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1
Venegas, Carro Gabriel Ignacio, and Carro Gabriel Ignacio Venegas. "The Slow Movements of Anton Bruckner's Symphonies: Dialogical Perspectives." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626364.
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This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential.
In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations.
Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.
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Mathews, Steven D. "Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623241774278313.
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Patterson, Jason 1982. "Multidimensional Musical Objects in Mahler's Seventh Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505248/.
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Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.
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Mastic, Timothy. "Normative Wit: Haydn's Personal Sonata Form." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19231.
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This thesis approaches Haydn’s sonata-form procedures from the perspective of the eighteenth-century listener, asking, if a moment is allegedly “witty” according to modern analysts, would Haydn's contemporary audience have heard it as such? Eighteenth-century wit has two sides: wit involves an aspect of surprise or deception, a breaking of understood norms; however, wit must also involve an unsuspected congruity, a broader connection created only by breaking the aforementioned norm. Taking this as my starting point, I explore false recapitulations in the Haydn’s music, concluding that this device cannot be considered witty because it did not break an understood convention. I then provide detailed analyses of the first movements of Haydn’s “Military” Symphony no. 100 and String Quartet in D major, op. 33 no. 6, arguing that they are witty not solely because they are disruptive, but because this disruption binds the sonata together in an unexpected way.
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Falterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.
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One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.
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Black, Brian 1953. "Schubert's apprenticeship in sonata form : the early string quartets." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41985.
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Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.
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Black, Brian. "Schubert's apprenticeship in sonata form, the early string quartets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29892.pdf.
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TSAI, I.-HSUAN. "THE APPROACH TO SONATA FORM IN SCHUBERT'S PIANO TRIOS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085690770.
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Kizas, Andrew James. "Pitch organization and form in Bartók's sonata for piano (1926)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ42164.pdf.
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Saffle, Michael. "Liszt, Cultural Identity, Sonata Form, and the Scherzo und Marsch." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71973.
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Maciel, Ruy Homem de Mello. "A forma sonata em descontinuidades e bifurcações." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-10112010-140659/.
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Este trabalho propõe um novo modelo de análise musical, em complementação à análise harmônica tradicional, com o estabelecimento de dois atratores - a partir da dilatação da estabilidade harmônica a partir do séc. XVIII e da resolução da dicotomia temática, condições fundamentais para a existência do modelo Sonata - definidos como catástrofe elementar com um fator de controle e dois atratores a partir da Teoria das Catástrofes de René Thom e da simultânea identificação de conflitos formais na análise estrutural, estética e harmônica da Forma Sonata, determinando seu ponto de catástrofe e definindo a mudança total em seu formato, que passa a comunicar uma nova estrutura formal diante da ultrapassagem da curva da descontinuidade.This project proposes a new model of musical analysis, complementary to the traditional harmonic analysis. The establishment of two attractors issued from the expansion of the 18th centurys harmonic stability and from the thematic resolution of the thematic dichotomy, basic conditions for the Sonata Forms existence is its starting point, which defines an elementary catastrophe with one control factor from the René Thoms Catastrophe Theory. The simultaneous identification of formal conflicts in the structural, aesthetics and harmonic analysis of the Sonata Form is a further condition to determine its degenerate critical point and to define the total change in its format, which is to communicate a new formal structure after passing through its pitchfork bifurcation.
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Pak, Moon-Chung. "Sonata form in the six quintets, opus 11, by Johann Christian Bach." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026704.
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This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.
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Kaplan, Joseph W. "Not a sonata| A conception of Sonata-Allegro form and a consideration of two marimba works from a Langerian perspective." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527961.
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Susanne Langer (1895-1985) was an American philosopher of the twentieth century whose work can be seen as an extension of Ernst Cassirer's The Philosophy of Symbolic Farms (1923-1929). She is known for applying the scientific logic of symbolic forms as laid out by Cassirer, Whitehead, Russell, Boole, and others to create a coherent theory of art. She then developed her art theory into a unified philosophy of life from abiogenesis to the human experience of sentience and the cultures of behavior that produces.
This study introduces some of Langer's basic concepts and uses them to construct a theory of Sonata-Allegro form. This discussion is followed by a critical analysis of two of the author's own works with an eye towards exposing some of the compositional difficulties in producing Sonata-Allegro forms.
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Jenkins, Kyle Joseph. "S-C Complications in Nineteenth-Century Sonata Movements." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333483.
