Thesis (B.A. (Hons.)), Department of Music, University of Adelaide, 1967.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.

This sonata by Alban Berg is a product of Arnold Schoenberg's teachings and is, indeed, a musical reflection of the Schoenberg of 1907-1908. At this time the musical thought of Schoenberg himself was in a state of metamorphosis, developing from the chromaticism of the late Romantic composers toward the twelve-tone technique which he was to formulate a few years later. The sonata, as a whole and above all, reflects the growth of an important composer, one who is perhaps the most important link between the traditional Classical and Romantic schools and the modern schools. His growth was based on a thorough knowledge of traditional styles and techniques, vestiges of which are seen in the formal design, chromaticism, and evasive harmony of the work. His advance is seen in his peculiar use of polyphony and motivic variation. Compared with many other works for piano, Berg's sonata is perhaps not among the most celebrated. But as indication of the attitude of a great composer who wished to build upon rather than break with his heritage, it is a most significant work.

It would seem that the thematic structure of the sonata is at least as important as the tonal scheme, if not more so. With this possibility in mind and with the recognition that composers continue to employ "sonata" as a title, a study of the contemporary sonata seems both useful and valid.

The lecture recital was given July 18, 1977. The lecture began with the performance of the Three Preludes and a discussion of these final works in relation to the composer's last period of composition which included the Sonata for Piano. After the biographical foundation was laid, the Sonata for Piano was detailed concerning form and compositional techniques. All works were performed from memory. In addition to the lecture recital, three public recitals were performed. The first solo recital, performed on August 11, 1975, consisted of works by Schubert and Liszt-Busoni. The second recital, a chamber recital, performed March 29, 1976, consisted of solo and chamber works of Messiaen. The final solo recital, performed on August 1, 1977, consisted of works by Clementi, Satie, and Rubinstein. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation.