Domenico Gabrielli's seven trumpet sonatas are among seventeenth-century trumpet repertoire predominant in the instrumental tradition of the basilica San Petronio, which flourished roughly from the election of Maurizio Cazzati as maestro di cappella in 1657 until the dissolution of the orchestra of the church in 1695. Fostered by numerous occasions for performance, the Bolognese trumpet works tend to exhibit a uniform musical style imposed by musical academies. After a discussion of the probable cause of the termination of the instrumental tradition and of the role of musical academies, this paper will be primarily concerned with formal aspects of fast movements of Gabrielli's sonatas. Despite the fact that the predominant organizing principle of the fast movements appears to be textural, a step toward ritornello form is taken in some of the movements, in which tutti and solo sections are independently developed. In particular, the recurrence of identical material in tutti confirming different keys, the thematic relation between tutti and solo, and the symmetrical and balanced tonal plan are unmistakable seeds of full ritornello form. The text is followed by critical notes and transcriptions of the seven sonatas.

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

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.

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.

Sonata no. 1 : Gamba / Johann Sebastian Bach -- Four pieces. Andante, op. 1 ; Valse miniature : op. 1, no. 2 ; Chanson triste : op. 2 ; Humoresque : op. 4 / Serge Koussevitzky -- Monk's mood / Thelonious Monk ; arr. Buell Neidlinger -- Sonata for double bass and piano (1996) / David Anderson. / text

Sonata in A major, op. 2, no. 5 / B. Marcello -- Sonata in D major / J. M. Sperger -- Sonata #1 in A major, op. 5 / Adolf Misek -- Sonata "1963" / Frank Proto. / text

Sonata in A major for violin and piano, op. 13 / Gabriel Faure -- Sonata in C major for cello and piano, op. 102, no. 1 / Ludwig van Beethoven -- Cafe music / Paul Schoenfield. / text

Sonata in D major, op. 94 / Sergei Prokofiev -- Three songs / Sergei Rachmaninoff -- Sonata for violin and piano, op. 134 / Dmitri Shostakovich. / text

Not available / text

Not available / text