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Many have noted nineteenth-century composers' tendency to undermine crucial formal boundaries normally found in eighteenth-century sonata forms. This dissertation examines phenomena that undermine the demarcation between the expositional secondary theme and closing section. In this document I refer to such events as "S-C Complications." In their Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (2006), James Hepokoski and Warren Darcy argued that this point of articulation plays a much more crucial role than that of merely forming a boundary between S- and C-space. Rather, it serves as the goal for the entire expositional trajectory, a goal whose presence is felt from the very outset of the movement. The authors refer to this moment as "essential expositional closure," or EEC. In this dissertation I attempt to show what role EEC in Hepokoski and Darcy's sense plays in nineteenth-century movements featuring S-C Complications. I conclude that nineteenth-century composers were very likely aware of the EEC's genre-defining status since they consistently and systematically undermined it. Further, whereas in the late-eighteenth-century repertoire S-C complications were rarely employed, in the nineteenth century they became more normative, and thus non-deformational. In addition to discussing the phenomena's dialogic relationship with eighteenth-century norms, I also address their effect on tonal structure and formal syntax, concluding that S-C Complications frequently have the effect of expanding closure beyond the scope of one cadence. For practical reasons I have limited the scope of this study to non-concerto movements written primarily by Schubert, Mendelssohn, and Brahms.
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Shantz, Bren. "Organic relationships motivic parallelisms between the first and second themes of sonata form /." Diss., Connect to online resource - MSU authorized users, 2008.
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Navia, Gabriel Henrique Bianco. "The Medial Caesura in Schubert's Sonata Forms: Formal and Rhetorical Complications." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613235.
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Schubert's treatment of the medial caesura differs on many levels from that of the Classical tradition. He problematizes many of its norms, introducing complications to the course of his sonata movements. Much research has been devoted to Schubert's approach to sonata form, his large-scale formal deformations as well as his innovative harmonic language. However, few of these writings have discussed the importance of the medial caesura to his sonata forms. Through the lens of Sonata Theory, this dissertation examines Schubert's handling of the MC, demonstrating how the complications derived from his unorthodox practice modify the structural and rhetorical layout of his pieces. I investigate Schubert's approach to three stages surrounding the MC articulation, TR and the energy-gaining process, the MC point of articulation, and the S-theme, discussing specific formal and rhetorical complications that arise from each of them. In chapter 1, I reconsider Schubert's MC practice from a dialogical perspective, demonstrating how some non-normative procedures (in Classical terms) became the norm within his own style. In chapter 2, I examine the impact of two common Schubertian procedures on the function, perception, and meaning of the MC: tonally over-determined TRs and the early arrival of the secondary key within TR. Finally, in chapter 3, I demonstrate how Schubert broadened the available cadential arrangements within MC pairs in declined-MC situations, exploring the expressive potential of normative/non-normative dual oppositions. The conclusion shows that 1) Schubert's stylistic preferences radically expand many of the default procedures posited by Sonata Theory, inviting refinements of the theory; and 2) that the Schubertian MC may incorporate two structural roles beyond its most fundamental function as a formal articulator: clarification of the function of a formally ambiguous passage, which is often connected to cases of tonal over-determination or the early arrival of the secondary key; and introduction of tonal and formal complications into the work's trajectory, invoking some kind of "correction" or compensation.
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Gavel, Leo. "Nikolai Medtner Sonata Reminiscenza Op. 38 no. 1 : analys av form och musikaliskt innehåll." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1834.
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I detta examensarbete analyseras den ryska kompositören Nikolai Medtners Sonata Reminiscenza Op. 38 no. 1 från ett harmoniskt, motiviskt och strukturellt perspektiv. Denna analys innefattar också reflektioner kring några av författarens interpretationsmässiga val. Syftet med studien är att undersöka hur styckets form och harmonik kopplar det samman såväl med den klassiska kompositionskonstens regler som med Medtners artistiska/poetiska mål. Studiens resultat påvisar att verket är såväl kompositionstekniskt fulländat som känslomässigt rikligt. Sonatformen är på ett sofistikerat vis implementerad i verkets struktur och återfinns som en integrerad del i musikens narrativ.
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Rockwood, Mark. "Form, Style, and Influence in the Chamber Music of Antonin Dvořák." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22726.
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The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18th-century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19th-century sonata forms. My work aims to characterize Antonin Dvořák’s chamber music in the context of Sonata Theory, using the treatise as a jumping off point in order to analyze his music.
This dissertation contains three main chapters. The first chapter deals with two of the themes of this dissertation: form and influence. Schubert’s influence on Dvořák’s music was notable, so after comparing some of Dvořák’s writing about Schubert’s music, I examine specific musical elements (sonic, formal, and structural) from Schubert’s String Quintet in C Major, D. 956 that Dvořák emulates in his string quartet in the same key. Chapters 3 and 4 put Dvořák’s sonata form practices into a 19th-century context, and I examine how he treats the MC and EEC sections of an exposition. In Chapter 3, I contend that Dvořák’s use of energy loss before and after the medial caesura is just as rhetorically successful as 18th-century composer’s use of energy gain in the transition section of a sonata. Additionally, many of Dvořák’s sonata forms feature expositions with vastly elongated S themes, thereby pushing rhetorical closure of the exposition back. This is unlike 18th-century sonatas, whose expositions routinely wrap up with a cadence in the second key after the first phrase. Thus, Chapter 4 displays several sonatas where Dvořák extends S-rhetoric in order to delay the close of the exposition.
