Thèses sur le sujet « Sonata a tre »
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Stoltzfus, Andreas M. « Was There a Trumpet Sonata Before the Trumpet Sonata ? an Investigation of Girolamo Fantini’s Trumpet Sonatas with Respect to Other Stile Moderno Solo Instrumental Sonatas ». Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804954/.
Texte intégralYang, 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.
Texte intégralTitle 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).
Campbell, Alan Douglas. « The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.
Texte intégralSeidel, 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/.
Texte intégralCarrell, Scott Allen. « The French Sonatina of the Twentieth Century for Piano Solo : With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others ». Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
Texte intégralSolomons, 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.
Texte intégralĆojbašić, Ivana. « Content and Musical Language in the Piano Sonata of Sofia Gubaidulina, and Three Recitals with Works by Bach, Beethoven, Mozart, Chopin, Schumann, Debussy, and Rachmaninov ». Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935565/.
Texte intégralFuchs, 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.
Texte intégralSchool of Music
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.
Texte intégralAdduci, 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.
Texte intégralUjj-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/.
Texte intégralO'Hagan, Peter. « Pierre Boulez : "Sonate, Que Me Veux-Tu?" : an investigation of the manuscript sources in relation to the Third Sonata. Volume one ». Thesis, University of Surrey, 1997. http://epubs.surrey.ac.uk/2331/.
Texte intégralRosenbaum, George G. (George Gene). « Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4) ». Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278956/.
Texte intégralKang, Kyounglae Gina. « A STUDY OF THE THIRD PIANO SONATA OF CARL VINE (2007) : THE MUSICAL CHARACTERISTICS OF THE THIRD SONATA COMPARED THROUGH THE FIRST SONATA AND SECOND SONATA AND PRACTICAL PERFORMANCE GUIDANCE ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338245430.
Texte intégralMaciel, 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/.
Texte intégralThis 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.
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.
Texte intégralPaz, Martha Costa Guterres. « Avalovara : leituras musicais ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/33668.
Texte intégralThis paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).
Dearden, Jennifer Lorien. « The American Trumpet Sonata in the 1950s : An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill ». Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3982.
Texte intégralSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded May 31, 2004, Apr. 18, 2005, Oct. 24, 2005, and June 11, 2007. Includes bibliographical references (p. 73-74).
Seah, Stefanie Huei-Ling. « Alexander Scriabin's style and musical gestures in the late piano sonatas : Sonata No.8 as a template towards a paradigm for interpretation and performance ». Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6959/.
Texte intégralRibeiro, Erika Maria. « Aspectos interpretativos da Sonata op. 110 de Beethoven ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-25102010-170619/.
Texte intégralParticularly since the twentieth century, the concern in understanding how the repertoire of the classical period was truly performed grew extensively. This happened because interpreters and scholars in general, while realize the distance between performer and composer as well as the large amount of instrumental procedures that caused multiple traditions, felt need of an area of study designed for this kind of reflection. Therefore, this volume aims, in first place, conduct a brief study of some key issues that underlie the understanding of works from the classic period, within the field of the performance practices like: articulation, phrasing, dynamics, choice of tempo, rhythm, use the pedals, etc. Will be addressed also knowledge about Beethoven, manuscripts and first editions of his piano sonatas, as well as some information about the instruments of that time. Then, these criteria will be applied to the interpretation of Beethovens Sonata op. 110. We believe that this procedure will allow the construction of a careful, credible, historically founded and, at the same time, actual performance.
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/.
Texte intégralThis 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.
Perevertailenko, Dmytro Olexandrovich. « The Unpublished Works for Clarinet by Alexander Grechaninov : Preparing a Performance Edition of the Sonata No. 1 for Clarinet and Piano, Op. 161 ». Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9052/.
Texte intégralHung, Yu-Hsien Judy. « The Violin Sonata of Amy Beach / ». [Baton Rouge, La. : Louisiana State University, 2005. http://etd.lsu.edu/docs/available/etd-04142005-224115/.
Texte intégralWang, Yuchi Sophie. « Edward MacDowell : A Poetic Voice as Seen in the “Eroica” and “Keltic” Sonatas ». University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396533402.
Texte intégralOliveira, Rafael Cesário. « A sonata para violoncelo e piano de Almeida Prado : análise técnico/intepretativo ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13112015-101808/.
Texte intégralThe Sonata for Cello and Piano de Almeida Prado deserves to occupy a prominent position in the recent production for Cello. This work will serve as support for cellists interested in the performance of the Sonata, as well as string instrumentalists seeking to better understand the peculiarities of interpretation of this composer\'s works. The methodological procedure consisted of four stages. First off a review of the literature was conducted exploring the authors who wrote about the life and work of Almeida Prado. Secondly, data was collected through interviews and lessons with the composer, as well as interviews with Sonia Rubinsky, pianist responsible for the premiere and commission of the sonata. In the third stage, the piece was presented on several occasions, including a recital with pianist Rubinksy. These experiences, together with the collected data, resulted in the edition of the Cello part and a video recording. Finally, a technical/interpretive analysis of the work was carried out, utilizing the data collected during the interviews, bibliographic research and recitals.
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.
Texte intégralNUNES, Emanuel de Carvalho. « Edição crítica da sonata para violão de Guerra-Peixe a partir das fontes primárias ». Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2700.
Texte intégralThis research investigates the Sonata for Guitar by the Brazilian composer Cesar Guerra- Peixe; it aims a critical edition, as the result of a comparison among the primary sources. The work presents an introduction in which the reasons that led us to the research are shown, followed by general aspects from the guitar works by Guerra-Peixe, in search for analogous compositional characteristics. Then, the elements that set the theoretical bases for this work are presented, in which point we discuss the directions of our questions related to musical edition, analytical parameters, as well as the interpretation of the sonata. In the next chapter, the differences between the printed sources and the manuscripts are pointed, where the reasons for those choices are discussed and the results for achieving our critical edition are delimited. Finally, some technical-interpretative possibilities for the sonata are presented, targeting the increase of information related to the performance.
