerns, informs and influences the interpretive decisions in a complete public recital of Potter’s sonatas using a replica fortepiano after Conrad Graf (ca. 1819). The analysis also informs a critical reappraisal of the significance of Potter’s works, which (as shown through a reception history) have not been fully appreciated. The aim of this project is to produce an effective analytical method for application to the remainder of Potter’s piano output and serve as a stepping-stone for further research into Potter’s music.

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Fitenko, Nikita. "Sonata for Piano (1963) by Sergei Michailovich Slonimsky: Musical Analysis and Discussion on Interpretation and Performance." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3147/.

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The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combined with elements of the sonata-allegro form. In the analysis of the harmonic language of the piece, the composer's extensive use of Russian folk elements such as diatonic melodies, sigh motives, parallel triads, and simultaneous use of the lower third with the major triad is pointed out. The rest of the paper focuses on issues of interpretation and performance. Special notice is given to the problem of incorporating a percussive type of playing with the elements of folk cantilena singing. The paper concludes with the history of Sonata's performances and a discussion of current recordings.

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Hammond, Rachel. "Rhythmic and metric structure in Alberto Ginastera's piano sonatas." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4912.

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Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career. The Sonata No. 1 for Piano Op. 22 (1954), Sonata No. 2 for Piano Op. 53 (1981), and Sonata No. 3 for Piano Op. 54 (1982) have been analyzed and discussed in recent scholarship. Theorists have identified Western techniques such as sonata-rondo form, serialism, and symmetry in his compositions. Yet, when addressing rhythm, scholars have focused primarily on highlighting the Argentine dance or Amerindian rhythm that the music exemplifies and have neglected to apply Western analytical tools for analyzing rhythm. The goal of this paper is to approach rhythm and meter in the piano sonatas from a new perspective in order to identify Ginastera's Western European musical techniques. Attention will be given to Ginastera's use of and denial of metric hierarchy and periodicity. The paper will also focus on consonant and dissonant rhythms in the piano sonatas, as well as additive and subtractive rhythms. Because any discussion of rhythm and meter in Ginastera's music cannot ignore its nationalistic origins, the paper provides an introductory chapter that discusses Argentine dance rhythms. However, the bulk of the paper aims to provide analyses from a Western art music viewpoint that illustrate Ginastera's compositional manipulation of rhythm and meter.
ID: 030422756; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 70-71).
M.A.
Masters
Music
Arts and Humanities

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Cruz, Rachel Yvonne. "An investigation and analysis of Shulamit Ran's Apprehensions for voice, clarinet, and piano /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983123.

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Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.

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This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.

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Su, I.-Shan. "John Ireland's Piano Sonata (1918-1920) and the Influence of Johannes Brahms." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157523/.

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John Ireland is one of the most important British composers of the twentieth century. Many scholars believe the works of his early period were deeply influenced by Brahms. After graduating from the Royal College of Music, Ireland went on to develop a much more individual musical language, with influence from contemporary French composers. However, the young composer found himself confronted with the challenge of finding a new and personal style without turning wholly to impressionism or to chromaticism. In Ireland's Piano Sonata, Ireland adopted several of Brahms' compositional techniques. This piano sonata is an excellent example of one of Ireland's mature works that still demonstrates Brahms' influence.

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Wurtz, Gary Thomas. "Two selected works for solo trumpet commissioned by the International Trumpet Guild a structural and performance analysis with a history of the commission project, with three recitals of selected works by Arutunian, Haydn, Fasch, Chaynes and others /." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/wurtz%5Fgary/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Accompanied by 4 recitals, recorded Mar. 30, 1998, Mar. 29, 1999, Nov. 27, 2000 and July 23, 2001. Includes bibliographical references and discography (p. 157-163).

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Gonçalves, Alexandre. "As três sonatas para piano de José Penalva: uma abordagem analítico-interpretativa." Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1571.

