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This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.

Numerous influential composers are associated with the program known as "El Sistema" in Venezuela. Despite a richly prolific output from many of these figures, only a few are known in the United States and throughout the world. Among the most influential is Paul Desenne (b. 1959), whose Sonata for Violin Solo is the subject of this doctoral essay. Throughout his youth and musical education, Desenne was exposed to an eclectic variety of musical styles and idioms. This eclecticism influenced his compositional style from the time of his earliest compositions and is also evident in his more recent works. The Sonata for Violin Solo reflects this cultural interweaving that incorporates music from Desenne’s native Venezuela and utilizes elements from indigenous tribes, Spanish settlers, and African peoples that are combined with global musical elements. This essay explores these elements from a theoretical perspective, as well from the practical viewpoint of the performer.

¡§Transcription¡¨ was a common compositional technique used by composers during the nineteenth century. Composers arranged pieces in order to obtain various acoustic effects or fulfill different requests for performers; this type of arrangement is referred to as a ¡§transcription.¡¨ During that time, because the broadcast had not yet been created, the phonograph was uncommon; however, music became popular, pianos gradually owned by the bourgeoisie and polite societies. Composers often arranged pieces of music for the solo piano or small ensembles in order to help audiences easily understand the large musical work. This also contributed to an increased demand for piano works in the music publishing market. Most of Brahms¡¦s transcriptions are transcribed from his original pieces. In the transcriptions of his original works, Brahms often changes the instrumentation, with the piano being the most important instrument in many of his transcriptions. Sonata for Two Pianos, Op. 34b which this paper discusses as being the first composed for the string quintet, was altered in its instrumentation by Brahms to create two different versions, including Sonata for Two Pianos, Op. 34b and String Quintet, Op. 34. The contents of this thesis are divided into three parts besides introduction and conclusion. The first part describes various transcriptions and the features of these works. The contents first discuss the compositional techniques of transcription in the nineteenth century, and then investigate the characteristics of transcription in the works of Brahms. The second part is the motives behind Brahms¡¦s choice of instrumentation in his transcription. The last part describes the historical context of Sonata for Two Pianos, Op. 34b. This part discusses Brahms¡¦s procedures in his transcription of Sonata for Two Pianos, Op. 34b, and discusses the influence of Schubert¡¦s String Quintet, Op. 163 on Brahms¡¦s Sonata for Two Pianos, Op. 34b.

This dissertation analyzes the first movements of three chamber works -- the Piano trio (1914), the Duo for violin and cello (1920-22), and the Sonata for violin and piano (1923-27) -- and situates their harmonic procedures in relation to important developments within Parisian musical culture. Chapter 1 explores Ravel's early harmonic style, in particular, how he blends nontonal harmonic procedures and tonality within the framework of the sonata as seen in the first movements of his String quartet and Sonatine. Chapter 2 analyzes the Piano trio, which culminates the early phase of Ravel's career with a sophisticated amalgamation of pre-war musical trends, such as extended harmonies and formal inventiveness, with an early wartime emphasis on reduced textures and melodic primacy. In the post-war years, Ravel was forced to adjust to a new role, in which he was no longer at the forefront of musical developments, but rather the follower of a group of young, avant-garde composers. His two post-war compositions, the Duo for violin and cello and the Violin sonata, articulate the struggles he faced with composition in the 1920s. Criticized for having an out-moded aesthetic, he modified his compositional style by incorporating and adapting new harmonic techniques. Drawing on Peter Kaminsky's theory of monotonality and dual pitch organization, chapter 3 examines Ravel's harmonic language in the Duo through linear analysis. Ravel's attempt to incorporate contemporary harmonic procedures however was not sufficient to compete with the more progressive works of Les Six or Stravinsky's burgeoning neoclassicism. As a result, Ravel re-evaluated his craft by rethinking his engagements with the musical avant-garde. The analysis of the Violin sonata in chapter 4 reveals that harmonically, deeper levels of dissonance require pitch prioritization intimately bound to formal function. Unlike the Duo, Ravel presents a more innovative formal design in the Violin sonata, where boundaries are blurred and formal functions are juxtaposed. Chapter 5 concludes with a comparative analysis of the first movements of Ravel's Piano trio, Duo and Violin sonata and their evolving harmonic practices. / text