Even though not originally intended for this music, Hepokoski and Darcy’s treatise provides a fruitful set of norms that can be related to works from the 19th century. Additionally, Dvořák’s music is especially appropriate for this treatment, as his compositional style owes many allegiances to 18th-century techniques.
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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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Gregorio, Joseph. "Concerto for Piano and Orchestra and Sonata Form in Sergey Prokofiev's First Piano Concerto: An Analysis from the Perspective of Hepokoski and Darcy's Sonata Theory." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/540539.
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Music Composition;D.M.A.;
This dissertation comprises two parts: an original composition, Concerto for Piano and Orchestra; and an essay that analyzes the form of Prokofiev’s Piano Concerto No. 1 in D-flat Major, op. 10. Concerto for Piano and Orchestra is cast in three movements and scored in two versions: In “Version A,” members of the orchestra are at times called on to use their voices to sustain the phonemes [m], [ŋ], and [v] on pitch and to create an intense whisper on the vowel [æ]. “Version B” is an alternative realization that uses instruments only. The first movement, unable to produce a recapitulation and continually interrupted at decreasing intervals of time by increasingly intense outbursts from percussion, brass, and wind instruments, is an extreme deformation of a sonata-concerto form. It proceeds attacca to the second movement, which is built in a large ternary form. The third movement is a concerto adaptation of James Hepokoski and Warren Darcy’s “expanded Type 1” sonata form. The concerto’s total duration is approximately 30 minutes. The essay considers the form of Prokofiev’s Piano Concerto No. 1 from the perspective of Hepokoski and Darcy’s Sonata Theory, as laid out in their seminal 2006 treatise. It finds that Prokofiev’s Piano Concerto No. 1 is a highly individualized instance of Hepokoski and Darcy’s “Type 3” sonata form with introduction-coda frame. The essay’s analysis is preceded by a glimpse at Prokofiev’s experiences with sonata form during his youth, as well as brief reviews of the conceptual backdrop of concerto form as Prokofiev would have received it and of the basics of Sonata Theory.
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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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Lang, Adelheid K. "A.B. Marx's Concept of Rondo and Sonata: A Critical Evaluation of His Explanations of Musical Form." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500789/.
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The third volume of A.B. Marx's theory treatise Die Lehre von der musikalischen Komposition is discussed. His definitions of rondo and sonata formal types are demonstrated in the first chapter in addition to the manner of their derivation through a developmental process originating in the Liedform. Musical examples chosen by Marx are examined in chapter two. These examples, taken from Mozart's and Beethoven's piano works, are evaluated in relation to Marx's definitions of the various types of form. The third chapter is concerned with the progression from microstructure to macrostructure and the functional interrelation of the parts to the whole. In addition, Marx's opinion on musical form is compared with perspectives of philosophers from his time period and the immediate past.
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Batt, Robert Gordon. "A study of closure in sonata-form first movements in selected works of W. A. Mozart." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28620.
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This study of large-scale closure in Mozart's sonata-form first movements focusses on the structure and function of the closing section in these works, the section that brings the exposition and recapitulation sections to an end. Also taken into account are closural effects of the coda (when present) and the subordinate theme area. Because sonata form in the 18th-century involves a variety of differently-functioning sections such as themes and transitions, the analytical approach adopted centers on matters of form—the ways in which all the various channels of musical structure (primarily rhythm, melody, and harmony) interact to shape a particular piece—and in particular on the form of the closing section. The study is limited to one composer's use of one section in one formal type, thereby reaching highly specific conclusions about this facet of sonata form at a particular stage in music history. Since each section of sonata form has a distinct, unique structure and function, the study aims at identifying these in the closing section, and at contrasting them with the other sections of the form. If closure is primarily generated in the closing
section, then there must be particular structures found mainly in that section
that are responsible for closure.
The majority of Mozart's closing sections are based on a model which can be simplified to aabbcc, where each letter symbolizes one group. The second, fourth, and sixth entries may be either exact repeats or variants of the first, third, and fifth entries respectively. The most common lengths in measures are (4 + 4) + (2 + 2) + (1+1). An example is the Sonata for Violin and Piano in B-flat Major, K. 454, mm. 50-65.
Chapter 1 is primarily a survey of previous writing on the subject of closure. Chapter 2 presents a theory that accounts for structure at various levels of Mozart's sonata form. Chapters 3 through 6 contain discussion and analysis of different types of closing sections and movements. Chapter 7 includes a summary of the research undertaken.Arts, Faculty of
Music, School of
Graduate
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Ramirez, Daniel. "Narratives of Equity in Education: The Sociopolitical Microstances of Secondary Mathematics Teachers." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20417.