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Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1 AlexandreGoncalves.pdf: 7347834 bytes, checksum: d0b51a742fc771e86b33c09b0e36245b (MD5) Previous issue date: 2009-03-28
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This work aims to shed an analytical-interpretative look on the 3 Sonatas for Piano by José Penalva (1924-2002), wh re the analytical processes serve as a complement to instrumental performance. It was a historical and bibliographical survey on the composer, placing him within Brazilian and world music scene. This survey helped to highlight compositional characteristics of José Penalva, present in the three sonatas. Considering the idiomatic diversity of the sonatas each one in different musical language we used the set theory, or Pitch-Class Analysis, as an analytical tool and also some concepts of Schenkerian Analysis, in addition to the traditional thematic and motivic analysis. The entire analytical process, since its foundation till the final writing analysis was converged, making the relation analysis-performance complementary and productive to instrumental performance. The result of this union and complementation is present in the interpretative proposals and instrumental performance suggested in the body text, and applied directly to the works, recorded on audio CD attached on this work
Este trabalho propõe-se a lançar um olhar analítico-interpretativo sobre as 3 Sonatas para Piano de José Penalva (1924-2002), onde os processos analíticos servem como complemento à performance instrumental. Realizou-se um levantamento histórico-bibliográfico sobre o compositor, situando-o dentro do panorama usical brasileiro e mundial. Esse levantamento permitiu evidenciar características composicionais de José Penalva, recorrentes nas três sonatas. Tendo em vista a diversidade idiomática das sonatas cada uma em linguagem musical diferente , foram utilizadas como ferramentas analíticas a teoria dos conjuntos, ou Pitch-Class Analysis, os conceitos de tonicização, prolongamento e níveis estruturais da análise Schenkeriana, além da análise temática e motívica tradicionais. Todo o processo analítico, desde a sua fundamentação, até a redação final das análises se mostrou convergente, tornando a relação análise-performance complementar e produtiva para a realização instrumental. O resultado dessa união e complementação está presente nas propostas interpretativas e de realização instrumental sugeridas no corpo do texto, e aplicadas diretamente às obras, registradas em áudio no CD anexo a este trabalho

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Bacovis, Andrey Costa. "Elementos formais, texturais e interpretativos nas sonatas para piano de João Domingos Bomtempo (1775-1842) /." São Paulo, 2017. http://hdl.handle.net/11449/151901.

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Orientador: Nahim Marun Filho
Banca: Eduardo Seincman
Banca: Luiz Brito Passos Amato
Abstract: This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo's piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo's Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities.
Resumo: Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas.
Mestre

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Wang, Xiao (Pianist). "First Movement of Robert Schumann's Piano Sonata Op. 14 in F Minor from the Performer's Perspective: An Analytical Study of Four Editions." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157568/.

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The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.

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Fenderson, Mark. "An interpretive analysis of George Antheil's Sonata for trumpet and piano." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9105.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Oct. 17, 2005, Mar. 27, 2006, June 4, 2007, and Apr. 14, 2008. Includes bibliographical references (p. 43-44).

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Marcó, Hraste Juan Pablo. "Un análisis ecléctico de la Sonata para Piano Opus 55 nº 3 de Alberto Ginastera (1916-1983)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/8936.

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O presente trabalho sobre a Sonata para piano opus 55 nº 3 de Alberto Ginastera foi realizado tomando como referencial a análise desenvolvida por Lawrence Ferrara no Capítulo seis “An eclectic method for sound, form and representation” do seu livro “Philisophy and the Analisis of Music”. Dentro deste tipo de análise, apresentam-se diferentes enfoques analíticos: convencionais (que descrevem a forma musical ou sintaxe); fenomenológicos (descrições do som no tempo); e hermenêuticos (que descrevem os significados referenciais). Cada um destes enfoques é desenvolvido para finalmente favorecer uma visão holística, que permita estabelecer uma rede de relações estruturais, funcionais, significativas entre cada um dos elementos que o analista-intérprete determinou para abordar a interpretação musical da sonata.
The present work on Sonata nº 3 opus 55 for piano of Alberto Ginastera was carried through taking as referential the analysis developed by Lawrence Ferrara in the Chapter six “An eclectic method for sound, form and representation” of his book “Philosophy and the Analysis of Music”. Inside this type of analysis, different methods of analytical approaches are presented: conventional (describes the musical form or syntax); phenomenological (descriptions of the sound in the time); and hermeneutics (describes the referential meanings). Each one of these approaches is developed to finally favor a holistic vision, that allows to establish a net of relations structural, functional, significant between each one of the elements that the analyst-interpreter determined to approach the interpretation musical of the sonata.
El presente trabajo sobre la Sonata para piano opus 55 n°3 de Alberto Ginastera esta realizado tomando como referencial el análisis desarrollado por Lawrence Ferrara en el Capítulo seis “An eclectic method for sound, form and representation” de su libro “Philisophy and the Análisis of Music”. Dentro de ese análisis se presentan diferentes enfoques analíticos: convencionales (que describen la forma musical o sintaxis); fenomenológicos (descripciones del sonido en el tiempo); y hermenéuticos (que describen los significados referenciales). Cada uno de esos enfoques es desarrollado para finalmente favorecer una visión holística, que permita establecer una red de relaciones estructurales, funcionales, significativas entre cada uno de los elementos que el analista- intérprete determinó para abordar la interpretación musical de la sonata.

