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 The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse.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

The aim of the following work is an attempt to focus on the broadly understood music of Johannes Brahms. The author of the work looks at selected works by the composer, which, in her opinion, can be helpful in working on any piece. Numerous searches in symphonic works, knowledge of individual chamber and vocal works can definitely help every musician find the unique sound of Brahms. All this is done with the composer's first piece in mind: Sonata in C major Op.1 No. 1, which the author of the work will perform at the diploma concert. The work below contains an analysis of the Sonata, conclusions, hints regarding the sound, the direction of work and numerous information about Brahms' life from the accounts of his friends. / <p>Johannes Brahms - Sonate No. 1 Op. 1 in C major </p> / no

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Orientador: Yara Borges Cáznok / Resumo: 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

A presente dissertação apresenta um estudo que teve por objetivo buscar subsídios para a construção da performance da Sonata Op. 61 para violino e piano do compositor ítalo-brasileiro Glauco Velásquez (1884-1914). Primeiramente realizamos um breve estudo biográfico do compositor e das influências musicais a que foi exposto, destacando sua colaboração com a violinista Paulina d\'Ambrósio. Foram comparados elementos de sua Sonata Op. 61 com as sonatas de Franck e Lekeu, por apresentarem tais compositores relações diretas de semelhança e influência sobre Velásquez. Por fim, através de estudo da partitura, evidenciamos os elementos relevantes para a compreensão e performance da Sonata Op. 61, com sugestões de execução e comentários resultantes da experiência do preparo da obra e sua apresentação pública em recital. / This dissertation presents a research that has as goal find elements to the musical interpretation of the Sonata Op.61 for violin and piano by the italian-brazilian composer Glauco Velásquez (1884-1914). Firstly we present a brief research about the biography of the composer and the musical influences that he was exposed, highlighting his partnership whit the violinist Paulina d\'Ambrósio. Elements from the Sonata Op. 61 has been compared whit the sonatas by Franck and Lekeu, since these works have a close relationship of similarity and influence on Velásquez. Finally, through study of the score, we highlight the important elements for understanding and performing the Sonata Op.61, whit suggestions and comments resulting from the rehearsals and public performance of the work in a recital.

A presente dissertação apresenta um estudo que teve por objetivo buscar subsídios para a construção da performance da Sonata Op. 61 para violino e piano do compositor ítalo-brasileiro Glauco Velásquez (1884-1914). Primeiramente realizamos um breve estudo biográfico do compositor e das influências musicais a que foi exposto, destacando sua colaboração com a violinista Paulina d\'Ambrósio. Foram comparados elementos de sua Sonata Op. 61 com as sonatas de Franck e Lekeu, por apresentarem tais compositores relações diretas de semelhança e influência sobre Velásquez. Por fim, através de estudo da partitura, evidenciamos os elementos relevantes para a compreensão e performance da Sonata Op. 61, com sugestões de execução e comentários resultantes da experiência do preparo da obra e sua apresentação pública em recital. / This dissertation presents a research that has as goal find elements to the musical interpretation of the Sonata Op.61 for violin and piano by the italian-brazilian composer Glauco Velásquez (1884-1914). Firstly we present a brief research about the biography of the composer and the musical influences that he was exposed, highlighting his partnership whit the violinist Paulina d\'Ambrósio. Elements from the Sonata Op. 61 has been compared whit the sonatas by Franck and Lekeu, since these works have a close relationship of similarity and influence on Velásquez. Finally, through study of the score, we highlight the important elements for understanding and performing the Sonata Op.61, whit suggestions and comments resulting from the rehearsals and public performance of the work in a recital.

A presente dissertação tem o objetivo de demonstrar o uso da forma sonata por compositores brasileiros vivos. Inicialmente, será feita uma breve revisão bibliográfica do histórico de transformações pelo qual a forma sonata e também dos principais acontecimentos musicais do século XX no Brasil. Em seguida, serão analisadas sonatas de três compositores brasileiros (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) e também peças de estrutura semelhante às delas (a Sonata em Si Menor de Liszt, a Sonata de Alban Berg e a peça Vattan de Roberto Victorio). Finalmente, serão dadas sugestões de estudo das obras escolhidas. / The 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.

A presente dissertação tem o objetivo de demonstrar o uso da forma sonata por compositores brasileiros vivos. Inicialmente, será feita uma breve revisão bibliográfica do histórico de transformações pelo qual a forma sonata e também dos principais acontecimentos musicais do século XX no Brasil. Em seguida, serão analisadas sonatas de três compositores brasileiros (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) e também peças de estrutura semelhante às delas (a Sonata em Si Menor de Liszt, a Sonata de Alban Berg e a peça Vattan de Roberto Victorio). Finalmente, serão dadas sugestões de estudo das obras escolhidas. / The 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.

This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.

The history of the saxophone and its development as a performance medium in Japan is short when compared with other European countries and the United States. In this short history, the saxophone performance level in Japan has increased dramatically. At the same time, compositions for the saxophone by Japanese composers have gained more popularity in the world as can be seen in the program of the World Saxophone Congress and the North American Saxophone Alliance conference. The saxophone history in Japan, including contributions of Arata Sakaguchi (1910-1997), Ryo Noda (b.1948), and Nobuya Sugawa (b.1961), is discussed in order to understand the increase of performances of pieces for saxophone by Japanese composers. The success of many original compositions, especially those that incorporate the synthesis of Eastern and Western music, is another significant element examined in this document. Yoshimatsu approaches music for classical saxophone as a new genre. He seeks all possible sounds that the saxophone can create - beautiful tone to "noise like" - in his compositions. The blending of other musical styles in one piece is one of Yoshimatsu's compositional styles, which can be observed in Fuzzy Bird Sonata; however, he does not limit himself to a single style. This unique style with some technical challenges attracts saxophonists and audiences. An analysis of Fuzzy Bird Sonata is provided in order to have a better understanding of the piece and to address performance practice issues. Also various interpretations are examined by comparing available recordings of Sugawa, Nicolas Prost, and Rob Buckland.