This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.

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Alexander Tcherepnin (1899-1977) was a Russian-born American composer, his musical style represents the modern and diverse features of much twentieth-century piano music. The purpose of this research is to conduct a comprehensive pedagogical analysis of Alexander Tcherepnin's Bagatelles, Op. 5 with the goal of introducing contemporary characteristics in twentieth-century piano music for the late-intermediate student. Chapter 2 contains overall biographical information regarding Alexander Tcherepnin and a discussion of the general compositional style of his piano works. Chapter 3 analyzes the Bagatelles, Op. 5 from the perspective of musical challenges concerning the contemporary characteristics, including contemporary harmony: interval of seconds, non-tertian chords, special use of the seventh chords, and ninth chords; contemporary rhythm and meter: shifted accents, asymmetric meter, meter change, and ostinato; modal melodic resources and tonalities; and other special tonalities. Chapter 4 has suggestions on fingering, pedaling, articulation, tone, dynamics and phrasing, and practicing procedures for individual technical difficulties. Studying the Bagatelles, Op. 5 provides a transition for the student from learning standard repertoire of the eighteenth and the nineteenth century, to contemporary repertoire through the combination of Russian compositional traditions with twentieth century repertory.

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Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his most mature, comprehensive style. This dissertation will therefore examine the orchestral underpinnings of this monumental work which owes most often its already mature artistic essence to Brahms' multi-instrumental approach.

After examining biographical and stylistic influences on the work of J. C. Bach and C. P. E. Bach, this study analyzes and compares the two sonatas under discussion. Each sonata is placed in historical perspective by relating its outstanding formal and stylistic features with conservative Baroque or more progressive Classical tendencies. In addition to the recorded performance of the Sonata in E-Major, Op. 5, by Johann Christian Bach, and the Sonata in G-Major from Fur Kenner und Liebhaber, Vol. 1, by Carl Philipp Emanuel Bach, this dissertation includes three tape recordings of selected piano works of D. Scarlatti, F. Haydn, W. A. Mozart, L. V. Beethoven, F. Schubert, F. Mendelssohn, F. Liszt, S. Rachmaninoff, and C. Debussy.