The term ballade is the French and German spelling of the English word "ballad" and the Italian ballata. Although each of these terms is derived from the Latin ballare, meaning "to dance," each denotes an entirely different meaning. The synonomous usage of these terms is definitely misleading (1,p. 67), Frederic Chopin, 1810-1849, was first to use this term as a title for piano compositions. The purpose of this study is to reveal the formal characteristics of each of the four ballades that Chopin wrote for solo piano and to determine,through a comparison of the similarities and differences, some identifying characteristics of a ballade. These characteristics will be illustrated through a formal analysis of each ballade.

This thesis addresses the matter of convention in Broadway songs of the song and dance era. Composers worked with implicit, regular procedures in the commercial aesthetic of the 1920s and 1930s New York theater industry. However, discussions of formal convention in this repertoire have not gone much beyond the identification of AABA and ABAC forms. I explore how hypermeter and conventional formal layouts act as schemata. Through this lens, I advocate for an in-time, listener-based approach to form, attending to the stylistically learned projections and anticipations. Later on, I unpack many of the conventional patterns underlying the ABAC form. I argue that the ABAC form provides a template for climactic musical narratives, which places climaxes near the end of the form. Lastly, I focus on AABA form where I highlight many salient conventions of the AABA form and draw historical connections to AABA forms in rock and jazz.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (v. 1, leaves 126-134).

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 226-233).

Zugl.: Dortmund, Univ., Diss., 2003

Thesis (M.M.)--Bowling Green State University, 2008. / Document formatted into pages; contains x, 103 p. : ill., music. Includes bibliographical references.

Thesis supervisor: Robert C. Cook. Includes bibliographic references (p. 139-140).

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 80-91). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 80-91). Also available on the Internet.

Submitted by ANDREY COSTA BACOVIS null (andrey.bacovis@gmail.com) on 2017-10-10T19:55:08Z No. of bitstreams: 1 Dissertacao_andreyBacovis.pdf: 9253478 bytes, checksum: 9a799748e87edefe9aa1724d275e9433 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-10-11T18:36:36Z (GMT) No. of bitstreams: 1 bacovis_ac_me_ia.pdf: 9253478 bytes, checksum: 9a799748e87edefe9aa1724d275e9433 (MD5) / Made available in DSpace on 2017-10-11T18:36:36Z (GMT). No. of bitstreams: 1 bacovis_ac_me_ia.pdf: 9253478 bytes, checksum: 9a799748e87edefe9aa1724d275e9433 (MD5) Previous issue date: 2017-07-31 / Fundação de Amparo à Pesquisa do Estado do Amazonas (FAPEAM) / Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas. / This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo’s piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo’s Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities.