Thesis (D.M.A.)--University of Oklahoma, 1997. / Includes bibliographical references and discography (leaves 158- 159).

Thesis (doctoral)--Universität, Mainz, 2000. / Includes bibliographical references (p. [299]-317) and index.

Thesis (M.S.) in Mechanical Engineering--University of Maine, 2004. / Includes vita. Includes bibliographical references (leaves 65-69).

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Multithreading, or applying different analytical tools to a piece or work concurrently in order to produce an ultimate deduction. In this presentation, the author analyzes Manuel Ponce’s Variations sur “Folia de España” et Fugue, a sophisticated amalgamation of German counterpoint and French harmony, infused with Spanish music. Utilizing analytical tools such as Sonata theory, Schenkerian analysis, and Hermeneutic discourse, this analysis provides insight into the ways multithreading can produce a holistic analysis without being too broad or narrow. The author first applies a narrative to Ponce’s work, and proposes that its various tonal areas and orchestration are in dialogue with sonata form. The author then uses Schenkerian graphs to support this hypothesis by mapping out the piece’s harmonic landscape and identifying correlations between thematic areas at the deep middleground level. An underlying narrative regarding D minor’s role in the struggle between fate and free will in the piece is discussed. / Music Education

This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.

The Concierto Romántico for Piano and Orchestra is one of Manuel M. Ponce's outstanding compositional accomplishments from his Romantic period, reflecting both the state of Mexican music at the turn of the 20th century, and his early nationalist tendencies. However, it remains the only concerto in Ponce's output in need of a more comprehensive analysis. This treatise focuses on a global investigative that examines descriptive and analytic references to the work, as well as a comparison and clarification of the existing score sources. An analytical and stylistic musical study using conventional theoretical techniques leads to a musicological interpretation of the work's extra-musical meaning, based on close assessments of Ponce's compositional practice and social principles.

Manuel M. Ponce skrev Sonata III 1927. Ponce var startkt influerad av kompositörer som Ravel och Debussy och i Sonata III:s första sats märks detta väl. Den är komponerad i en stil som liknar Ravels och Debussys impressionism, full med dramatiska harmonier, överlagringar och polytonalitet, med stora ackord följt av flytande arpeggion och sångbara melodier. Allt skrivet av en man som själv inte kunde spela gitarr, men förstod instrumentet väl. I detta arbete går jag igenom Sonata III:s första sats, genom en analys av formen och verket samt genom att gå igenom hur jag valt att tolka den och varför jag gjort dessa val. / <p>Konsertrepertoar:</p><p>Manuel M. Ponce - Sonata III</p><p>Dionisio Aguado - Andante et Rondo Nr 2, Opus 2</p><p>Benjamin Britten - Nocturnal after John Dowland for guitar, Opus 70</p><p>Medverkande: Pontus Ahlbäck, gitarr.</p><p></p>

This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance considerations. In addition, each work exemplifies a different musical stage in Ponce's compositional development. The author traces the composer's compositional and stylistic evolution throughout the study of these works. The essay also includes a comprehensive biography of Ponce and a general overview of the composer's chamber music works.

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