Schubert's Sonata in B-Flat D960
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Emergent Formal Functions in Schubert's Piano Sonatas
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School June 2020 Emergent Formal Functions in Schubert's Piano Sonatas Yiqing Ma Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Ma, Yiqing, "Emergent Formal Functions in Schubert's Piano Sonatas" (2020). LSU Master's Theses. 5156. https://digitalcommons.lsu.edu/gradschool_theses/5156 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EMEGERT FOMAL FUNCTIONS IN SCHUBERT’S PIANO SONATAS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Master of Music in School of Music by Yiqing Ma B.A., University of Minnesota, 2017 August 2020 ã Copyright by Yiqing Ma, 2020. All rights reserved. ii ACKNOWLEDGMENT I first encountered Franz Schubert’s A minor piano sonata in my sophomore year by Dr. Rie Tanaka—a piece that I also performed in my first piano recital. As a psychology major at the time, I never would have thought I will pursue graduate studies in Music Theory, a discipline that my parents still do not understand what it is all about. Now, I am lucky enough to dedicate a master’s thesis on my favorite piano repertoire. -
An Investigation of the Sonata-Form Movements for Piano by Joaquín Turina (1882-1949)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository CONTEXT AND ANALYSIS: AN INVESTIGATION OF THE SONATA-FORM MOVEMENTS FOR PIANO BY JOAQUÍN TURINA (1882-1949) by MARTIN SCOTT SANDERS-HEWETT A dissertatioN submitted to The UNiversity of BirmiNgham for the degree of MASTER OF MUSIC DepartmeNt of Music College of Arts aNd Law The UNiversity of BirmiNgham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Composed between 1909 and 1946, Joaquín Turina’s five piano sonatas, Sonata romántica, Op. 3, Sanlúcar de Barrameda, Op. 24, Sonata Fantasía, Op. 59, Concierto sin Orquesta, Op. 88 and Rincón mágico, Op. 97, combiNe established formal structures with folk-iNspired themes and elemeNts of FreNch ImpressioNism; each work incorporates a sonata-form movemeNt. TuriNa’s compositioNal techNique was iNspired by his traiNiNg iN Paris uNder ViNceNt d’Indy. The unifying effect of cyclic form, advocated by d’Indy, permeates his piano soNatas, but, combiNed with a typically NoN-developmeNtal approach to musical syNtax, also produces a mosaic-like effect iN the musical flow. -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
S Y N C O P a T I
SYNCOPATION ENGLISH MUSIC 1530 - 1630 'gentle daintie sweet accentings1 and 'unreasonable odd Cratchets' David McGuinness Ph.D. University of Glasgow Faculty of Arts April 1994 © David McGuinness 1994 ProQuest Number: 11007892 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11007892 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 10/ 0 1 0 C * p I GLASGOW UNIVERSITY LIBRARY ERRATA page/line 9/8 'prescriptive' for 'proscriptive' 29/29 'in mind' inserted after 'his own part' 38/17 'the first singing primer': Bathe's work was preceded by the short primers attached to some metrical psalters. 46/1 superfluous 'the' deleted 47/3,5 'he' inserted before 'had'; 'a' inserted before 'crotchet' 62/15-6 correction of number in translation of Calvisius 63/32-64/2 correction of sense of 'potestatis' and case of 'tactus' in translation of Calvisius 69/2 'signify' sp. 71/2 'hierarchy' sp. 71/41 'thesis' for 'arsis' as translation of 'depressio' 75/13ff. Calvisius' misprint noted: explanation of his alterations to original text clarified 77/18 superfluous 'themselves' deleted 80/15 'thesis' and 'arsis' reversed 81/11 'necessary' sp. -
The Expressive Role of Rhythm and Meter in Schumann╎s Late Lieder
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 2 Issue 1 Article 9 July 2009 The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder Harald Krebs University of Victoria, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Krebs, Harald (2009) "The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 2 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol2/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. THE EXPRESSIVE ROLE OF RHYTHM AND METER IN SCHUMANN’S LATE LIEDER HARALD KREBS t has long been recognized that Robert Schumann was, along with Beethoven and Brahms, I one of the great pioneers of rhythm and meter in the nineteenth century. From his writings, it is evident that he was interested in these aspects of music from a theoretical standpoint; his frequent comments on rhythm and meter, in his reviews of other composers’ works, show how attentive he was to these aspects.1 But his interest went beyond the theoretical: as his music makes clear, he regarded rhythm and meter as significant expressive elements. -
Function and Structure of Transitions in Sonata — Form Music of Mozart Robert Batt