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

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

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Adduci, Kathryn James. "An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/adduci%5Fkathryn/index.htm.

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Georgievskaya, Liudmila. "A Performer's Guide to Samuil Feinberg's Sonata No. 6: A Window into Russian School Pianism." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011846/.

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Samuil Feinberg was an important performing pianist, composer, and one of the protagonists of Russian Piano School. Among his numerous piano compositions, the Sixth Sonata is one of the most complex and illustrative of his deeply personal musical ideas. The following performer's guide offers some ideas on interpreting and performing the sonata from the perspective of Russian school pianism. Having trained in Russia for nearly a decade with two of Feinberg's most eminent disciples and assistants (Tatiana Galitskaya and Liudmila Roschina) makes this author part of living chain back to his pedagogical principles. I will draw upon my knowledge and expertise to illustrate how interpretation of Feinberg's Sonata No. 6 embodies many of the particular and subtle aspects of the Russian piano school technique.

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Kim, Yereum. "A Performance-and-Analysis Approach to a Cadential Ambiguity: Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, First Movement." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609089/.

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Pianists often have trouble in determining where a phrase ends, or in other words, cadence identification. This is especially true of certain cadences that can be considered either as half cadences or authentic cadences. This analytically ambiguous cadential point can result in different performance decisions, so pianists should make informed decisions about what kind of cadence it is. This study aims to investigate such cadential ambiguity shown at points of phrase boundaries by focusing on Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, first movement. I offer both possibilities (a half cadence or an authentic cadence) at the phrase ending, suggesting a performance-related strategy based on each possibility. My objective is not to support only one cadential status, but to bring up the cadential problem from the analytical perspective and to demonstrate how cadence identification affects performance results. The dissertation is divided into two parts: analysis and performance, so it relies on a combined method of analytical terminologies and performance-related musical elements. In the analysis, the terminology of William Caplin is employed. The performance part refers to several method books written by prestigious piano pedagogues. After an introduction in Chapter 1, Chapter 2 reviews some literature on cadences. Chapter 3 specifically analyzes the first movement of Chopin's second sonata by means of Caplin's terminologies. Chapter 4 provides a performance-related method and Chapter 5 deals with a practical performance strategy.

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

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

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Soares, Nayane Nogueira. "Sonata para piano n. 1 de Francisco Mignone : comparação de gravações e decisões interpretativas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/178191.

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Esta pesquisa teve por objetivo investigar empiricamente as decisões interpretativas quanto ao timing e dinâmica de quatro execuções do primeiro movimento da Sonata para piano n.1 de Francisco Mignone. Por meio da comparação de gravações, foram identificadas estratégias expressivas adotadas pelos intérpretes em relação ao timing, dinâmica e articulação, evidenciando assim o direcionamento expressivo do discurso musical em determinados trechos da obra. Tendo em vista os eventos musicais característicos de cada seção da Sonata, foi realizada uma análise da organização rítmica que apoiou a análise das gravações.
This research aimed at empirically investigating the interpretative decisions regarding timing and dynamics of four recorded performances of the first movement of Sonata n.1 for piano by Francisco Mignone. The comparison identified the expressive strategies adopted by the chosen interpreters in relation to articulation and dynamics thus bringing out the temporal profiles of predetermined spans. Issues such as background and organizational planning of the Sonata were taken into account in view of the musical events characteristic of each section. Theories of rhythmic organization supported the analyses of recordings.

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

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

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

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Thesis (D.M.A.)--University of North Texas, 2005.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Sept. 18, 1995, Mar. 11, 1996, and Mar. 22, 2004. Includes bibliographical references (p. 90-95).

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LEE, KYUNGJU. "AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSIONS OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP 120 BY JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100760484.

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Lee, Kyungju. "An analysis and comparison of the clarinet and viola version of the two sonatas for clarinet (or viola) and piano OP. 120 by Johannes Brahms." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1100760484.

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Burts, Devon. "An Application of the Grundgestalt Concept to the First and Second Sonatas for Clarinet and Piano, Op. 120, No. 1 & No. 2, by Johannes Brahms." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000456.

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Kim, Seon Ok. "Analysis and Performance Aspects of Donald Harris’ Sonata for Piano." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268251022.

