Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.

Beethoven's piano sonatas are possibly the greatest achievement in piano literature, perhaps in all musical literature. It has been said that if the forty-eight preludes and fuges of Bach's "Well-tempered Clavier" were to be considered the "Old Testament" of music, then Beethoven's thirty-two sonatas would have to be the "New Testament."

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"Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss's Sonata 36 (from the Dresden Manuscript) as a Model" analyzes the process of creating guitar transcriptions of Weiss's music. The methodology unfolds through three steps: 1) rendering the tablature into modern guitar notation, 2) analyses of stylistic issues for the definition of fingerings on the guitar, and 3) two categories of ornamental practices—essential embellishments and diminutions. In addition, the study includes a discussion about an alternative tuning and presents a suggested prelude for Sonata 36 from the Dresden manuscript. The purpose of this research is twofold: first, to create a new guitar transcription of a sonata by Weiss, analyzing the challenges inherent in this process, and second, to train intermediate and advanced guitar students to develop their own original transcriptions following the model presented in this study.

This thesis approaches Haydn’s sonata-form procedures from the perspective of the eighteenth-century listener, asking, if a moment is allegedly “witty” according to modern analysts, would Haydn's contemporary audience have heard it as such? Eighteenth-century wit has two sides: wit involves an aspect of surprise or deception, a breaking of understood norms; however, wit must also involve an unsuspected congruity, a broader connection created only by breaking the aforementioned norm. Taking this as my starting point, I explore false recapitulations in the Haydn’s music, concluding that this device cannot be considered witty because it did not break an understood convention. I then provide detailed analyses of the first movements of Haydn’s “Military” Symphony no. 100 and String Quartet in D major, op. 33 no. 6, arguing that they are witty not solely because they are disruptive, but because this disruption binds the sonata together in an unexpected way.

by Wong Yat Sze, Yates. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (v. 1, leaves 90-98). / VOLUME 1 / LIST OF APPENDICES --- p.ii / CHAPTER / Chapter I. --- INTRODUCTION --- p.1 / Chapter II. --- A BIOGRAPHICAL SKETCH OF SERGEI PROKOFIEV --- p.5 / Chapter III. --- THE CRITERIA FOR THE USE OF SONATA FORM IN --- p.12 / TRADITIONAL MUSIC AND ITS EXPANDED USE IN THE TWENTIETH-CENTURY / Chapter IV. --- ANALYSIS OF SELECTED FIRST MOVEMENTS IN PROKOFIEV'S WORKS --- p.14 / Chapter 1. --- "Piano Sonata No. 1 in F Minor, Op. 1 (1909)" --- p.15 / Chapter 2. --- "Piano Concerto No. 1 in D-flat Major, Op. 10 (1911-12)" --- p.18 / Chapter 3. --- "Piano Sonata No. 2 in D Minor, Op. 14 (1912)" --- p.19 / Chapter 4. --- "Classical Symphony in D Major, Op. 25 (1916-17)" --- p.22 / Chapter 5. --- "Piano Sonata No. 3 in A Minor, Op. 28 (1917)" --- p.26 / Chapter 6. --- "Symphony No. 2 in D Minor, Op. 40 (1924-25)" --- p.30 / Chapter 7. --- "Symphony No. 3 in C Minor, Op. 44 (1928)" --- p.34 / Chapter 8. --- "String Quartet No. 1 in B Minor, Op. 50 (1930)" --- p.39 / Chapter 9. --- "Violin Concerto No. 2 in G Minor, Op. 63 (1935)" --- p.42 / Chapter 10. --- "Piano Sonata No. 7 in B-flat Major, Op. 83 (1939-42)" --- p.45 / Chapter 11. --- "Piano Sonata No. 8 in B-flat Major, Op. 84 (1939-44)" --- p.48 / Chapter 12. --- "String Quartet No. 2 in F Major, Op. 92 (1941)" --- p.50 / Chapter 13. --- "Flute Sonata in D Major, Op. 94 (1943)" --- p.54 / Chapter 14. --- "Symphony No. 5 in B-flat Major, Op. 100 (1944)" --- p.58 / Chapter 15. --- "Piano Sonata No. 9 in C Major, Op. 103 (1947)" --- p.62 / Chapter 16. --- "Symphony No. 6 in E-flat Minor, Op. 111 (1945-47)" --- p.65 / Chapter V. --- COMPARATIVE ANALYSIS AND CONCLUSION --- p.70 / Chapter VI. --- BIBLIOGRAPHY --- p.90 / VOLUME 2 / APPENDICES --- p.1 / LIST OF APPENDICES / Appendix / Chapter 1. --- Musical Examples --- p.1 / Chapter 2. --- Prokofiev's Works divided by Periods --- p.145 / Chapter 3. --- Prokofiev's Works divided by Genres --- p.154 / Chapter 4. --- Proportion and Developmental Techniques --- p.155 / Chapter 5. --- "Proportions of Beethoven's Nine Symphonies, First Movements" --- p.157 / Chapter 6. --- Key Relationship between the First and Second Themes of the Exposition --- p.158 / Chapter 7. --- Themes and Tonal Schemes --- p.159 / Chapter 8. --- Map of Soviet Union --- p.164