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This sonata-form case study investigates the sociopolitical microstances of three secondary mathematics teachers in an urban, comprehensive high school. The study is framed by three questions: 1) How can philosophical pragmatism add a purposive, action focused piece to the sociopolitical framework? 2) What sociopolitical microstances – focused on the practice of teaching – can we identify from the narratives of mathematics teachers? 3) What inhibitions can we identify that are preventing teachers from further transformation in their classrooms? To address the first question both historical and contemporary pragmatist philosophy as well as a bridge between poststructuralism and philosophical pragmatism was used to augment the current sociopolitical theory in mathematics education research. Sociopolitical microstances were identified within the three sonata-form case study narratives – connecting broader social, cultural, and political implications, past and present framings of teacher knowledge, and narrative inquiry with equitable mathematics teaching. The microstances identified in the narratives include: anti-racist, deconstructing ability, community, conocimiento, Napantla, and being more than a teacher. Inhibitions were also identified from the narratives, and these include: time and emotional energy, local/state/national requirements, college course requirements, disconnect from academic scholarship, and having to confront the whiteness in others.
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Chen, Wen-Mi. "An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363864.
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Larsen, Juliane Cristina. "A forma sonata em três obras inaugurais: diálogos da nova música de Berg, Schoenberg e Santoro com a tradição." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-10112010-161239/.
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Este trabalho irá discutir o emprego da forma sonata na música atonal da primeira metade do século XX a partir das análises das seguintes sonatas para piano: Opus No. 1 de Alban Berg, Opus 33a de Arnold Schoenberg e a Sonata 1942 de Cláudio Santoro. Em comum estas obras apresentam seu plano estrutural de forma sonata resultante de procedimentos composicionais desligados do sistema de funcionalidades do tonalismo. O objetivo será verificar como a forma sonata pode ser estruturada a partir de técnicas dodecafônicas, qual a relevância do uso desta forma clássica para a técnica empregada e através de quais procedimentos construtivos esta forma se faz possível dentro de uma linguagem atonal, já que se origina da realização da harmonia tonal tradicional. A pesquisa fundamenta-se em ferramentas analíticas e em corpo teórico desenvolvido na área musicológica nas últimas décadas, principalmente. Como conclusão irá apresentar os elementos composicionais e conceituais que conectam as obras entre si e com a tradição clássica da forma sonata, além de apontar para a ocorrência de técnicas composicionais importantes para o desenvolvimento da música a partir da primeira metade do século XX.This thesis studies the use of Sonata form in the atonal music of the first half of the XXth Century, based in the analysis of the following Piano Sonatas: Alban Bergs Opus 1, Arnold Schoenbergs Op.33a e Claudio Santoros Sonata 1942. These works share procedures of developing structural plans similar to Sonata forms that use compositional procedures disconnected from the functions of the tonal system. Our main purpose will be to verify how a Sonata may be structured after dodecaphonic techniques. Other goals is to evaluate the relevance of the use of a classical form for the method of the dodecaphonic technique, and what are the developing procedures that allow this form to be employed in the atonal language, since it originated in close connection with the traditional tonal harmony. The research is based in analytical techniques and in the body of knowledge developed by recent musicological analysis. As a conclusion it presents the compositional and conceptual elements that connect the three works and also each of them with the classical tradition of the Sonata form. Besides that it points also to the use of compositional techniques important for the development of the musical language after the first half of the XXth Century.
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Magarotto, Matteo. "The Interaction of Sonata Form and Schemata Derived from Galant Practice in the First Movements of Mozart's Keyboard Sonatas." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470754875.
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Solomons, John. "The six piano sonatas of James Sellars aspects of form, rhythm, texture and style /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/solomons%5Fjohn/index.htm.
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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.
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Although Robert Schumann’s late style has been the subject of several probing studies in
recent years, few scholars have concentrated their attention on the chamber works composed in
the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first
movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the
same rhetorical and structural elements. Throughout both movements, however, Schumann uses
an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to
recast the internal workings of these outwardly conventional sonata forms. As he uses these
techniques to undermine important structural moments of each movement, Schumann
significantly changes the overall plot of the eighteenth-century sonata form, while also
demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.School of Music
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Gillam, Robert Wesley. "Musica Stellarum." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596102.
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Musica Stellarum is an original composition for full symphony orchestra. It seeks to evoke the life of a star from its birth in a gaseous nebula to its death as a massive supernova using musical parallels. The chemical processes involved in stellar nucleosynthesis are represented through an exploration of TC relationships. Lighter elements are represented by smaller pitch class sets and as they combine together through processes such as inversion and transposition, larger, "heavier" sets are created. Elements of Sonata Form and a strong structural emphasis on Golden Section (GS) relationships are also major features of Musica Stellarum. Section and phrase length are determined by GS measurements of time. This piece also uses delayed aggregate completion to build tension. Inspired by a theory by astrophysicist Dr. Adam Burrows, who argued that supernovae could be triggered by sound waves resonating at approximately F4, the F above middle C is used to complete the aggregate at the climax of the piece.