abstract: The commissioning and recording of music from living composers is a very important tradition in the art of music. The ability to work with living composers gives the performer insight into the music that is far beyond reading the notes on the page. For my research paper, I commissioned two new works for the cello by the composers Joseph Hallman and Christian Asplund, in an effort to continue adding great pieces to the cello repertoire. This paper documents my experiences in finding and working with selected composers. It includes detailed descriptions of the pieces with practice and performance suggestions as well as recordings of the pieces. Commissioning new works often creates many first-hand artistic decisions for the performer as well as many new technical difficulties on the instrument. The two pieces commissioned offer insight into two different instrumentations: the sonata for cello and piano, and a solo cello suite. In this paper I describe various important aspects of these compositions and point out ways to make informed artistic decisions when approaching form, harmony, motive, and extended techniques on the cello. Providing this information on commissioning and collaborating with living composers will help continue this tradition into the future for classical music. / Dissertation/Thesis / Asplund, C. Solo Suite for Cello. Movement I. "Alap" / Asplund, C. Solo Suite for Cello. Movement II. "Tableau" / Asplund, C. Solo Suite for Cello. Movement III. "Crossing" / Asplund, C. Solo Suite for Cello. Movement IV. "Horizon" / Asplund, C. Solo Suite for Cello. Movement V. "Interlude" / Asplund, C. Solo Suite for Cello. Movement VI. "Chaconne" / Hallman, J. Sonata for Cello and Piano. Movement I. / Hallman, J. Sonata for Cello and Piano. Movement II. / Hallman, J. Sonata for Cello and Piano. Movement III. / Doctoral Dissertation Music 2014

abstract: This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu. Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Arthur Bliss’s Sonata for Viola and Piano stands as a significant achievement in early twentieth-century chamber music for viola and is the result of a fruitful collaboration between composer and virtuoso performer. Multiple scholars recognize the sonata as one of Bliss’s finest works. Despite these accolades, the work has failed to attract sustained scholarly investigation. This document provides performers with the necessary tools for a thorough and contextualized presentation of the work. The main body of this study details the technical aspects of performing the sonata: viola technique, expressive challenges, and ensemble concerns. Preceding this, I cover the relevant biographical details from Bliss’s life, examine the roots of his chamber music writing for viola by analyzing two early works, and investigate the collaboration between Lionel Tertis and Bliss in creating this work.

Abstract This paper will present my master project which is a collaboration with the Israeli composer Matan Ben Zahav. The idea behind this work, came from my wish to widen the kind of contemporary repertoire I wish to play more of, these days and in the future. The pieces we dealt with in the project were a sonata for recorder and keyboard and a recorder trio that Ben Zahav composed. The trio was composed before the idea for the project was fully formed and helped me think of the idea for the project. After forming an idea, I asked Ben Zahav if he was willing to compose a sonata and that's how the project started. I decided that I would investigate the process and product of a collaborative work with Ben Zahav on the sonata for recorder and keyboard and recorder trio. The collaboration started during rehearsals in which we explored the new repertoire both musically and technically, we suggested different options and tried to make the pieces as comfortable for the recorder as we could. This exploration revealed the different opportunities and benefits that a collaboration can bring.

Musikaliska associationer – vad händer i vårt inre när vi lyssnar på musik? Syftet med denna konstnärliga uppsats är att fördjupa mig i ämnet musikaliska associationer och dess koppling till musikteori. Ämnet är relativt outforskat och jag har därför valt att utgå ifrån mina egna erfarenheter och använda mina egna musikaliska associationer som grund. Studien tar avstamp i musikstycket Sonata for trumpet and piano av Eric Ewazen och genom litteraturstudier på tidigare forskning. Genom musikteoretisk analys och analys av mina musikaliska associationer av musikstycket diskuterar jag hur dessa hänger ihop och om det går att dra några teoretiska slutsatser utfrån mitt resultat. Två grundliga analyser gav mig slutsatsen att orsaken till musikaliska associationer kan bero på musikteoretiska faktorer i det specifika musikstycket, kombinerat med psykologiska faktorer så som musikalisk bakgrund, erfarenheter och privata kopplingar. Resultatet av min studie innebär en hjälp för kommande analyser och studier av mitt valda stycke eller andra musikstycken, förståelse för hur musikaliska assocationer uppstår och hur det hänger samman med musikteori och psykologi. / <p>Sonata for trumpet and piano - Eric Ewazen</p><p>Medverkande: Trumpet - Tuva Trygged Iko</p><p>Piano: Georg Öqvist</p>