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.

Sonata had gone through the development of Baroque and Classical Era and reached the high point in the beginning of 19th century. Liszt¡¦ s Piano Sonata in B minor is an important work. It is also an arguable piece in the sonata literatures. Its musical form or content are both the issues of which is considered to carry on the past musical heritage and opened up the future. This thesis starts from the introduction of the composing background of Piano Sonata in B minor. It then focuses to the significance of this work in Romantic Era. After that, many pianists¡¦ and scholars¡¦ view points are collected and analyzed for discussing how this work has the characteristics of absolute music and program music. The relationship between Liszt¡¦s Faust Symphony and this sonata is also explored. Finally, the structure of this sonata is analyzed for understanding how the technique of thematic transformation works in this piece.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4030. Adviser: John Walter Hill. Includes bibliographical references (leaves 965-1003) Available on microfilm from Pro Quest Information and Learning.

Orientador: Maria Lucia Senna Machado Pascoal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T21:59:24Z (GMT). No. of bitstreams: 1 Otsuka_Magaly_M.pdf: 33490955 bytes, checksum: ded56a65b8d2b2470ab8f8a7de5d7d16 (MD5) Previous issue date: 2008 / Resumo: Esta pesquisa tem como objetivo principal o estudo analítico e interpretativo de duas peças para piano de Marlos Nobre: Sonata Breve, opus 24 (1966/2000) e Tango, opus 61 (1984). A metodologia abrange três pontos principais: o levantamento biográfico e histórico da vida do compositor; o estudo do material musical e de técnicas de análise; a leitura e análise das peças, bem como o levantamento das dificuldades encontradas e as sugestões de estudo. O trabalho se justifica pela necessidade do estudo e divulgação da música contemporânea brasileira, como também pela contribuição para as pesquisas no campo das Práticas Interpretativas. A bibliografia trata de assuntos relacionados à análise e aos princípios de técnica pianística. A conclusão aponta as principais características do idioma pianístico do compositor, referentes às duas peças, utilizando a análise e as experiências adquiridas durante o estudo, resultando em possíveis soluções para uma interpretação consciente. / Abstract: The main goal of this research is the analysis and interpretative study of two of Marlos Nobre's piano pieces: Sonata Breve, opus 24 (1966/2000) and Tango, opus 61 (1984). The methodology includes three main points: to introduce the biography and historical data of the composer's life; study of the musical material and analysis techniques; to read and analyze both pieces, as well as to show the difficulties and propose studies suggestions. Another purpose of this study can be justified by the need for the study and promotion of contemporary Brazilian music and its contribution for the researches of Interpretative Practices. The bibliography deals with topics related to analysis and principles of pianistic techniques. The Conclusion section shows the main characteristics of the composer's pianistic idiom, related to both pieces, using the analysis and experience acquired during this study, with the intent of finding solutions for a consistent interpretation. / Mestrado / Mestre em Música

Este trabalho apresenta a comparação entre excertos do primeiro movimento da Sonata K. 284 com trechos de obras de compostas no estilo concertante, com o objetivo de identificar texturas que sejam compartilhadas em ambos, e assim fornecer subsídios para uma interpretação. Para o reconhecimento da equivalência entre essas as texturas, foi utilizada a obra The Technique of Orchestration de Kent W. Kennan, O Diálogo Musical e O Discurso dos Sons de Nikolaus Harnoncourt. / This dissertation presents a comparison between excerpts of the first movement of Mozart Piano Sonata K. 284 with excerpts of Mozart works composed in the concertante style, aiming to point out textures that are shared by these genres to provide to basis for an interpretation. The relationship of idiomatic features was based on Kent W. Kennan´s book The Technique of Orchestration and on Nikolaus Harnoncourt´s books The Musical Dialogue and Music As Speech.

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Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin, 1928. / "Literatur": p. 75-76. "Johann Schoberts Werke": fold. tab.

Este trabalho apresenta a comparação entre excertos do primeiro movimento da Sonata K. 284 com trechos de obras de compostas no estilo concertante, com o objetivo de identificar texturas que sejam compartilhadas em ambos, e assim fornecer subsídios para uma interpretação. Para o reconhecimento da equivalência entre essas as texturas, foi utilizada a obra The Technique of Orchestration de Kent W. Kennan, O Diálogo Musical e O Discurso dos Sons de Nikolaus Harnoncourt. / This dissertation presents a comparison between excerpts of the first movement of Mozart Piano Sonata K. 284 with excerpts of Mozart works composed in the concertante style, aiming to point out textures that are shared by these genres to provide to basis for an interpretation. The relationship of idiomatic features was based on Kent W. Kennan´s book The Technique of Orchestration and on Nikolaus Harnoncourt´s books The Musical Dialogue and Music As Speech.

Este trabalho apresenta a comparação entre excertos do primeiro movimento da Sonata K. 284 com trechos de obras de compostas no estilo concertante, com o objetivo de identificar texturas que sejam compartilhadas em ambos, e assim fornecer subsídios para uma interpretação. Para o reconhecimento da equivalência entre essas as texturas, foi utilizada a obra The Technique of Orchestration de Kent W. Kennan, O Diálogo Musical e O Discurso dos Sons de Nikolaus Harnoncourt. / This dissertation presents a comparison between excerpts of the first movement of Mozart Piano Sonata K. 284 with excerpts of Mozart works composed in the concertante style, aiming to point out textures that are shared by these genres to provide to basis for an interpretation. The relationship of idiomatic features was based on Kent W. Kennan´s book The Technique of Orchestration and on Nikolaus Harnoncourt´s books The Musical Dialogue and Music As Speech.

In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moderno trumpet sonatas.