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 VII (1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troiseme Sonatine (1933), and Jean-Michel Damase Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work.

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O presente trabalho pretende analisar as fugas das Sonatinas nº3 e nº6 para piano de Camargo Guarnieri, através de uma análise estilística e tendo em vista os procedimentos utilizados pelo compositor especificamente no tratamento da fuga como técnica composicional. Guarnieri compôs 8 sonatinas para piano escritas entre 1928 e 1982, período que abrange grande parte da vida criativa do compositor. A análise das duas as fugas enfocará cinco parâmetros, conforme o esquema analítico de Jan LaRue: Som, Harmonia, Melodia, Ritmo e Crescimento. Através desses parâmetros, verificaremos como se desenvolvem estruturalmente as fugas, destacando os aspectos mais importantes que caracterizarão o discurso musical desenvolvido pelo compositor.

O presente trabalho pretende analisar as fugas das Sonatinas nº3 e nº6 para piano de Camargo Guarnieri, através de uma análise estilística e tendo em vista os procedimentos utilizados pelo compositor especificamente no tratamento da fuga como técnica composicional. Guarnieri compôs 8 sonatinas para piano escritas entre 1928 e 1982, período que abrange grande parte da vida criativa do compositor. A análise das duas as fugas enfocará cinco parâmetros, conforme o esquema analítico de Jan LaRue: Som, Harmonia, Melodia, Ritmo e Crescimento. Através desses parâmetros, verificaremos como se desenvolvem estruturalmente as fugas, destacando os aspectos mais importantes que caracterizarão o discurso musical desenvolvido pelo compositor.

O presente trabalho pretende analisar as fugas das Sonatinas nº3 e nº6 para piano de Camargo Guarnieri, através de uma análise estilística e tendo em vista os procedimentos utilizados pelo compositor especificamente no tratamento da fuga como técnica composicional. Guarnieri compôs 8 sonatinas para piano escritas entre 1928 e 1982, período que abrange grande parte da vida criativa do compositor. A análise das duas as fugas enfocará cinco parâmetros, conforme o esquema analítico de Jan LaRue: Som, Harmonia, Melodia, Ritmo e Crescimento. Através desses parâmetros, verificaremos como se desenvolvem estruturalmente as fugas, destacando os aspectos mais importantes que caracterizarão o discurso musical desenvolvido pelo compositor.

abstract: This research concentrates on the five sonatinas for piano by Walter Saul. It consists of a recording and a document providing musical analyses and performance guides to these sonatinas. The purpose of the research is to introduce Walter Saul’s five sonatinas, composed from 1998 to 2015. Walter Saul is a gifted living American composer and pianist. He has written a quantity of piano music intended for study by young performers. His five sonatinas, in traditional sonata forms, use a variety of compositional techniques, including twelve-tone rows, jazz elements, modulations, modes, scales, and contrapuntal procedures. Performers may find that the analyses in this document are useful in understanding these pieces. The guides are likewise provided to teachers and students studying these pieces. This paper consists of six chapters. It begins with an introduction in Chapter 1; Chapter 2 presents a biography of Walter Saul; Chapter 3 observes characteristics of Walter Saul’s piano music; Chapter 4 deals with background of the five sonatinas; Chapter 5 provides performance guides including simple analyses; Chapter 6 arrives at a conclusion. / Dissertation/Thesis / APPENDIX B: A RECORDING OF FIVE PIANO SONATINAS OF WALTER SAUL BY AHYEON YUN, PIANO / Doctoral Dissertation Music 2017

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The objective of the dissertation is to examine certain correlations between Busoni the philosopher and Busoni the composer. His aesthetic and theoretical points of view, which are of vital importance for an appreciation of his compositions, are reviewed. The manifestation of his musical thinking in his own compositional practice is substantiated through an analysis of two of his late works for the piano: the Sonatina seconda and the Toccata. In addition to the lecture recital, based on the dissertation and given on February 18, 1991, three other public recitals were performed. The first, on November 30, 1987, included works of Bartok, Brahms, Mozart, and Granados. The second program, a chamber recital on January 16, 1989, featured works by Brahms. The third recital was performed on April 23, 1990, and included works by Beethoven, Prokofieff, and Chopin.