• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 23
  • 3
  • 3
  • 3
  • 3
  • 1
  • 1
  • 1
  • 1
  • Tagged with
  • 47
  • 47
  • 29
  • 8
  • 8
  • 8
  • 4
  • 4
  • 4
  • 4
  • 3
  • 3
  • 3
  • 3
  • 3
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

The Solo Piano Sonata in the United States Since 1945: A Survey

Edge, Rebecca Jane 05 1900 (has links)
It would seem that the thematic structure of the sonata is at least as important as the tonal scheme, if not more so. With this possibility in mind and with the recognition that composers continue to employ "sonata" as a title, a study of the contemporary sonata seems both useful and valid.
22

Jean Coulthard's Sonata for cello and piano a confluence of stylistic tendencies /

Crookall, Christine Evelyn. January 2001 (has links)
Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.
23

Formreflexion und Struktur der 2ème Sonate pour piano von Pierre Boulez : von der Inszenierung eines Übergangs /

Hecker, Martin. January 2008 (has links)
Originally presented as the author's thesis (doctoral)--Hochsch. für Musik und Theater, 2008. / Includes bibliographical references.
24

Michael Tippett's Piano Sonata no. 1 : A Study of His Eclectic Approach to the Sonata Form in the Twentieth Century, With Three Recitals of Selected Works by Beethoven, Bartok, Bach/Busoni, Schumann, Mozart, Ginastera, Barber and Chopin

Kwak, Stacy (Stacy Joo Yeon) 05 1900 (has links)
The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4).
25

Recovering the Piano Works of Galina Ustvolskaya:Sidelined Perceptions of Female Composers and the Repressive Soviet Regime

Kim, Helena Hyesoo January 2022 (has links)
No description available.
26

Prokofjev i muzički gest – klavirske sonate / Prokofiev and Musical Gesture – Piano Sonatas

Crnjanski Nataša 07 April 2014 (has links)
<p>Cilj disertacije je da se kori&scaron;ćenjem teorije o<br />muzičkom gestu - na sonatama kao<br />reprezentativnom uzorku u kome je gest osnova<br />izgradnje muzičkog značenja, generator<br />kompozicione forme i strukture, ali i determini&scaron;ući<br />faktor analize koji obezbeđuje razumevanje stila i<br />stilskih promena - potvrdi upotreba muzičkog gesta<br />kao elementa naratologije muzičkog toka u muzici<br />Prokofjeva. &Scaron;ire gledano, primena teorije o<br />muzičkom gestu na istraživanje klavirskih sonata<br />Sergeja Prokofjeva potvrdiće njenu univerzalnu<br />profilisanost i primenjivost u analitičkim tumačenjima<br />muzike 20. veka, te pro&scaron;iriti dosada&scaron;nju praksu da se<br />ova teorija isključivo vezuje za muziku 18. i 19. veka.<br />Svojevrsni analitički izazov predstavljaće primena<br />ove teorije na muzički tok koji povremeno izlazi iz<br />okvira tonalnog jezika (u kom je muzički gest<br />originalno utemeljen) čime se pro&scaron;iruje polje njene<br />primene, ali i ukazuje na najproduktivniji aspekt<br />dana&scaron;nje muzičke semiotike - istraživanje relacije<br />muzika-telo.</p>
27

Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera

Campbell, Grace M. 08 1900 (has links)
When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit "invariance under a transformation."
28

Key Schemes and Modulation Techniques in the Development Sections of First Movements in Sonata-Allegro Form of Piano Sonatas by Haydn

Phillips, Kathryn Elaine 08 1900 (has links)
Sections of Haydn's piano sonatas chosen for study have been analyzed to determine the composer's technique in modulation and the key schemes resulting from these modulations, and to discover the consistent patterns and exceptional patterns in these sonata movements as a group. As revealed in this analysis, Haydn is consistent in that the key scheme patterns of several development sections are identical. Also modulations, as categorized according to key relationships, are often accomplished by the same or similar procedures. However, there are important and interesting exceptions to these consistent practices which add variety and seem to contribute to Haydn's growth as a composer
29

Schubert's Grand Sonata in B Flat

Eason, George, 1925- 08 1900 (has links)
The arrangement of movements in the Grand Sonata in B flat follows traditional classical lines, as is true of almost all the Schubert sonatas. A complete structural analysis of the work reveals some modifications in the architecture of individual movements; this is especially evident in the first movement. The departures from usual treatment of first movement sonata form may be classified as follows: 1. Developmental procedures begin in the exposition. 2. The second subject begins in a distantly related key. 3. The development section stresses melodic treatment rather than contrapuntal technique. The second movement is in ternary form and exhibits little irregularity in structure. The movement is an excellent example of the employment of an accompaniment figure as a unifying element.
30

The Early Piano Sonatas of Prokofiev

Meeks, Ida Ledale 01 1900 (has links)
The purpose of this thesis is to give a descriptive look at modern Russian music, specifically the early piano sonatas of Russian composer Sergei Prokofiev, with focus on style and style influences.

Page generated in 0.039 seconds