abstract: Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition. The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension. The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities. The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work. / Dissertation/Thesis / Masters Thesis Music 2018

Mellan Delacroix´s och Turners verk finns ibland en släktskap trots de stora skillnaderna i stil. Syftet med denna uppsats har varit att försöka fånga den känsla av likhet, som finns mellan några av deras verk, som uttrycker patos och kamp på liv och död mot naturens starka krafter eller människors ondska. Exempel på sådana verk är Delacroix´s Death of Sardanapalus, 1826 och Turners Slave Ship (Slavers Throwing Overboard the Dead and Dying, Thyphon Coming On), 1840 samt Delacroix´s The Lion Hunt, 1855 och Turners Whalers, 1845. Dessa verk ger uttryck för sublim storhet. Gemensamt för verken är också en högsta känsla för färgens måleriska möjligheter. Utvalda verk har analyserats med kontextuell metodik med avseende på sublimt innehåll utifrån estetiska teorier och litterära källor för det sublima enligt normerna för det akademiska måleriet i Frankrike och England under första hälften av 1800-talet. Uttryck för målerisk stil har studerats med formal metodik utifrån Ruskins och Wölfflins begrepp om det måleriska. I den formala analysen har även begrepp om komplementära färger ingått. Analysen visar att båda konstnärerna i flera avseenden inspirerats av såväl samma estetiska begrepp om det sublima, som av samma litterära klassiska och romantiska källor. Bådas stil blir alltmer expressiv med åren och deras senaste verk förebådar det moderna måleriet. Komplementära färger ingår i Delacroix´s senare stil. Släktskapet mellan Delacroix och Turner kan bäst sammanfattats utifrån Ruskins begrepp om det sublima. / Between Delacroix and Turner there is sometimes a kind of kinship as displayed in some of their works, although their great differences in style. The purpose of this thesis is an attempt to capture this feeling of similarity that can be found between some of their works expressing pathos including fights for life or death against the strong forces of Nature or the evil in Man. Examples of such works are Delacroix´s Death of Sardanapalus, 1826 and Turners Slave Ship (Slavers Throwing Overboard the Dead and Dying, Thyphon Coming On),1840 and Delacroix´s The Lion Hunt, 1855 and Turners Whalers, 1845. These work express sublime greatness. Common to the works are also the highest sense for the painterly possibilities of colour. Selected works have been analysed using a contextual method regarding contents of the sublime according to esthetical theories and literary sources of the sublime in agreement with the norms for the academic painting in France and England during the first half of the 19th century. Expressions of a painterly style have been studied using a formal method including the concepts of the painterly by John Ruskin and Heinrich Wölfflin. In the formal analysis also concepts of complementary colours have been studied. The analysis shows that both artists, in several ways, have been inspired by the same esthetical concepts of the sublime and the same literary classical and romantic sources. The painterly style of both artists becomes more expressive with age and their late works hint at the modern art to come. Complementary colours, are evident in the late style of Delacroix. The kinship between Delacroix and Turner can best be summarized by Ruskins words on the sublime.

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In this thesis, I demonstrate the dynamic way in which musical processes can be described as metaphors. Using Steve Larson’s three main metaphors (gravity, inertia, and magnetism) as a starting point, I propose additional metaphors (friction, repulsion, momentum, wave, orbit, and oscillation) to analyze the first movements of Mozart’s Piano Concerto No. 20 in D minor, K 466 and Schumann’s Piano Concerto in A minor, op. 54. These metaphors provide a means to discuss points of convergence and divergence between the Classical style and the early-Romantic style. Additionally, most theorists of the energeticist tradition only discuss motion through prose; I introduce a way to represent these metaphors as musical examples. By focusing on the listener’s experience through musical motion, the model proposed in this thesis is useful, not only for the theorist, but for all who wish to communicate ideas about music in a dynamic way.