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.

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

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

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references (leaves 337-346).

This sonata-form case study investigates the sociopolitical microstances of three secondary mathematics teachers in an urban, comprehensive high school. The study is framed by three questions: 1) How can philosophical pragmatism add a purposive, action focused piece to the sociopolitical framework? 2) What sociopolitical microstances – focused on the practice of teaching – can we identify from the narratives of mathematics teachers? 3) What inhibitions can we identify that are preventing teachers from further transformation in their classrooms? To address the first question both historical and contemporary pragmatist philosophy as well as a bridge between poststructuralism and philosophical pragmatism was used to augment the current sociopolitical theory in mathematics education research. Sociopolitical microstances were identified within the three sonata-form case study narratives – connecting broader social, cultural, and political implications, past and present framings of teacher knowledge, and narrative inquiry with equitable mathematics teaching. The microstances identified in the narratives include: anti-racist, deconstructing ability, community, conocimiento, Napantla, and being more than a teacher. Inhibitions were also identified from the narratives, and these include: time and emotional energy, local/state/national requirements, college course requirements, disconnect from academic scholarship, and having to confront the whiteness in others.

Schubert's treatment of the medial caesura differs on many levels from that of the Classical tradition. He problematizes many of its norms, introducing complications to the course of his sonata movements. Much research has been devoted to Schubert's approach to sonata form, his large-scale formal deformations as well as his innovative harmonic language. However, few of these writings have discussed the importance of the medial caesura to his sonata forms. Through the lens of Sonata Theory, this dissertation examines Schubert's handling of the MC, demonstrating how the complications derived from his unorthodox practice modify the structural and rhetorical layout of his pieces. I investigate Schubert's approach to three stages surrounding the MC articulation, TR and the energy-gaining process, the MC point of articulation, and the S-theme, discussing specific formal and rhetorical complications that arise from each of them. In chapter 1, I reconsider Schubert's MC practice from a dialogical perspective, demonstrating how some non-normative procedures (in Classical terms) became the norm within his own style. In chapter 2, I examine the impact of two common Schubertian procedures on the function, perception, and meaning of the MC: tonally over-determined TRs and the early arrival of the secondary key within TR. Finally, in chapter 3, I demonstrate how Schubert broadened the available cadential arrangements within MC pairs in declined-MC situations, exploring the expressive potential of normative/non-normative dual oppositions. The conclusion shows that 1) Schubert's stylistic preferences radically expand many of the default procedures posited by Sonata Theory, inviting refinements of the theory; and 2) that the Schubertian MC may incorporate two structural roles beyond its most fundamental function as a formal articulator: clarification of the function of a formally ambiguous passage, which is often connected to cases of tonal over-determination or the early arrival of the secondary key; and introduction of tonal and formal complications into the work's trajectory, invoking some kind of "correction" or compensation.

Musica Stellarum is an original composition for full symphony orchestra. It seeks to evoke the life of a star from its birth in a gaseous nebula to its death as a massive supernova using musical parallels. The chemical processes involved in stellar nucleosynthesis are represented through an exploration of TC relationships. Lighter elements are represented by smaller pitch class sets and as they combine together through processes such as inversion and transposition, larger, "heavier" sets are created. Elements of Sonata Form and a strong structural emphasis on Golden Section (GS) relationships are also major features of Musica Stellarum. Section and phrase length are determined by GS measurements of time. This piece also uses delayed aggregate completion to build tension. Inspired by a theory by astrophysicist Dr. Adam Burrows, who argued that supernovae could be triggered by sound waves resonating at approximately F4, the F above middle C is used to complete the aggregate at the climax of the piece.

Dramatic, in the sense of “highly intense,” is a quality we often associate with the music of Beethoven, but no theory has attempted to define drama in any systematic manner. This study therefore explores the idea by constructing a theory that distinguishes between dramatic and non-dramatic passages. At the core of the theory is the notion that drama is the result of several types of tension occurring simultaneously. Dramatic passages have a “High” tension level, whereas non-dramatic ones have a “Low” level. Individual tension types are divided into two categories: rhetorical and syntactical. Rhetorical tension types include such features as a loud dynamic, a fast rhythm, and a thick texture, which need no musical context to be expressed. By contrast, syntactical tension types include such features as chromaticism, metric irregularity, and phrase expansion, which always require a comparison of events to be expressed. Only tension types from the same category may combine to form drama. Because this study examines the relationships between drama and sonata form, the analysis of form is a key issue that receives a separate chapter and additional thought throughout. The methodology combines aspects of William E. Caplin’s theory of formal functions and James Hepokoski and Warren Darcy’s Sonata Theory, and is applied to all of Beethoven’s first-movement sonata forms, a total of eighty-seven movements. Each formal unit is analyzed as one of six dramatic “archetypes” that describe a basic outline of High and/or Low tension levels. These archetypes constitute the dramatic structure of the piece. Percentage frequencies of the archetypes were calculated for each formal unit in the movements as a whole, and as grouped by the categories of key, mode, genre, and style period. The greatest distinctions in dramatic structure occur among the three style periods of early, middle, and late, the early works showing a sectional approach with contrasting tension between phrases and the middle to late works gradually becoming more continuous, maintaining the same tension levels between units. A concluding analysis of Beethoven’s String Trio, op. 3, demonstrates the theory’s ability to enrich the interpretation of an individual work.

Dramatic, in the sense of “highly intense,” is a quality we often associate with the music of Beethoven, but no theory has attempted to define drama in any systematic manner. This study therefore explores the idea by constructing a theory that distinguishes between dramatic and non-dramatic passages. At the core of the theory is the notion that drama is the result of several types of tension occurring simultaneously. Dramatic passages have a “High” tension level, whereas non-dramatic ones have a “Low” level. Individual tension types are divided into two categories: rhetorical and syntactical. Rhetorical tension types include such features as a loud dynamic, a fast rhythm, and a thick texture, which need no musical context to be expressed. By contrast, syntactical tension types include such features as chromaticism, metric irregularity, and phrase expansion, which always require a comparison of events to be expressed. Only tension types from the same category may combine to form drama. Because this study examines the relationships between drama and sonata form, the analysis of form is a key issue that receives a separate chapter and additional thought throughout. The methodology combines aspects of William E. Caplin’s theory of formal functions and James Hepokoski and Warren Darcy’s Sonata Theory, and is applied to all of Beethoven’s first-movement sonata forms, a total of eighty-seven movements. Each formal unit is analyzed as one of six dramatic “archetypes” that describe a basic outline of High and/or Low tension levels. These archetypes constitute the dramatic structure of the piece. Percentage frequencies of the archetypes were calculated for each formal unit in the movements as a whole, and as grouped by the categories of key, mode, genre, and style period. The greatest distinctions in dramatic structure occur among the three style periods of early, middle, and late, the early works showing a sectional approach with contrasting tension between phrases and the middle to late works gradually becoming more continuous, maintaining the same tension levels between units. A concluding analysis of Beethoven’s String Trio, op. 3, demonstrates the theory’s ability to enrich the interpretation of an individual work.