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Cord, John T. "Francis Poulenc's Sonata for Horn, Trumpet and Trombone: A Structural Analysis Identifying Historical Significance, Form and Implications for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12104.
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Clinch, Jonathan David. "'Experiments with sonata form' : a critical study of the absolute music of Herbert Howells and its place in modern British music." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11019/.
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Taking its title from an essay (now lost) by the composer, this critical study evaluates and contextualizes the substantial volume of absolute music that sits outside the body of well-known church music for which Herbert Howells (1892-1983) is celebrated today. Within a narrative which is both analytical and historical, it traces and examines the essentially empirical development of his compositional processes, techniques, models and stylistic influences in detail for the first time and places it within a structure of three creative periods. In particular the study devotes attention to Howells's manipulation of formal principles across a range of instrumental genres – the solo sonata, the suite, concerted chamber music and concerto – and explores the composer's intellectualist predilection for structural compression and conflation at various architectonic levels. The discussion also focuses on Howells's use of tonality and its intrinsic, generative interrelationship with thematic material. Ultimately a case study in modernism and the British creative imagination, the thesis also examines aspects of Howells's reception history, the death of his son and the substantial BBC lecture series 'The Modern Problem', all three elements of which provide significant illumination of Howells's complex development as an instrumental composer, his musical Weltanschauung, his attitude to European contemporary music and how this adds significantly to a commentary on his own stylistic formation during a fragmented twentieth century.
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Sallade, Alexander C. "The Dramatic and Narrative Function of Varied Sonata-Form Structures in Antonin Dvorak’s “Nature, Life, and Love” Overture Trilogy, Op. 91-93." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619093446330827.
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Fox, Margaret Elizabeth. "Formal Relationships in Clara Wieck's Piano Concerto Op. 7." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32002.
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Clara Wieck Schumann’s 1836 Piano Concerto Op. 7 represents an era of radical formal experimentation in the early nineteenth century. As such, critics including Robert Schumann questioned its unity, thus prompting late twentieth-century scholars to reassess both its departures from tradition and its cohesive mechanisms. I propose that the concerto’s formal innovations are a result of Wieck’s decision to construct a tripartite work from her autonomous Concertsatz, which became the Finale after the addition of a first and second movement. This study uses William Caplin’s theory of formal functions and Steven Vande Moortele’s theory of two-dimensional sonata form to examine how Wieck complemented the independent Finale with a formally divergent first movement, which facilitates the projection of an overarching sonata form spanning the entire work. In doing so, this study produces a model to assess the concerto’s internal logic.
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Burgess, Samantha I. "The Triumph of the Wayfarer: The Performance of Form and Psychology of Narrative in Gustav Mahler's Symphony No. 1." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619047904653572.
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Cebrián, Puig Paula. "Jeanine Rueff Sonata : did the composer use some dodecaphonic series in the piece or did she write it in a free form?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2719.
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Abstract Jeanine Rueff ́s Sonata is a dodecaphonic piece for an unaccompanied saxophone. The aim of this thesis is two fold: First I will do an analysis of the Sonata to try to discover if she used some characteristic series (original, inverted, retrograde, inverted-retrograde...) in her style or, otherwise, she wrote free form. Then, I am going to talk about this technique and the evolution from classical music to atonality and, eventually, I am going to perform the piece in my final master recital. Key words: Saxophone, Jeanine Rueff, twelve-tone technique, classical saxophone, analysis, musical research, Daniel Deffayet.
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Kwak, Stacy (Stacy Joo Yeon). "Michael Tippett's Piano Sonata no. 1 : A Study of His Eclectic Approach to the Sonata Form in the Twentieth Century, With Three Recitals of Selected Works by Beethoven, Bartok, Bach/Busoni, Schumann, Mozart, Ginastera, Barber and Chopin." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935637/.
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The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4). In addition to the lecture recital given on February 1, 1999, three others were given: the first recital, on April 3, 1995, contained works by Beethoven, J.S. Bach/Busoni, and Bartok: the second recital, on February 5, 1996, included works by Schumann, Mozart, and Ginastera: and the third recital, on January 2, 1998, featured works by Barber and Chopin.
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Bacovis, Andrey Costa [UNESP]. "Elementos formais, texturais e interpretativos nas sonatas para piano de João Domingos Bomtempo (1775-1842)." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151901.
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Fundação de Amparo à Pesquisa do Estado do Amazonas (FAPEAM)
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.
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.
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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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Dejos, Virginie. "Analyse et interprétation des six dernières sonates pour piano d’Alexandre Scriabine." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040224/document.
