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.

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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Dissertação apresentada ao Programa de Pós-Graduação em Música, Área de concentração Musicologia, Linha de Pesquisa História, Estilo e Recepção, da Escola de Comunicação e Artes, da Universidade de São Paulo, como exigência parcial para a obtenção do título de Mestre em Musicologia, sob a orintação do Prof. Dr. Rodolfo Nogueira Coelhode Souza. 2010 / Submitted by Nilson Junior (nilson.junior@unila.edu.br) on 2016-07-08T21:06:23Z No. of bitstreams: 1 6318892.pdf: 47637802 bytes, checksum: 302445c704ba7bcfb61802a826fd9346 (MD5) / Made available in DSpace on 2016-07-08T21:50:18Z (GMT). No. of bitstreams: 1 6318892.pdf: 47637802 bytes, checksum: 302445c704ba7bcfb61802a826fd9346 (MD5) Previous issue date: 2010 / 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.

abstract: Hans Gál is arguably one of the most underrated, underperformed and forgotten composers of the twentieth century. Once a prolific composer in the 1920s and 1930s, Gál’s career was cut short by the Nazi regime in 1933 when he was fired, and his works banned due to his Jewish heritage. Following the Second World War, his music was relegated as obsolete, belonging to a bygone era. Hans Gál is a perfect example of the intransigence, superficiality, and discrimination of the evolving musical fashion, and his life-story speaks to the misfortunes and persecution of the Jewish people in the mid-twentieth century. Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music. However, recent years have seen an increased interest in resurrecting the music of Gál. Recordings of his major works as well as research of his music have furthered the awareness and understating of this forgotten composer’s music. In my document, I will continue the path of recent rediscovery and celebration of this unsung hero of twentieth-century post-Romanticism with an in-depth look at his Sonata in D for Violin and Piano (1933). A light-hearted, accessible and unpretentious work, the Sonata in D distinguishes itself in the violin-piano sonata repertoire of the interwar period by its witty, clear use of form and motivic/thematic unity in the vein of the great Viennese masters. Gál’s take on traditional idioms such as tonality, coupled with masterful use of the implication/realization process, create a highly original and noteworthy style, that renders the Sonata in D an immediately appealing work for performers and listeners alike. / Dissertation/Thesis / Doctoral Dissertation Music 2019

abstract: This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres. The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time. / Dissertation/Thesis / Doctoral Dissertation Music 2019

By the eighteenth century, the business of music publishing in Europe had exploded. Europe had become more culturally international, and interest in purchasing and performing music written by foreign composers was in vogue. Unfortunately laws governing copyright and editing of music were either difficult to enforce or non-existent, and most were not applicable on an international level. Around 1750 music publishers Leclerc and Boivin published an edition of flute sonatas in Paris. This edition was attributed to Georg Friderich Handel, whose work, at the time, was the most sought after in Western Europe. This particular collection is identical to an earlier edition published in 1729 in Hamburg, Germany by an unknown German composer, Johann Christoph Schultze. This paper is the first modern critical edition of Schultze’s Six Sonate â Doi Flauti Traversi Senza Basso Con una Ciacconna tra mischiata di doi Canoni nella medesima nascosti (Six Sonatas for Two Flute without Basso and A Chaconne for Two Equal Voices in Canon) and marks the first time the Chaconne has appeared in modern notation. The edition aims to be as true as possible to the 1729 publication, notes standard performance practices, and answers the question as to why the 1750 edition may have been falsely attributed to Handel.

Chopin’s Third Piano Sonata, Op. 58, is the largest solo work of his late period. Chopin’s successful combination of the Classical and the Romantic aesthetic, which is explored in Chapter 1, results in an effective balancing of structural integrity and emotional fulfillment. Every movement of Op. 58 possesses qualities of movements in a traditional sonata cycle; however, the tendency to blend structural elements, the expansion of thematic material, and the postponement of climaxes contribute to Chopin’s distinctive treatment of the sonata genre. The issue of late style in Chopin’s output has recently garnered considerable attention. Most writers focus on particular compositional techniques such as the blending of musical genres and the increasing importance of counterpoint and chromaticism. New expressive elements include manifestations of a dandified aesthetic as well as emotional lassitude. These discussions are primarily related to works in Chopin’s original genres, neglecting somewhat the Third Piano Sonata, Op. 58. The second chapter of this dissertation examines the elements of Chopin’s late style present in Op. 58, emphasizing the sonata’s first three movements. These aspects of late style include blurring of genres, complex use of chromaticism, intricacy of counterpoint, textural and thematic variety, dandified impertinence, emotional lassitude and polyvalence. The employment of late stylistic features within the sonata model results in formal ambiguities, which are particularly manifest in the first movement. Chapter 3 reconsiders the movement’s thematic boundaries and especially evaluates the juncture between development and recapitulation. In Chapter 4, the last movement’s indebtedness to Chopin’s balladic model is examined. The gradual intensification of the primary theme together with the presence of a characterizing theme and dancelike episode suggest a merging of Chopin’s balladic practice with rondo form to create an end-directed hybrid structure. This study not only encourages further research into the implications of Chopin’s late style for his larger forms but also increases the variety of interpretative choices available to performers through awareness of Chopin’s stylistic features. The final chapter suggests how insights into musical structure, style, and genre might inform performances of this sonata and how these possibilities relate to a selection of recorded performances.

