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

abstract: This document is comprised of an arrangement and recording of Giuseppe Tartini’s “Devil’s Trill” Sonata for solo violin, and includes historical background, an exploration of Italian ornamentation, and a structural analysis. The original work was written for violin and basso continuo. The author was inspired to create this arrangement for solo violin based on accounts that Tartini liked to perform this work unaccompanied. The first three chapters focus on events from Tartini’s early life that influenced his compositional style. Chapters four and five provide an overview of Italian ornamentation, and explore five documents that were used to support decisions in creating the arrangement: Giovanni Luca Conforto’s The Joy of Ornamentation; Giuseppe Tartini’s Traité des Agréments de la Musique; Letter to Signora Maddalena Lombardini; Regole; and L’Arte dell Arco. Chapter six provides a structural analysis of the Sonata. The appendices illustrate the process of creating the arrangement. The arrangement takes into consideration the composite of the original solo and basso continuo parts. In addition, a set of realized ornaments is provided on an ossia staff. The recording includes both the primary arrangement, presented in each initial section, as well as the realized ornaments, presented in each repeated section. / Dissertation/Thesis / Tartini "Devil's Trill" Sonata: Movement I / Tartini "Devil's Trill" Sonata: Movement III / Tartini "Devil's Trill" Sonata: Movement II / Doctoral Dissertation Music 2019

No description available.

Johann Sebastian Bach (1685-1750), one of the best known German composers. He has a strong influence on the development of Western Music. Bach's three Viola da Gamba Sonatas (BWV 1027-1029) were composed during his Koethen period. These works were inspired by Arcangelo Corelli and Antonio Vivaldi, and have influenced the Classical Sonatas. The purpose of this thesis is to give a thorough presentation on Bach's three Viola da Gamba Sonatas. This essay consists of three chapters. The first chapter includes the introduction to Bach¡¦s life, the background of the three sonatas, and the development of the viola da gamba. The second chapter is the elimentary analysis of these works. The final chapter offers a comprehensive comparison to the different versions of the three Viola da Gamba Sonatas. The purpose of the thesis is to understand Bach¡¦s three viola da gamba sonatas deeply through the above aspects.

In the first half of the nineteenth century, London provided an excellent environment with abundant musical activities that attracted outstanding musicians all over the Continent to be here for their careers. Both the Industry Revolution and the French Revolution brought essential changes of political and economical activities into London, and consequently influenced the musical environment. In addition, the enthusiasm for music, from the Royal to the civics, provided a stage for the development of piano music. This thesis discusses the musical environment and social condition of London in the first half of the nineteenth century, their influence to the writing and performing of piano sonatas by ¡§the London Pianoforte School.¡¨ There are three main chapters in this thesis. Chapter One discusses the influence of social transition to musical activities and points out the social phenomenon of music, the performing environment, the demand of piano production, and the technical improvement of piano making. Chapter Two investigates the writing of piano sonatas by ¡§The London Pianoforte School¡¨, including the forming of the school, musician activities in London, and situations about of the piano sonatas that were written and published. Chapter Three examines the functions of piano sonatas of ¡§the London Pianoforte School¡¨, and compares the differences between sonatas written for teaching and for public concerts purposes, focusing on writing techniques for different functions.

Not available / text

Not available / text

Musicians have transcribed and adapted Johann Sebastian Bach's Sonatas and Partitas for Violin Solo, BWV 1001-1006, since Bach penned the works around the year 1720. Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material.It is in this spirit that the author introduces marimba performance editions of Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, based on performances and transcriptions by guitarists and lutanists. The guitar and lute were selected as models due to their similarities to the marimba as well as the abundant resources that guitarists and lutanists have provided regarding Bach's unaccompanied string music. Their transcriptions and performances frequently include adaptations to fit their instruments' polyphonic abilities and sound characteristics. A similar approach is likewise suitable for the marimba. Thus, the present study includes an overview of Baroque performance practice as it relates to plucked-string instruments, analysis of published lute and guitar transcriptions of Bach's unaccompanied string music, and transcriptions and analysis of lute and guitar audio recordings. The plucked-string artists and scholars' approach is then assimilated into an authentic marimba performance edition of these works.

Thesis--Universität zu Köln, 1982. / Includes bibliographical references.

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