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Tentser, Alexander 1965. "The Second Piano Sonata by Dimitrii Shostakovich: A style analysis." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290631.

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Dmitrii Shostakovich is widely recognized as one of the most significant composers of the twentieth century. A prolific composer, he left an important mark in virtually every genre, most notably in the string quartet and the symphony. His Second Piano Sonata, a work of grandiose dimensions and great originality, is the hallmark of his mature creative period, along with works such as the Seventh "Leningrad" Symphony and the Second Piano trio. This study explores the mature piano style of Shostakovich evident in the Second Piano Sonata. It examines harmony, melody and texture as signifiers of style in this Sonata, and compares these stylistic traits with those in his earlier compositions as well as contemporaneous works by other composers, most notably, Sergei Prokofiev. The craftsmanship, broad outlines, and significance of the Second Piano Sonata earn it a place among the major works of twentieth century piano repertoire.

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Nadai, Robson Alexandre de. "Sonata para trombone e piano de Almeida Prado : uma analise interpretativa." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284338.

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Orientador: Roberto Cesar Pires
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T14:44:34Z (GMT). No. of bitstreams: 1 Nadai_RobsonAlexandrede_M.pdf: 25475745 bytes, checksum: df71590de86e486da8c9f06689cfd48b (MD5) Previous issue date: 2007
Resumo: Esta dissertação de mestrado refere-se à Sonata para Trombone e Piano de Almeida Prado. Essa obra foi extraída da Sonata nº 3 para Piano solo do mesmo compositor. A peça é contextualizada através de informações obtidas com o próprio Almeida Prado, por meio de entrevista. Foram realizados dois tipos de análise: análise de material da Sonata para Trombone e Piano e análise comparativa entre a Sonata para Trombone e Piano e a Sonata nº 3 para Piano. A primeira mostra a macroestrutura da peça, os elementos que a compõem e faz uma abordagem pormenorizada de material, assim como um estudo da forma fazendo uma analogia entre a estrutura da Sonata para Trombone e Piano e a da sonata clássica, evidenciando os elementos que elas compartilham. A segunda mostra as semelhanças e diferenças entre as peças bem como uma explanação sobre o processo de permutação utilizado pelo compositor na elaboração da Sonata para Trombone e Piano. O resultado das análises mostrou que as peças são distintas apesar de utilizarem o mesmo material. A dissertação é concluída com um capítulo destinado aos trombonistas, com exercícios técnicos e sugestões para a interpretação da Sonata para Trombone e Piano
Abstract: This master's degree dissertation refers to the Sonata for Trombone and Piano by Almeida Prado. This piece was taken from Sonata no.3 for Piano solo by the same composer. The piece is contextualized through information obtained with the Almeida Prado, through interview. Two types of analysis were performed: analysis of material from Sonata for Trombone and Piano and comparative analysis between the Sonata for Trombone and Piano and the Sonata no. 3 for Piano. The first one shows the macro structures of the piece, the elements that constitute it and detailed approach of material, as well as a study of the form making an analogy between the structure of the Sonata for Trombone and Piano and the classic sonata, evidencing the elements they share. The second analysis shows the likenesses and differences between both pieces as well as an explanation about the permutation process used by the composer in the elaboration of the Sonata for Trombone and Piano. The result of the analyses showed that the pieces are distinct in spite of utilizing the same material. The dissertation is concluded with a chapter destined for trombonists, with technical exercises and suggestions for the interpretation of the Sonata for Trombone and Piano
Mestrado
Praticas Interpretativas
Mestre em Música

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Grant, Margaret Jean. "A feminist analysis of Francis Poulenc's sonata for oboe and piano." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148187368.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Sept. 13, 2006). Includes abstract. Keywords: oboe sonata, Poulenc, feminism, music theory. Includes bibliographical references.

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GRANT, MARGARET JEAN. "A FEMINIST ANALYSIS OF FRANCIS POULENC'S SONATA FOR OBOE AND PIANO." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148187368.

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Song, Moo Kyoung. "The evolution of sonata-form design in Ludwig van Beethoven's early piano sonatas, WoO 47 to Opus 22." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3106597.

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Pei-YuChen and 陳珮妤. "Computer Music Form Analysis of Classical Piano Sonatas." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bha5y7.

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Crookall, Christine Evelyn. "Jean Coulthard's Sonata for cello and piano a confluence of stylistic tendencies /." 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023546.

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

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

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

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

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Lin, Chien-En, and 林千恩. "An Analysis and Interpretation of Alexander Scriabin's Piano Sonatas, opp. 19, 30 and 53." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/37967548637927292680.

