This study describes a set of salient formal norms for the eighteenth-century Spanish keyboard sonata through an application of Hepokoski and Darcy's sonata theory, William Caplin's form-functional theory, and Robert Gjerdingen's schema theory. It finds that particular thematic types, intra-thematic functions, and rhetorical markers characterize this repertoire. In order to trace the development of these norms throughout the eighteenth century, this work is organized into two parts. The first part (Chapters 2 and 3) examines the mid-century Spanish keyboard sonatas of Sebastián de Albero (1722–1756), Joaquín Ojinaga (1719–1789), and their contemporaries. The second part (Chapters 4 and 5) examines the late-century Spanish keyboard sonatas of Manuel Blasco de Nebra (1750–1783) and his contemporaries.

Polish composer Witold Lutos?awski (1913-1994) was one of the most representative composers of the twentieth-century. Lutos?awski’s style progressed from traditional to modern avant-garde. His Piano Sonata belongs to his first compositional period, and is the only extant work from his student years. His remarkable synthesis of classical structures and impressionistic harmonic sonorities distinguishes the Sonata. Lutos?awski’s Piano Sonata is divided into three movements, and each movement is written in traditional sonata allegro form, sonata form without development and modified sonata form respectively. The Sonata contains both considerable elements of Classicism and Impressionism, as well as traits of Post-romanticism and Neoclassicism. The evolution of Lutos?awski’s compositional language can be better understood through an in-depth study of his Piano Sonata. Although Lutos?awski did not allow the work to be published during his lifetime, this occurred posthumously, ten years after the composer´s death. The recent publication of the work, paired with its substantial technical demands, both account for the fact that the Sonata is not frequently performed. The complex textures of Sonata place extensive technical and musical demands on the performer. In this study, a detailed description of the composer´s early style and influences as relates to this work will be analyzed and technical and pianistic approaches necessary for a performance of the work will be addressed. Also, there are significant discrepancies between the manuscript and printed score, even though the edition is based on the manuscript. Only one manuscript survives and scholarly research involving the work is scarce. Discrepancies between the manuscript and the published edition will be detailed, with suggestions for performance. It is hoped that this study will provide interest and be conducive to better approach the performance of this Piano Sonata.

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The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.

This thesis centers around a certain twentieth-century compositionaI device, the method of composition with twelve tones. There are many terms to designate this device, for example: "basic set," "tone-row," "note-series," "serialism," "serial technique," "twelve-note series," "twelve-tone technique" or "twelve-tone method." TI is thesis is a methodical research demonstrating the contemporary conventional way of scientifically and artfully manipulating twelve equal tempered degrees of the chromatic scale to produce a desirable system. In order to arrive at any substantial conclusions, it is necessary to make a critical examination and evaluation of known twelve-tone compositional procedures from as many angles as possible, so as virtually to exhaust every practical and speculative potentiality included in the technique, that is, within the range and limits of our present needs. This examination and evaluation will also involve a comparative investigation of various uses of the device, in order to produce and suggest ideas for further theoretical insights. The ultimate purpose of this thesis is to pinpoint the "hows" and "whys" of Rochberg's use of the twelve equal tones in Sonata-Fantasia.