Dramatic, in the sense of “highly intense,” is a quality we often associate with the music of Beethoven, but no theory has attempted to define drama in any systematic manner. This study therefore explores the idea by constructing a theory that distinguishes between dramatic and non-dramatic passages. At the core of the theory is the notion that drama is the result of several types of tension occurring simultaneously. Dramatic passages have a “High” tension level, whereas non-dramatic ones have a “Low” level. Individual tension types are divided into two categories: rhetorical and syntactical. Rhetorical tension types include such features as a loud dynamic, a fast rhythm, and a thick texture, which need no musical context to be expressed. By contrast, syntactical tension types include such features as chromaticism, metric irregularity, and phrase expansion, which always require a comparison of events to be expressed. Only tension types from the same category may combine to form drama. Because this study examines the relationships between drama and sonata form, the analysis of form is a key issue that receives a separate chapter and additional thought throughout. The methodology combines aspects of William E. Caplin’s theory of formal functions and James Hepokoski and Warren Darcy’s Sonata Theory, and is applied to all of Beethoven’s first-movement sonata forms, a total of eighty-seven movements. Each formal unit is analyzed as one of six dramatic “archetypes” that describe a basic outline of High and/or Low tension levels. These archetypes constitute the dramatic structure of the piece. Percentage frequencies of the archetypes were calculated for each formal unit in the movements as a whole, and as grouped by the categories of key, mode, genre, and style period. The greatest distinctions in dramatic structure occur among the three style periods of early, middle, and late, the early works showing a sectional approach with contrasting tension between phrases and the middle to late works gradually becoming more continuous, maintaining the same tension levels between units. A concluding analysis of Beethoven’s String Trio, op. 3, demonstrates the theory’s ability to enrich the interpretation of an individual work.

Chopin’s Third Piano Sonata, Op. 58, is the largest solo work of his late period. Chopin’s successful combination of the Classical and the Romantic aesthetic, which is explored in Chapter 1, results in an effective balancing of structural integrity and emotional fulfillment. Every movement of Op. 58 possesses qualities of movements in a traditional sonata cycle; however, the tendency to blend structural elements, the expansion of thematic material, and the postponement of climaxes contribute to Chopin’s distinctive treatment of the sonata genre. The issue of late style in Chopin’s output has recently garnered considerable attention. Most writers focus on particular compositional techniques such as the blending of musical genres and the increasing importance of counterpoint and chromaticism. New expressive elements include manifestations of a dandified aesthetic as well as emotional lassitude. These discussions are primarily related to works in Chopin’s original genres, neglecting somewhat the Third Piano Sonata, Op. 58. The second chapter of this dissertation examines the elements of Chopin’s late style present in Op. 58, emphasizing the sonata’s first three movements. These aspects of late style include blurring of genres, complex use of chromaticism, intricacy of counterpoint, textural and thematic variety, dandified impertinence, emotional lassitude and polyvalence. The employment of late stylistic features within the sonata model results in formal ambiguities, which are particularly manifest in the first movement. Chapter 3 reconsiders the movement’s thematic boundaries and especially evaluates the juncture between development and recapitulation. In Chapter 4, the last movement’s indebtedness to Chopin’s balladic model is examined. The gradual intensification of the primary theme together with the presence of a characterizing theme and dancelike episode suggest a merging of Chopin’s balladic practice with rondo form to create an end-directed hybrid structure. This study not only encourages further research into the implications of Chopin’s late style for his larger forms but also increases the variety of interpretative choices available to performers through awareness of Chopin’s stylistic features. The final chapter suggests how insights into musical structure, style, and genre might inform performances of this sonata and how these possibilities relate to a selection of recorded performances.