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La thèse porte sur les six dernières sonates de Scriabine. L’analyse des œuvres a été pensée en relation avec l’interprétation pianistique. L’univers de référence et l’imaginaire sonore de Scriabine sont reconstitués à partir de la perception des œuvres et des indications d’interprétation présentes dans les partitions. Une méthode inspirée par l’analyse schenkerienne est développée pour étudier les logiques d’écriture d’un langage dans lequel la notion de tonalité est considérablement élargie. La dernière partie, plus directement liée à l’interprétation, étudie les spécificités de l’écriture pianistique et des paramètres du timbre et du temps en s’appuyant sur l’étude d’enregistrements historiquesThe following thesis focuses on the six final piano sonatas by Alexander Scriabin from the point of view of pianistic interpretation. The first part reconstitutes Scriabin’s unique musical and image-oriented universe from the basis of the listener’s perspective. The second part analyses the works from a musicological stand-point, taking into consideration indications on interpretation found in the scores. In order to more clearly identify the logic and structure of the musical language, which is marked by the usage of extended tonality, the analyses presented are inspired from Schenkerian traditions. The third part, directly linked to performance practises, explores the pianistic writing style as well as the timbral and temporal parameters, with an important place given to historical recordings
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ARNOLD, ERIN RUTH. "TIME, SEQUENCE, COMPOSITION, AND THE SENSORY EXPERIENCE: THE PARALLEL SPIRIT OF MUSIC AND ARCHITECTURE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148163503.
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Alonso, Orlay. "Illuminated Scores and the Architectural Design of Musical Form." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429802524.
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Vasconcelos, Rodrigo de Carvalho. "O segundo concerto para piano e orquestra de Béla Bartók : indagações formais /." São Paulo, 2020. http://hdl.handle.net/11449/192565.
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Orientador: Yara Borges CáznokResumo: O objeto de pesquisa desta Tese é o 2 o . Concerto para Piano e Orquestra de Béla Bartók (1881-1945), composto em 1931. Após a contextualização da obra, apresentamos uma análise musical. Nossa perspectiva dialoga com duas principais correntes analíticas: a Teoria da Forma Sonata (Hepokoski e Darcy, Caplin e Schmalfeldt) e as Teorias Pós-tonais (Antokoletz e Straus). A análise concentrou-se no 1 o . Movimento que, segundo o compositor, possuiria a Forma Sonata. Partindo desta declaração, procuramos compreender como opera, formalmente, a dinâmica entre ideias temáticas, motivos, coleções referenciais, relações contrapontísticas e texturais, e direcionalidade. O modelo da Forma Sonata foi colocado em discussão, realçando seus limites, sua maleabilidade e seus pontos de tensão, à luz dos procedimentos formais encontrados neste 1 o . Movimento. Os resultados analíticos descritos textualmente apresentam-se sintetizados por meio de gráficos, considerados parte integrante do procedimento metodológico.
Abstract: Béla Bartók’s (1881-1945) Concerto No. 2 for Piano and Orchestra, composed in 1931, is the primary focus of this thesis. Following the contextualization of the work, we present a musical analysis. Our aim is to bring together two analytical currents: the Sonata Theory (Hepokoski and Darcy, Caplin and Schmalfeldt) and Post-tonal Theories (Antokoletz and Straus). The analysis focuses on the First Movement, which according to the composer, is in Sonata Form. Based on his statement, we intend to understand how thematic ideas, motifs, referential collections, counterpoints, directionality, and texture interact against a formal background. We discuss the Sonata Form, highlighting its limitations, malleability, and points of tension, in light of the formal procedures found in the First Movement. The descriptions of analytical results are supported by graphs, which are considered an integral part of the methodology.
Doutor
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Walden, Joseph P. "Comparing Formal Analyses of Dmitri Shostakovich’s Symphony No. 5, Op. 47 Through the Theories of James Hepokoski, Warren Darcy, and William Caplin." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408556714.
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Hellenbrand, Gregory Thomas Riepel Joseph Koch Heinrich Christoph. "The symphonies of Johann Michael Haydn : a chronological perspective using theories of Joseph Riepel and Heinrich Christoph Koch /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3242868.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006.Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4030. Adviser: John Walter Hill. Includes bibliographical references (leaves 965-1003) Available on microfilm from Pro Quest Information and Learning.
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Chen), Pei-Fen Chen (Beth, and 陳珮玢. "Reevaluation of J. Haydn's Sonata Allegro Form Structure, Theme, and Heritage ─ Illustrated by the First Movements of J. Haydn's Symphonies." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/13631865364334479219.
