The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4). In addition to the lecture recital given on February 1, 1999, three others were given: the first recital, on April 3, 1995, contained works by Beethoven, J.S. Bach/Busoni, and Bartok: the second recital, on February 5, 1996, included works by Schumann, Mozart, and Ginastera: and the third recital, on January 2, 1998, featured works by Barber and Chopin.

No description available.

Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his most mature, comprehensive style. This dissertation will therefore examine the orchestral underpinnings of this monumental work which owes most often its already mature artistic essence to Brahms' multi-instrumental approach.

Samuil Feinberg was an important performing pianist, composer, and one of the protagonists of Russian Piano School. Among his numerous piano compositions, the Sixth Sonata is one of the most complex and illustrative of his deeply personal musical ideas. The following performer's guide offers some ideas on interpreting and performing the sonata from the perspective of Russian school pianism. Having trained in Russia for nearly a decade with two of Feinberg's most eminent disciples and assistants (Tatiana Galitskaya and Liudmila Roschina) makes this author part of living chain back to his pedagogical principles. I will draw upon my knowledge and expertise to illustrate how interpretation of Feinberg's Sonata No. 6 embodies many of the particular and subtle aspects of the Russian piano school technique.

Pianists often have trouble in determining where a phrase ends, or in other words, cadence identification. This is especially true of certain cadences that can be considered either as half cadences or authentic cadences. This analytically ambiguous cadential point can result in different performance decisions, so pianists should make informed decisions about what kind of cadence it is. This study aims to investigate such cadential ambiguity shown at points of phrase boundaries by focusing on Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, first movement. I offer both possibilities (a half cadence or an authentic cadence) at the phrase ending, suggesting a performance-related strategy based on each possibility. My objective is not to support only one cadential status, but to bring up the cadential problem from the analytical perspective and to demonstrate how cadence identification affects performance results. The dissertation is divided into two parts: analysis and performance, so it relies on a combined method of analytical terminologies and performance-related musical elements. In the analysis, the terminology of William Caplin is employed. The performance part refers to several method books written by prestigious piano pedagogues. After an introduction in Chapter 1, Chapter 2 reviews some literature on cadences. Chapter 3 specifically analyzes the first movement of Chopin's second sonata by means of Caplin's terminologies. Chapter 4 provides a performance-related method and Chapter 5 deals with a practical performance strategy.

The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.

Florence Price (1887–1953) was one of the most important African American woman composers of the early twentieth century. Price's music is known for combining techniques of Western art music with elements of the African American musical heritage. Although Price composed many works for piano, from large virtuoso pieces to characteristic miniatures, this study will address only her Piano Sonata in E minor. The purpose of this study is to analyze this sonata and discuss her compositional techniques and musical style as a combination of African American elements and Classical European procedures, combined and coordinated yet remaining in tension. Traditional European harmony, tonality, and form are successfully combined with African American characteristics: pentatonic scale, spirituals, syncopations, repetition, and dance rhythms. Indeed, Price's work is a considerable achievement, and she is one of the important African American women composers who should be better recognized today.

The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combined with elements of the sonata-allegro form. In the analysis of the harmonic language of the piece, the composer's extensive use of Russian folk elements such as diatonic melodies, sigh motives, parallel triads, and simultaneous use of the lower third with the major triad is pointed out. The rest of the paper focuses on issues of interpretation and performance. Special notice is given to the problem of incorporating a percussive type of playing with the elements of folk cantilena singing. The paper concludes with the history of Sonata's performances and a discussion of current recordings.

Not available / text

Not available / text