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碩士
國立臺灣師範大學
音樂學系
105
This thesis on Alexander Scriabin’s three piano sonatas, Sonata No. 2 (1892-1897), Sonata No. 4 (1903), and Sonata No. 5 (1907), investigates the biography and musical style of composer to know the individual musical characteristics of Scriabin. Detailed musical analysis is included, with emphasis on the unique musical practice in each work, as well as my interpretative inputs on performing these three contemplative works are presented.

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Kim-Tetel, Sophia. "A musical analysis of Sergei Rachmaninoff's Sonata for cello and piano, op. 19." 2011. http://liblink.bsu.edu/uhtbin/catkey/1652233.

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Miller, Courtney Jade. "A New Tonality: Synthetic chords and transpositional paths in piano sonatas 1, 2 and 5 by Nikolai A. Roslavets." Thesis, 2021. https://hdl.handle.net/2440/134588.

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This analytical study, submitted for the degree of Master of Philosophy at the Elder Conservatorium of Music, University of Adelaide, aims to provide insight into the compositional system of Nikolai Andreevich Roslavets, a modernist composer active from 1901 until 1942, by analysing the synthetic chords and transpositional paths present in the three surviving sonatas for piano, Sonata No. 1 (1914), Sonata No. 2 (1916) and Sonata No. 5 (1923). The innovative approach to composition pioneered by Roslavets led him to create a highly original system built around his synthetic chords, which he described as preceding the entire harmonic plan of the work. To understand the harmonic basis of the compositional system, the study analyses the synthetic chords of the selected works. These analyses aim to provide insight into the role of these chords as an abstract, pre-compositional tool providing the pitch material for the compositions; touch upon their use as a ‘deputy for tonality’, using certain chords as replacements for the traditional IV and V chords in diatonic harmony; address the vertical and horizontal treatment of the chords; and uncover the symmetry of the transpositional paths and their effect on the architecture of each composition. This research aims to increase understanding of this music by focussing attention on these pioneering developments in the hope that it will be of benefit to composers, performers, and researchers. The submission seeks to reveal the compositional methods used by the composer by uncovering the authentic pre-compositional material inherent to each sonata, and using this information to decode the different types of transpositional paths and resulting symmetries present. This submission is presented as a conventional text-based dissertation supported by analytical tables and annotated musical examples.
Thesis (MPhil) -- University of Adelaide, Elder Conservatorium of Music, 2022

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Bitzan, Wendelin. "The Sonata as an Ageless Principle: Nikolai Medtner’s Early Piano Sonatas: Analytic Studies on their Genesis, Style, and Compositional Technique." 2018. https://slub.qucosa.de/id/qucosa%3A35073.

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The dissertation focuses on the early piano sonatas of Russian composer Nikolai Karlovich Medtner (1880–1951). It approaches them in the context of genre history, confronts them with other composers' works, and discusses them from various analytic perspectives. A special goal is to consider the pieces in the aesthetic environment of their time, and to regard them as peculiar instances of the ›sonata principle‹, an ageless conception of musical form. The study is subdivided in three large parts, the first of which presents a summary of sonata composition before Medtner, exploring lines of tradition in Western Europe and Russia. The second part concentrates on Medtner’s musical language and its stylistic features. The third and most comprehensive part provides detailed examinations of eight of Medtner’s piano sonatas, including aspects of their genesis and reception, and making use of recent methods of musical analysis.
Die Dissertation widmet sich den frühen Klaviersonaten des russischen Komponisten Nikolaj Karlovič Metner (1880–1951), die im Kontext ihrer Gattungsgeschichte und im Vergleich mit Musik anderer Urheber betrachtet werden. Ein Hauptanliegen der multiperspektivischen Analysen ist es, den Werkkorpus in ästhetische Kontexte der Entstehungszeit einzubetten und die Einzelwerke als Spezialfälle des ›Sonatenprinzips‹, eines zeitlosen Formkonzepts, darzustellen. Die Studie gliedert sich in drei Sektionen, deren erste die Entwicklungen des Sonatenkomponierens vor Metner zusammenfasst und Traditionslinien in Westeuropa und Russland nachzeichnet. Der zweite Teil ist eine Darstellung der Tonsprache Metners und ihrer stilistischen Merkmale. Der dritte und umfangreichste Teil präsentiert Detailanalysen von acht Klaviersonaten Metners und untersucht die Notentexte mit Hilfe aktueller Analysemethoden.

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