O presente trabalho tem por objetivo a realização de uma edição crítica da sonata para violão de César Guerra-Peixe, a partir da comparação entre as fontes primárias. O trabalho consta de uma introdução onde serão apresentados os motivos que nos levaram à pesquisa, seguida de aspectos gerais da obra para violão de Guerra Peixe buscando traços composicionais análogos. São apresentados a seguir os elementos para a fundamentação teórica de nosso trabalho, onde discutimos sobre direcionamentos às nossas indagações referentes à edição musical, à parâmetros analíticos, bem como às questões interpretativas da sonata. No capítulo seguinte são apontadas as diferenças entre as fontes impressas e os manuscritos, discutindo-se as prováveis razões dessas escolhas e delimitando os resultados para chegar à nossa edição crítica. Apresentamos então algumas possibilidades técnico-interpretativas na sonata visando ampliar as informações referentes à performance.
Covarrubias, Ahedo Virginia. « Three Main Chamber Music Works for Strings and Piano by the Mexican Composer Manuel M. Ponce ». Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/95.
Texte intégralTercero, David R. « Ernesto García de León : A Study of Sonata No. I, Op. 13, Las Campanas (The Bells) ». Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9732/.
Texte intégralVaicekonis, Dainius. « "The forest for the trees" : the Beethoven Piano sonatas as integrated cycles / ». Thesis, Connect to this title online ; UW restricted, 2004. http://hdl.handle.net/1773/11275.
Texte intégralSusanni, Paolo. « The musical language and formal structure of Bartók's Sonata for piano (1926) ». Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023562.
Texte intégralSanna, Alberto. « Arcangelo Corelli and the poetics of the sonata ». Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543610.
Texte intégralDo, Ye In. « Charles Ives' Piano Sonata No. 2, "Concord, Mass., 1840-1860" : Comparing the 1947 and the 2012 Editions ». University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627668113898801.
Texte intégralPotts, 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/.
Texte intégralKang, Min-Jung. « The trio sonata in Restoration England (1660-1714) ». Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/2384/.
Texte intégralSchindler, Angela N. « Unique Contributions for Oboe in the Classical Period : Jacques Christian Michel Widerkehr's Duos for Oboe and Piano and François Devienne's Six Sonatas for Oboe and Basso Continuo ». Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5435/.
Texte intégralKan, Ling-Yu. « The Significance of Dmitri Shostakovich's Piano Sonata Op.12 ». Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3657.
Texte intégralSystem requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 31, 2003, Nov. 10, 2003, Mar. 29, 2004, and Mar. 8, 2007. Includes bibliographical references (p. 42-43).
Chang, Young-Shim. « Italian Influences in the Corellisirende Sonaten of Telemann ». Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277885/.
Texte intégralArjona, Alfredo. « Learning From the Autograph : a New Critical Approach to Performing Liszt’s Sonata in B Minor ». Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804866/.
Texte intégralMeyer, Felix. « "The art of speaking extravagantly" : eine vergleichende Studie der "Concord sonata" und der "Essays before a sonata" von Charles Ives / ». Bern : P. Haupt, 1991. http://catalogue.bnf.fr/ark:/12148/cb35559384t.
Texte intégralRichards, Fiona. « Meanings in the music of John Ireland ». Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366014.
Texte intégralTamura, Atsushi. « The revision of Rachmaninoff's second piano sonata, Op. 36 ». Thesis, Ulster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485470.
Texte intégralBlack, 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.
Texte intégralBlack, 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.
Texte intégralTSAI, 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.
Texte intégralVolcansek, Frederick Wallace. « The Essercizii musici, a study of the late baroque sonata ». Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/volcansek%5Ffredercik%5Fjr/index.htm.
Texte intégralMcCarthy, Peter Joseph. « The sonatas of Darius Milhaud / ». Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371220263.
Texte intégralSilva, Ederson Jose Urias Fernandes da. « Três sonatas contemporâneas brasileiras para piano : estudo analítico-interpretativo das sonatas de Marlos Nobre, João Guilherme Ripper e Roberto Victório ». Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-16022011-114551/.
Texte intégralThe main objective of this dissertation is to demonstrate the use of Sonata Form on contemporary Brazilian music. For the sake of contextualization, there is initially a description of the historical process of transformations of the sonata form and also of the main facts of the Brazilian Music during 20th century. Next there is an analysis of piano sonatas by three brazilian composers (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) and also the pieces with inspired them (Liszt\'s B Minor Sonata, Alban Berg\'s Sonata Op. 1 and Roberto Victorio\'s Vattan). Finaly there are study suggestions of the three chosen sonatas.
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.
Texte intégralVieira, Daniel Angelo B. « A fuga da sonata para piano de Camargo Guarnieri : uma análise retórico-estrutural ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12889.
Texte intégralThe purpose of this study is to present a rhetorical analysis of the third movement of Camargo Guarnieri’s Sonata for piano, with the use of three authors as the theoretical framework: Harrison (1990), Lester (2001) and Hindemith (1970). Determining the status of a work generates an internal conflict in this fugue and acts as a plan for its overall structure. The resolution of this conflict is demonstrated by rhetorical arguments, all drawn from its status. As a reflection of this status, I have pointed out a representation of numerical symbolism and the golden section as speculative, though interesting aspects. The Sonata for piano thus shows the composer’s understanding of thematical unity in the piece as a whole, as well as a wealth of technical knowledge.