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碩士國立藝術學院
音樂學系碩士班
87
Sonata Form（Sonata Allegro Form）is the most representative form among instrument compositions of the 18th Century. Among the composers of sonata forms, Joseph Haydn is the most significant one to the development of the form. However, what is a Haydn’s sonata form? So far there is no precise definition of the compositions of Haydn’s style. When approached with such a similar question, even a musical scholar who has done extensive research on the development of the musicals of Haydn and has a confident grip of music style and technique of W. A. Mozart would find it difficult to articulate. The structural style and form of Haydn’s sonata form cannot be summed up in term of classical. -- Several topics are highly relevant in exploring Haydn’s sonata forms: for example, the actual structure of the forms, the meaning of monothematic, the style presented, and the inspirational influence having given rise to the forms. These topics will be focused in this thesis. In order to fully explore the uniqueness and comprehensiveness of the musicals of Haydn and avoid the preoccupied definition of classical music, this thesis will study the first movements of over 100 symphonies composed by Haydn and analyze their sonata forms. The historical background of Haydn, coupled with further research on some precepts, will be reconstructed to assist the study and interpretation of Haydn’s sonata forms. -- The structure, theme, and heritage of Haydn’s sonata forms will be fully discussed and summarized in the following: -- (1) Haydn's sonata forms center on the thematic variation and motif development. These techniques are used to thread an entire movement. The mold of structure is unlike the standard mold defined in the 19th and 20th Centuries. Neither is it like a monthematic sonata form. The relationship between tonality and thematic sections cannot be synthesized in one formula. This thesis attempts to analyze the Haydn’s sonata forms in terms of the descriptions of sonata forms in 1988 authored by J. P. Larsen. It purports to prove the diversity and uniqueness of Haydn’s sonata forms. -- (2) The thematic forms of Haydn changed along his various stages. Each has its features and characteristics. Based on the first movements of the symphonies of Haydn, the thematic forms may be categorized as following: Baroque-like Fortspinnungtypus (one of the Baroque styles); Fortspinnungtypus in periods and sentences; regular periods and sentences; and lyric-like Liedtypus. -- (3) Haydn might have found its inspiration in his contemporary new music of Vienna. This proposition can be supported by Haydn's upbringing and initiation, the contemporary music environment of Vienna, and the style and trend of the new music of Vienna. The similarities between sonata forms of Haydn and the forms of G. Wagenseil, we can further ascertain that Haydn was heavily influenced by the Vienna music of earlier and middle 18th Century. -- For a long period of time, Haydn has been esteemed as a representative composer of the classical period of the 18th Century. In fact, his instrumental compositions have a great impact to musical development of that period. However, how do we position him in the history of music? Describing the revelation of his music directly would be more meaningful than merely regarding Haydn as a representative composer of the classical.
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Rival, Robert. "Symphony "Maligne Range"." 2010. http://hdl.handle.net/1807/24379.
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In the summer of 2008, over two days, my wife and I hiked the Maligne Range (Skyline) trail, situated in the Canadian Rockies near Jasper, Alberta. The 45-km trail begins in a pine forest at Maligne Lake but soon rises above the tree line. From there it winds its way across two successively higher mountain passes. In between lies a sprawling meadow speckled with colourful flowers and criss-crossed by glacial creeks. At the halfway point, the trail switchbacks steeply to the very top of the range, a vantage point that affords spectacular views in all directions. But a storm set in just as we reached the peak. Unwilling to serve as lightning rods, we broke out into a run, finding shelter only as the trail drops off quickly on the other side of the range. The breathtaking views, ruggedness and diversity of terrain, whistling marmots and sense of isolation all left a strong impression on me. I was especially delighted to realize that the very topographical contour of the trail provides a basic plan for a large-scale sonata-form structure, one that builds up in waves of tension, culminating in a fierce storm at the top: the development. In a similar vein, after the stormy material subsides (as in Beethoven’s Sixth), the descent, recalling the ascent, but now abridged and in reverse order, serves as varied recapitulation. The result is a one-movement symphony in the tradition of Sibelius’s Seventh and Barber’s First. Essentially tonal, the harmonic language is enriched with polytonal accents, modal alterations, complex chords and the colouristic usage of collections and twelve-tone techniques. Polymetre, multi-stranded canons, metric modulation and controlled aleatoric techniques enliven the rhythmic plane. The work’s structure is organic, developed out of limited yet contrasting thematic material, with all programmatic elements assuming abstract structural roles. The symphony’s bright orchestration and rhythmic vitality is indebted to composers of the modern Russian school; its emotional sweep and extremes, to Shostakovich; the scoring and harmonic content of certain dissonant chords, to Varèse; and its sense of drama and breadth, to Beethoven and Sibelius.
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Chang, I.-Ting, and 張宜婷. "The Enlightenment and Sonata Form." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/4ztns2.
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"Changing uses of sonata form in selected works by Sergei Prokofiev." 1997. http://library.cuhk.edu.hk/record=b5889273.
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by Wong Yat Sze, Yates.Thesis (M.Phil.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (v. 1, leaves 90-98).
