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Musikkundige wissen, dass das Seitenthema einer klassischen Sonatenexposition in Dur in der Oberquinttonart steht. Weniger oder gar nicht bekannt ist, dass sich einhergehend mit der harmonischen Modulation eine rhythmische Intensivierung vollzieht, womit der Prozess der Modulation als ein dramatischer wahrgenommen wird. Diese mit einer inneren Beschleunigung einhergehende Differenzierung der musikalischen Textur erfährt oft eine Zuspitzung vor dem Abschluss der Exposition. In den musiktheoretischen Schriften wird diesem Gegenstand bisher wenig Beachtung geschenkt. Immerhin finden sich bei James Hepokoski und Warren Darcy und vor allem bei Charles Rosen Ansätze einer adäquaten Beschreibung, die hier entwickelt und ausgeführt werden. Anhand der frühen Haydn’schen Klaviersonaten wird in diesem Aufsatz das Phänomen beschrieben und nachvollziehbar gemacht. Gleichzeitig möchte der Beitrag die Diskussion darüber anregen, was dieser Befund für das Verständnis, die Analyse, das Nachschaffen und die Interpretation von Sonatensätzen seit der Wiener Klassik beitragen kann. / Those knowledgeable in music know that the secondary theme of a classical sonata form exposition in a major key is in the dominant key. Less well known, if at all, is the fact that a rhythmic intensification takes place as well along with the harmonic modulation in such a way that the process is perceived as dramatic. This differentiation of musical texture, accompanied by an internal acceleration, often comes to a head just before the conclusion of the exposition. In music-theoretical literature, little attention has been paid to this subject. Nevertheless, in writings by James Hepokoski and Warren Darcy, and especially Charles Rosen, approaches to an adequate description can be found, which are developed and elaborated in this contribution. Taking into account Haydn’s early piano sonatas, the phenomenon is described and made comprehensible. The paper also aims to stimulate a discussion about what these findings can contribute to the understanding, analysis, recreation, and interpretation of sonata movements since the Viennese Classical period.

This dissertation examines the skill of adaptable playing essential for collaborative pianists by looking closely at the sonata's many challenges for ensemble playing, using musical examples from the sonata to study balance between instruments, tone and articulation, choice of voicing, and use of pedal to ensure a successful performance.

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.

There are very few significant sonatas for flute and piano written between 1880 and 1918, a period of unusually rich stylistic diversity. Gabriel Pierné composed his Sonata in D Minor, Op. 36 for piano and violin in 1900, and later transcribed it for flute and piano. Unfortunately, the work has not been embraced to a significant extent by either violinists or flutists. The wealth of violin sonatas from this period might explain it not becoming part of the canon for violinists, but this is not the case for the flute repertoire, where it seems that it should hold a place of genuine importance. Since little has been written about Pierné as a composer or about this piece in either of its versions, this project is intended to promote an understanding of the work in its historical and theoretical context and to advocate for more frequent performances. This document also suggests an alternate version of several particular passages so it can better represent the characteristics of today's flute and its modern techniques. This research will help other flutists and flute professors to introduce and spread an awareness of its existence and ideally helping to establish its place in the flute repertoire. From a historical standpoint, this dissertation also offers a case study of Gabriel Pierné's place, both stylistically and institutionally, in the history of French music in fin-de-siècle. Both of these goals fill important gaps in the existing research literature.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods pertaining to all three works was added. In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his “new” African voice (1984-). The African voice, represented by a melody he overheard a black roadworker sing, ties the work together. The sonata consists of five movements, with the first and fourth movements, and the third and fifth movements linked through content. This work presents challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as pitch difficulty due to unusual intervals without tonal context. Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region). The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping being the main challenge. Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies. The concerto has, as is tradition, three movements. Although the work contains ample technical challenges, it is obvious that it was composed by a string player – both the extensive running passages and double stopping are quite possible to play once good fingerings have been found. In the discussion of these works, attempts at solving specific technical problems are made.

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

The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed. / Masters Thesis

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

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