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Content and musical language in the Piano sonata of Sofia Gubaidulina, and three recitals with works by Bach, Beethoven, Mozart, Chopin, Schumann, Debussy, and Rachmaninov

Description: Sofia Gubaidulina is one of the leading composers in the contemporary music world. Her compositional interests have been stimulated by the exploration of and improvisation with rare folk and ritual instruments, and by a deep-rooted belief in the mystical properties of music. Gubaidulina is the author of orchestral and choral works, compositions for solo instruments, chamber music, as well as electronics music.
Date: December 1998
Creator: Ćojbašić, Ivana
Partner: UNT Libraries

Style And Performance Aspects In The Newly Published Piano Sonata By Witold Lutos?awski

Description: 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.
Date: December 2011
Creator: Park, Eun Jeong
Partner: UNT Libraries

The First Movement of Piano Sonata in B-flat Minor by Julius Reubke: a Comparison of Three Editions From the Performer’s Point of View

Description: 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.
Date: August 2014
Creator: Pátkai, Imre
Partner: UNT Libraries

The French sonatina of the twentieth century for piano solo: with three recitals of works by Mussorgsky, Brahms, Bartok, Durilleux, and others

Description: 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.
Date: August 1999
Creator: Carrell, Scott Allen
Partner: UNT Libraries

Baroque Elements In The Piano Sonata, Opus 9 By Paul Creston

Description: Paul Creston (1906-1985) was one of the most significant American composers from the middle of the twentieth century. Though Creston maintained elements of the nineteenth-century Romantic tradition and was categorized as a “Neo-Romantic” or “20th-century traditionalist,” many of Creston’s compositions contain elements of Baroque music. His Piano Sonata, Opus 9 provides significant examples of Baroque elements, while already foreshadowing his mature style. The purpose of this study is to explore Baroque elements in the compositional language of Paul Creston’s Piano Sonata, Opus 9. All four movements of the Piano Sonata will be examined in regards to its stylistic features associated with Baroque practices. These features mainly consist of rhythm, texture, imitative writing, and repeated phrase structure. Each category of the study will include comparisons of Domenico Scarlatti’s keyboard sonatas with Creston’s sonata. Through an examination of the Piano Sonata and its Baroque elements, this study hopes to inspire renewed interest in the work among musicians and to help the performer give a more stylistically coherent, and accurate, performance.
Date: December 2011
Creator: Watanabe, Chie
Partner: UNT Libraries

Charles Ives and a Stylistic Analysis of his Three Piano Sonatas

Description: This thesis has been written with several goals in mind. The first purpose has been to inform the reader about the life of Charles Ives and the influences he experienced that gave him the impetus to experiment and write music of a nature thirty years ahead of its time, while the rest of the world was basking in the waning light of Romanticism. The second purpose has been to describe in a short space general characteristics that may be found throughout the entire musical output of Ives. The third purpose has been to analyze in greater detail the major portion of his contributions to piano literature, the three piano sonatas, so that the student may better understand the complexities which will face him in performance of these compositions. Perhaps the strongest motivation for the present study has been the hope that it might induce more students to be explorers themselves and become familiar with this music of Ives.
Date: 1955
Creator: Harer, Carolyn Bertha
Partner: UNT Libraries

The Orchestral Mentality of Johannes Brahms' Piano Sonata No. 3

Description: 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.
Date: August 2017
Creator: Hsu, Yu-Ching
Partner: UNT Libraries

Sonata for Piano (1963) by Sergei Michailovich Slonimsky: Musical Analysis and Discussion on Interpretation and Performance

Description: 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.
Date: May 2002
Creator: Fitenko, Nikita
Partner: UNT Libraries

Cyril Scott's Piano Sonata, Op. 66: A Study of His Innovative Musical Language, With Three Recitals of Selected Works by Mozart, Schumann, Scriabin, Debussy, Ravel and Others

Description: The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.
Date: May 1995
Creator: Cheung, Ching-Loh
Partner: UNT Libraries

John Ireland's Piano Sonata (1918-1920) and the Influence of Johannes Brahms

Description: John Ireland is one of the most important British composers of the twentieth century. Many scholars believe the works of his early period were deeply influenced by Brahms. After graduating from the Royal College of Music, Ireland went on to develop a much more individual musical language, with influence from contemporary French composers. However, the young composer found himself confronted with the challenge of finding a new and personal style without turning wholly to impressionism or to chromaticism. In Ireland's Piano Sonata, Ireland adopted several of Brahms' compositional techniques. This piano sonata is an excellent example of one of Ireland's mature works that still demonstrates Brahms' influence.
Date: May 2018
Creator: Su, I-Shan Jonathan
Partner: UNT Libraries

Piano Sonata by Elliott Carter: A Foreshadowing of His Later Style; a Lecture Recital, Together with Three Recitals of Selected Works

Description: The lecture recital was given January 22, 1977. A discussion of Elliott Carter's Piano Sonata emphasized those compositional techniques which foreshadowed important compositional procedures in many of his later works. The following compositions were discussed: Concerto for Orchestra, Double Concerto for Harpsichord and Piano with Two Chamber Orchestras, 8 Etudes and a Fantasy for Woodwind Quartet, Holiday Overture, Piano Concerto, Sonata for Flute, Oboe, Cello, and Harpsichord, Sonata for Violoncello and Piano, String Quartet No. 1, String Quartet No. 2, String Quartet No. 3, Variations for Orchestra. The Piano Sonata was Ty and Schumann. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 2, 1973, consisted of works by Bartok, Debussy The second solo recital, performed on October 28, 1974, included works by Bach and Liszt. The final solo recital, performed on March 7, 1976, consisted of works by Beethoven and Chopin. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation. performed.
Date: May 1977
Creator: Wilhite, Carmen Irene
Partner: UNT Libraries

The Significance of Dmitri Shostakovich's Piano Sonata Op.12

Description: The aspiration of this dissertation is to bring forth the significance of Shostakovich's Piano Sonata Op.12. This sonata is a hybrid of the German musical tradition, Russian Modernism, and Liszt's thematic transformation technique. It demonstrates Shostakovich's highly intellectual compositional skills influenced by the education that he received at St. Petersburg Conservatory as well as the exposure to modern music in the 1920s. This dissertation discusses composition techniques, such as the harmonic piers adapted from Alexander Scriabin, neighboring-tone technique, which involves the application of semitone cell throughout the piece, as well as the technique of thematic transformation borrowed from Liszt. These all come together by Shostakovich's design in the most controversial sonata form. The Piano Sonata Op.12 also sheds light on Shostakovich's early compositional style and proves its contribution to the evolution of sonata genre in the twentieth-century.
Date: May 2007
Creator: Kan, Ling-Yu
Partner: UNT Libraries

A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90

Description: This thesis examines the history and origins of Beethoven's E minor Piano Sonata and examines the possibility of the programmatic conception of the work. Dedicated to Beethoven's friend Count Moritz Lichnowsky, the sonata may have been inspired by the Count's illicit affair with his future wife, the singer and actress Josefa Stummer. Providing a thorough Schenkerian analysis of both movements, the inner harmonic structure of the composition is revealed and explained. The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse. Both English and German language sources are incorporated into a comprehensive examination of Beethoven's Piano Sonata, op. 90.
Date: May 2010
Creator: Treber, Stefan L.
Partner: UNT Libraries