VOLUME 1
LIST OF APPENDICES --- p.ii
CHAPTER
Chapter I. --- INTRODUCTION --- p.1
Chapter II. --- A BIOGRAPHICAL SKETCH OF SERGEI PROKOFIEV --- p.5
Chapter III. --- THE CRITERIA FOR THE USE OF SONATA FORM IN --- p.12
TRADITIONAL MUSIC AND ITS EXPANDED USE IN THE TWENTIETH-CENTURY
Chapter IV. --- ANALYSIS OF SELECTED FIRST MOVEMENTS IN PROKOFIEV'S WORKS --- p.14
Chapter 1. --- "Piano Sonata No. 1 in F Minor, Op. 1 (1909)" --- p.15
Chapter 2. --- "Piano Concerto No. 1 in D-flat Major, Op. 10 (1911-12)" --- p.18
Chapter 3. --- "Piano Sonata No. 2 in D Minor, Op. 14 (1912)" --- p.19
Chapter 4. --- "Classical Symphony in D Major, Op. 25 (1916-17)" --- p.22
Chapter 5. --- "Piano Sonata No. 3 in A Minor, Op. 28 (1917)" --- p.26
Chapter 6. --- "Symphony No. 2 in D Minor, Op. 40 (1924-25)" --- p.30
Chapter 7. --- "Symphony No. 3 in C Minor, Op. 44 (1928)" --- p.34
Chapter 8. --- "String Quartet No. 1 in B Minor, Op. 50 (1930)" --- p.39
Chapter 9. --- "Violin Concerto No. 2 in G Minor, Op. 63 (1935)" --- p.42
Chapter 10. --- "Piano Sonata No. 7 in B-flat Major, Op. 83 (1939-42)" --- p.45
Chapter 11. --- "Piano Sonata No. 8 in B-flat Major, Op. 84 (1939-44)" --- p.48
Chapter 12. --- "String Quartet No. 2 in F Major, Op. 92 (1941)" --- p.50
Chapter 13. --- "Flute Sonata in D Major, Op. 94 (1943)" --- p.54
Chapter 14. --- "Symphony No. 5 in B-flat Major, Op. 100 (1944)" --- p.58
Chapter 15. --- "Piano Sonata No. 9 in C Major, Op. 103 (1947)" --- p.62
Chapter 16. --- "Symphony No. 6 in E-flat Minor, Op. 111 (1945-47)" --- p.65
Chapter V. --- COMPARATIVE ANALYSIS AND CONCLUSION --- p.70
Chapter VI. --- BIBLIOGRAPHY --- p.90
VOLUME 2
APPENDICES --- p.1
LIST OF APPENDICES
Appendix
Chapter 1. --- Musical Examples --- p.1
Chapter 2. --- Prokofiev's Works divided by Periods --- p.145
Chapter 3. --- Prokofiev's Works divided by Genres --- p.154
Chapter 4. --- Proportion and Developmental Techniques --- p.155
Chapter 5. --- "Proportions of Beethoven's Nine Symphonies, First Movements" --- p.157
Chapter 6. --- Key Relationship between the First and Second Themes of the Exposition --- p.158
Chapter 7. --- Themes and Tonal Schemes --- p.159
Chapter 8. --- Map of Soviet Union --- p.164
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Massie, Courtney Alimine. "No success like failure : Beckett's Endgame and the frustration of sonata form." 2012. http://hdl.handle.net/2152/22783.
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Samuel Beckett’s skepticism regarding language’s ability to communicate effectively drives his dramas’ use of formal and stylistic gestures that emphasize the musical potential of words. In this report, I analyze Beckett’s play Endgame (1958) in light of its musical elements and their implications for performance. Critics have debated the putative presence of sonata form, a type of musical structure prevalent among classical pieces from the eighteenth century, in Endgame. Emmanuel Jacquart proposes that the play follows such a form, while Thomas Mansell and Catherine Laws doubt the possibility of such interdisciplinarity. Mansell wonders whether the ascription of sonata form to Endgame’s structure merely couches dramatic fundamentals in musical terms, while Laws argues that the lack of harmonic structure in human speech prevents a spoken medium like drama from fully absorbing the formal conventions of classical music. I explore the uncharted territory between these two critical camps, linking the implications of Jacquart’s position for the performance of Endgame, as well as Mansell’s and Laws’s reiterations of the fundamental separation of language and music, to Beckett’s own preoccupation with the inability of language to express thought and emotion adequately. Ultimately, I contend that Endgame functions not simply as a sonata, but as a frustrated sonata; that is, it approximates sonata form but can never fully replicate it. As such, Endgame becomes a point of origin for Beckett’s more experimental later plays, a concept I illustrate by demonstrating how Play (1963), the work commonly regarded as the turning point between Beckett’s early and late dramatic styles, essentially revisits and refines the frustrated sonata.text