Polish composer Witold Lutos?awski (1913-1994) was one of the most representative composers of the twentieth-century. Lutos?awski’s style progressed from traditional to modern avant-garde. His Piano Sonata belongs to his first compositional period, and is the only extant work from his student years. His remarkable synthesis of classical structures and impressionistic harmonic sonorities distinguishes the Sonata. Lutos?awski’s Piano Sonata is divided into three movements, and each movement is written in traditional sonata allegro form, sonata form without development and modified sonata form respectively. The Sonata contains both considerable elements of Classicism and Impressionism, as well as traits of Post-romanticism and Neoclassicism. The evolution of Lutos?awski’s compositional language can be better understood through an in-depth study of his Piano Sonata. Although Lutos?awski did not allow the work to be published during his lifetime, this occurred posthumously, ten years after the composer´s death. The recent publication of the work, paired with its substantial technical demands, both account for the fact that the Sonata is not frequently performed. The complex textures of Sonata place extensive technical and musical demands on the performer. In this study, a detailed description of the composer´s early style and influences as relates to this work will be analyzed and technical and pianistic approaches necessary for a performance of the work will be addressed. Also, there are significant discrepancies between the manuscript and printed score, even though the edition is based on the manuscript. Only one manuscript survives and scholarly research involving the work is scarce. Discrepancies between the manuscript and the published edition will be detailed, with suggestions for performance. It is hoped that this study will provide interest and be conducive to better approach the performance of this Piano Sonata.

Paul Hindemith's compositions are, for the most part, contrapuntal; and since the construction of such a traditionally contrapuntal medium as the fugue was brought to such a high degree of musical expression in the fugal writing of J. S. Bach, it is the purpose of this thesis to compare Hindemith's fugal style with the standard set by J. S. Bach.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

In this dissertation two solo violin compositions Nelle Mani d’Amduscias (1996) and Luamerava(2000) by the South African composer Hendrik Hofmeyr are analysed regarding the programmatic, compositional and idiomatic content. The Luamerava uses an adapted African legend that is inscribed at the beginning and according to the composer imitates the African mbira or finger piano. The Eurocentric Nelle Mani d’Amduscias is Italian for “into the hands of the (medieval) devil”. Both pieces are analysed under the headings form, melody and motives, rhythm, harmonies and violinistic aspects, always connecting to the programmatic content of the titles. Described by the composer as a pre-sketch to Raptus, some similarities with Nelle Mani d’Amduscias are noted. Mythes by Szymanowski provided a source of inspiration for Nelle Mani d’Amduscias and similar compositional techniques are observed. The title Nelle Mani d’Amduscias is musically illustrated with symbolic elements. These include the tritone, or Diabolus in Musica, the use of which was discouraged by religious medieval theorists, the trill, which is reminiscent of the Devil.s Trill Sonata by Tartini, and a difficulty level that is reminiscent of a Paganini Caprice. This further links to rumours surrounding the violin virtuoso Niccolò Paganini of being in league with the devil, due to his unprecedented performing brilliance. Medieval elements are also considered. The use of mirror image interval patterns and the use of the octatonic scale are discussed as themes. The use of the vertical 2:3 rhythm, an unusual technique on the solo violin, is noted. Luamerava is analysed in connection with the characteristics of mbira music and African music. African and mbira compositional devices that are noted include call and response, melodic shape, mbira counterpoint and the use of ostinato, hocket, canon, hemiola, additive rhythms and African dancing in the Danzante. The chord sequence of mbira music of the Shona of Zimbabwe is compared to the harmonies used in the Danzante. The performance of the Western tradition is compared to that of the African mbira tradition. A short comparison noting the similarities and differences of the two works is provided in the conclusion. Copyright / Dissertation (MMus)--University of Pretoria, 2006. / Music / Unrestricted

The lecture recital was given January 22, 1977. A discussion of Elliott Carter's Piano Sonata emphasized those compositional techniques which foreshadowed important compositional procedures in many of his later works. The following compositions were discussed: Concerto for Orchestra, Double Concerto for Harpsichord and Piano with Two Chamber Orchestras, 8 Etudes and a Fantasy for Woodwind Quartet, Holiday Overture, Piano Concerto, Sonata for Flute, Oboe, Cello, and Harpsichord, Sonata for Violoncello and Piano, String Quartet No. 1, String Quartet No. 2, String Quartet No. 3, Variations for Orchestra. The Piano Sonata was Ty and Schumann. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 2, 1973, consisted of works by Bartok, Debussy The second solo recital, performed on October 28, 1974, included works by Bach and Liszt. The final solo recital, performed on March 7, 1976, consisted of works by Beethoven and Chopin. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation. performed.

* / Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

The lecture recital was given April 2, 1973. A discussion of Liszt's late piano works included information about specific compositional techniques and innovations which influenced twentieth-century composers. Five selections of the late works were performed by memory. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 9, 1972, consisted of works by Haydn, Beethoven, Ravel, and Chopin. The second solo recital, performed on August 4, 1974, included works by Beethoven, Debussy, and Brahms. The final solo recital, performed on April 5, 1976, consisted of works by Bach, Chopin, and Prokofieff. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation.

