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Part One of this project examines a group of piano pieces that bear the title sonata-fantasy or fantasy-sonata. While much has been written about quasi-sonata fantasies and quasi-fantasies of the Romantic period, the sonata/fantasy hybrid works of the following era have largely been a neglected area in music research. The purpose of this document is to fill this void and provide an introductory study of these works. The introductory chapter includes a list of sonata-fantasies and fantasy-sonatas I have found in U.S. libraries. The next two chapters outline the history of the fantasy as a genre and its relationship to the sonata up to the mid-nineteenth century: while the two were generally viewed as two contrasting genres in the eighteenth century, their boundaries gradually began to disappear in the early nineteenth century. Six works selected for detailed analysis in this project are Joachim Raffs Fantasie-Sonate, op.168; Alexander Scriabins Sonate Fantaisie, op.posth. and Sonata No.2 (Sonate-Fantaisie), op.19; Joaquin Turinas Sonata Fantasia, op.59; Anatoly Nikolayevich Aleksandrovs Piano Sonata No.11 Sonata Fantasia, op.81; and George Rochbergs Sonata-Fantasia. The final chapter summarizes the analyses of the selected works and explores explanations for the emergence of pieces bearing the sonata/fantasy compound titles. Part Two of this project consists of program notes for the repertoire used in fulfilling the performance requirements of the D.M.A. degree. The following works are individually discussed in this section: Piano Trio No. 28 in D Major, Hob. XV: 16 by Franz Joseph Haydn; Piano Trio in D Major, No. 70 no. 1, Ghost by Ludwig van Beethoven; Piano Trio No. 2 in C Minor, op.66 by Felix Mendelssohn; Prelude in D Major, BWV925 by Wilhelm Friedmann Bach(?); Sonata in G Major, op.78 (D.894) by Franz Schubert; Klavierstcke, op.118 by Johannes Brahms; Rain Tree Sketch for piano (1982) by Toru Takemitsu; Los Requiebros by Enrique Granados; and Concerto in G Major for Piano and Orchestra by Maurice Ravel.

The purpose of this study is to explore the expressions of a commercialising fashion journalistic genre by focusing on how ELLE.se, Sweden’s biggest online fashion platform, use advertorials and click-based content. This is investigated through three research questions focusing on what journalistic and marketing discourses that are apparent in advertorials and click-based material; what blend of genres that are seen in different kinds of text commercial on ELLE.se and what discursive conflicts between journalistic ideals and commercial pressure are seen in the production of advertorial content. Theories used in the study are marketisation of public discourse together with Fairclough’s Critical Discourse Analysis (CDA), the commercialisation of news and lastly genres, also focusing on fashion journalism as a genre. In order to explore the expressions a discursive analysis is used on advertorials and click- based material on ELLE.se whilst qualitative interviews with respondents producing the content are conducted to investigate the third research question. The results of the study show that numerous journalistic and marketing discourses are apparent in advertorials and click- based material, with personification through conversational discourse, the pursuit of happiness by portraying the reader as an imperfect person and a friendly brand through corporate advertising as three recurrent themes. A majority of the text commercial at ELLE.se balances between editorial content and advertisement, demonstrating many aspects of an evolving hybrid genre. Lastly, respondents in the qualitative interviews identify digitalisation, loss of journalistic quality and decreased reliability as three discursive conflicts between journalistic ideals and commercial pressure. The result stresses how the impact of commercialism and how journalistic and promotional discourses are continuously blended, showing aspects of ongoing hybridisation and converging genres.