Sonata had gone through the development of Baroque and Classical Era and reached the high point in the beginning of 19th century. Liszt¡¦ s Piano Sonata in B minor is an important work. It is also an arguable piece in the sonata literatures. Its musical form or content are both the issues of which is considered to carry on the past musical heritage and opened up the future. This thesis starts from the introduction of the composing background of Piano Sonata in B minor. It then focuses to the significance of this work in Romantic Era. After that, many pianists¡¦ and scholars¡¦ view points are collected and analyzed for discussing how this work has the characteristics of absolute music and program music. The relationship between Liszt¡¦s Faust Symphony and this sonata is also explored. Finally, the structure of this sonata is analyzed for understanding how the technique of thematic transformation works in this piece.

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.

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).

The objective of this dissertation is to review the discrepancies between the first edition, Stradal’s edition and Marzocchi’s edition of Reubke’s piano sonata, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as fingerings, pedaling, phrasing, tempo markings is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Detailed assessment of these discrepancies, accompanied by the author’s comments are listed in the comprehensive comparison table in Appendix A. Additionally, directions are given in cases of presumptive errors, and discrepancies are addressed with possible variant solutions. In conclusion, the relative merit of the three editions is assessed in Chapter 4.

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.

No description available.

No description available.

Polish composer, Karol Szymanowski (1882-1937) wrote a substantial number of piano works from 1899-1934, yet these works have been mostly forgotten or ignored outside his country. Szymanowski scholars divide his works into three periods. The second period represents the most radical shift in his compositional style particularly in his treatment of form, harmony and texture. This study demonstrates the musical and historical influences evident in his Piano Sonata No. 3, Op. 36 (1917), the last piano work written during his second period. Piano Sonata No. 3 exhibits elements of two contrasting styles, French Impressionism and German Romanticism. Manifestations of Szymanowski's Polish musical heritage and his cultural and social isolation during the years of the First World War (1914-1918) are also found in this sonata.This study also provides a detailed analysis of Piano Sonata No.3 in terms of form, motivic unity, thematic development, harmony, and texture. Another important aspect of my study is the extensive use of musical examples drawn from the works of Debussy, Ravel, Wagner and Strauss to demonstrate the musical influences of both French Impressionism and German Romanticism in his third sonata. In this sonata, Szymanowski mirrors French Impressionistic sound and texture through the common use of whole-tone and pentatonic scales as well as unresolved harmonies, trills, 4ths and 9ths. While drawing upon these particular techniques of Debussy and Ravel, Szymanowski's third sonata retains strong German roots in the use of motivic unity, chromaticism and textural crescendi such as those found in the operas of Wagner and Strauss.

The piano sonata’s prominent position in Western art music is reflected in both its long history and its presence in the oeuvres of composers from across the globe. While some information on piano sonatas by South African composers has been included in academic literature, no comprehensive research has been done in the field. This lacuna is addressed in this thesis of which the main research strategy is analytical, without precluding other data-collection methods such as literature studies, archival research and consultation with composers. The thesis comprises an introductory chapter with background information and an outline of the principal research aim and objectives; a general literature review of scholarly work in the field; a summary of academic literature on solo piano sonatas by South African composers; detailed analyses of two recent and diametrically opposed 21st-century solo piano sonatas, by Hendrik Hofmeyr (1957- ) and Graham Newcater (1941- ) respectively; and a final chapter with concluding remarks. Detailed catalogues of sonatas by South African composers, for piano as well as for other instruments, are included as appendices. Findings show that in correspondence with international trends, the piano sonata has held a prominent role in South African music-making with more than 230 works completed since 1900. A chronological estimation shows a more-or-less gradual increase in the number of sonatas composed up to 1975. 30 works were finalised between 2006 and 2015, suggesting that many contemporary composers continue to reference sonata structures as a guiding principle in largescale forms. The characteristics of the majority of sonatas analysed and those discussed in the literature summary correlate to some extent with 19th- and 20th-century traditions. There are nevertheless also various exceptions and novel explorations of traditional sonata practices. From a stylistic perspective, the works engage with a range of international aesthetic discourses, constantly repositioned within the post-colonial, South African zeitgeist. The sonata’s prominent position in South African art music is not only reflected in the historically high frequency of its use, but also in the ways the sonata paradigm is continuously being reinvented, deconstructed and developed to reflect the country’s idiosyncratic and dynamic cultural identity