[ES] La revolución estética que ha visto el siglo XX, donde surgieron multitud de propuestas, llegó de forma dispar a las distintas formaciones instrumentales. Mientras la música sinfónica y de cámara vivió un renacer auspiciado por las nuevas técnicas compositivas, la orquesta de vientos quedó estancada en un aparente contexto de tonalidad y modalidad que, lejos de evolucionar a la par que las otras formaciones, ha experimentado un aparente retroceso hacia posturas estéticas más conservadoras. El presente trabajo surge de la necesidad de evolucionar el repertorio actual para orquesta de vientos, profundizando en sus posibilidades tímbricas y desarrollando un repertorio que aborda la composición para orquesta de vientos, desde una perspectiva actual que desarrolle algunas de las corrientes estéticas principales de la vanguardia musical de los siglos XX y XXI. A continuación, se elabora un análisis detallado de los procesos compositivos abordados en cada una de las obras a estudio, sin perder la perspectiva del objetivo fundamental; la composición de dos obras que desarrollen el potencial sonoro de la formación orquestal de vientos y percusión dentro de un estilo contemporáneo. Previamente, se exponen algunas de las aportaciones más importantes al género realizadas por distintos compositores, que han supuesto una vinculación real y significativa de las nuevas propuestas compositivas de los siglos XX y XXI con la formación de vientos en su concreción orquestal o de gran ensemble. Se destacan especialmente aquellas propuestas de autores relacionados estrechamente con el repertorio de vientos, especialmente en su vertiente bandística. Paralelamente se referencian otros trabajos de autores significativos dentro del repertorio orquestal y camerístico, que han realizado contribuciones esporádicas a la orquesta/ensemble de vientos. Contribuciones que por su originalidad o estilo enmarcado en las corrientes estéticas compositivas de los siglos XX y XXI, implican un hecho destacado para el género de vientos y percusión. / [EN] The aesthetic revolution that the twentieth century has seen, where a multitude of proposals arose, reached the different instrumental groups in a disparate way. While symphonic and chamber music lived a rebirth sponsored by new compositional techniques, the wind orchestra was stuck in an apparent context of tonality and modality that, far from evolving at the same time as the other formations, has experienced an apparent retreat towards postures more conservative aesthetics. The present work arises from the need to evolve the current repertoire for wind orchestra, deepening its timbral possibilities and developing a repertoire that addresses composition for wind orchestra, from a current perspective that develops some of the main aesthetic currents of the avant-garde musical of the twentieth and twenty-first centuries. Next, a detailed analysis of the compositional processes addressed in each of the works under study is elaborated, without losing the perspective of the fundamental objective; the composition of two works that develop the sound potential of the orchestral wind and percussion formation within a contemporary style. Previously, some of the most important contributions to the genre made by different composers are exposed, which have meant a real and significant connection of the new compositional proposals of the 20th and 21st centuries with the formation of winds in their orchestral or large ensemble concretion. Especially noteworthy are those proposals by authors closely related to the wind repertoire, especially in its band aspect. At the same time, other works by significant authors within the orchestral and chamber repertoire are referenced, who have made sporadic contributions to the wind orchestra / ensemble. Contributions that for their originality or style framed in the aesthetic compositional currents of the XX and XXI, imply an outstanding fact for the wind and percussion genre. / [CA] La revolució estetica que ha vist el segle XX, on van sorgir multitud de propostes, va arribar de manera dispar a les diferents formacions instrumentals. Mentre la música simfonica i de cambra va viure un renaixement afavorit per les noves tecniques compositives, l'orquestra de vents va quedar estancada en un aparent context de tonalitat i modalitat que, lluny d'evolucionar al mateix temps que les altres formacions, ha experimentat un aparent retrocés cap a postures estetiques més conservadores. El present treball sorgeix de la necessitat d'evolucionar el repertori actual per a orquestra de vents, aprofundint en les seves possibilitats tímbriques i desenvolupant un repertori que aborda la composició per a orquestra de vents, des d'una perspectiva actual que desenvolupi alguns dels corrents estetiques principals de l'avantguarda musical dels segles XX i XXI. A continuació, s'elabora una analisi detallada dels processos compositius abordats en cadascuna de les obres a estudi, sense perdre la perspectiva de l'objectiu fonamental; la composició de dues obres que desenvolupin el potencial sonor de la formació orquestral de vents i percussió dins d'un estil contemporani. Previament, s'exposen algunes de les aportacions més importants al genere realitzades per diferents compositors, que han suposat una vinculació real i significativa de les noves propostes compositives dels segles XX i XXI amb la formació de vents en la seva concreció orquestral o de gran ensemble. Es destaquen especialment aquelles propostes d'autors relacionats estretament amb el repertori de vents, especialment en la seva vessant bandística. Paral · lelament es referencien altres treballs d'autors significatius dins del repertori orquestral i de cambra, que han realitzat contribucions esporadiques a l'orquestra / ensemble de vents. Contribucions que per la seva originalitat o estil emmarcat en els corrents estetics compositives dels XX i XXI, impliquen un fet destacat per al genere de vents i percussió. / Fayos Jordán, JM. (2022). La orquesta de vientos como medio de aplicación y desarrollo de las técnicas compositivas actuales. Una propuesta performativa [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/183185 / TESIS

This treatise has been prepared largely because of an increasing interest in contemporary music and an awareness on the part of many music educators of its merits in the curriculum of public schools and colleges. Since contemporary music is a controversial subject among directors, it has become necessary to search for specific, positive approaches to the teaching of contemporary music in high school.

An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.