Document généré le 1 oct. 2021 08:37 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Function and Structure of Transitions in Sonata — Form Music of Mozart Robert Batt Volume 9, numéro 1, 1988 URI : https://id.erudit.org/iderudit/1014927ar DOI : https://doi.org/10.7202/1014927ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Batt, R. (1988). Function and Structure of Transitions in Sonata — Form Music of Mozart. Canadian University Music Review / Revue de musique des universités canadiennes, 9(1), 157–201. https://doi.org/10.7202/1014927ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1988 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ FUNCTION AND STRUCTURE OF TRANSITIONS IN SONATA-FORM MUSIC OF MOZART Robert Batt The transition, sometimes referred to as the bridge, is usually regarded as the section of sonata form responsible for modulating from the pri• mary to the secondary key as well as for effecting a structural contrast between the two thematic sections. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Defining Musical Americanism: a Reductive Style Study of the Piano Sonatas of Samuel Barber, Elliott Carter, Aaron Copland, and Charles Ives
Defining Musical Americanism: A Reductive Style Study of the Piano Sonatas of Samuel Barber, Elliott Carter, Aaron Copland, and Charles Ives A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music by Brendan Jacklin BM, Brandon University, 2011 MM, Bowling Green State University, 2013 Committee Chair: bruce d. mcclung, PhD Abstract This document includes a reductive style study of four American piano sonatas premiered between 1939 and 1949: Piano Sonata No. 2 “Concord” by Charles Ives, Piano Sonata by Aaron Copland, Piano Sonata by Elliott Carter, and Piano Sonata, Op. 26 by Samuel Barber. Each of these sonatas represents a different musical style and synthesizes traditional compositional techniques with native elements. A reductive analysis ascertains those musical features with identifiable European origins, such as sonata-allegro principle and fugue, and in doing so will reveal which musical features and influences contribute to make each sonata stylistically American. While such American style elements, such as jazz-inspired rhythms and harmonies, are not unique to the works of American composers, I demonstrate how the combination of these elements, along with the extent each composer’s aesthetic intent in creating an American work, contributed to the creation of an American piano style. i Copyright © 2017 by Brendan Jacklin. All rights reserved. ii Acknowledgments I would first like to offer my wholehearted thanks to my advisor, Dr. bruce mcclung, whose keen suggestions and criticisms have been essential at every stage of this document. -
Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 3 Issue 1 Article 10 September 2010 Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata Mark Richards [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Richards, Mark (2010) "Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 3 : Iss. 1 , Article 10. Available at: https://trace.tennessee.edu/gamut/vol3/iss1/10 This Review is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. REVIEW ELEMENTS OF SONATA THEORY: NORMS, TYPES, AND DEFORMATIONS IN THE LATE-EIGHTEENTH- CENTURY SONATA, BY JAMES HEPOKOSKI AND WARREN DARCY. OXFORD AND NEW YORK: OXFORD UNIVERSITY PRESS, 2006. MARK RICHARDS* hat we call classical sonata form encompasses such a wide array of compositional W possibilities that to describe it in all its instantiations would seem to be an impossible task. And yet, it is toward this admirable goal that James Hepokoski and Warren Darcy aspire in their 2006 book Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata. -
Non-Isochronous Meter: a Study of Cross-Cultural Practices, Analytic Technique, and Implications for Jazz Pedagogy
NON-ISOCHRONOUS METER: A STUDY OF CROSS-CULTURAL PRACTICES, ANALYTIC TECHNIQUE, AND IMPLICATIONS FOR JAZZ PEDAGOGY JORDAN P. SAULL A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO December 2014 © Jordan Saull, 2014 ABSTRACT This dissertation examines the use of non-isochronous (NI) meters in jazz compositional and performative practices (meters as comprised of cycles of a prime number [e.g., 5, 7, 11] or uneven divisions of non-prime cycles [e.g., 9 divided as 2+2+2+3]). The explorative meter practices of jazz, while constituting a central role in the construction of its own identity, remains curiously absent from jazz scholarship. The conjunct research broadly examines NI meters and the various processes/strategies and systems utilized in historical and current jazz composition and performance practices. While a considerable amount of NI meter composers have advertantly drawn from the metric practices of non-Western music traditions, the potential for utilizing insights gleaned from contemporary music-theoretical discussions of meter have yet to fully emerge as a complimentary and/or organizational schemata within jazz pedagogy and discourse. This paper seeks to address this divide, but not before an accurate picture of historical meter practice is assessed, largely as a means for contextualizing developments within historical and contemporary practice and discourse. The dissertation presents a chronology of explorative meter developments in jazz, firstly, by tracing compositional output, and secondly, by establishing the relevant sources within conjunct periods of development i.e., scholarly works, relative academic developments, and tractable world music sources. -
An Examination of George Frideric Handel's “Let
AN EXAMINATION OF GEORGE FRIDERIC HANDEL’S “LET THE BRIGHT SERAPHIM” FROM SAMSON, FRANZ JOSEPH HAYDN’S CONCERTO FOR TRUMPET IN E FLAT MAJOR, KARL JENKINS’ SALM O DEWI SANT, AND ERIK MORALES’ CONCERTO FOR TRUMPET IN C AND PIANO by PAUL MARTIN MUELLER B.M., Grand Valley State University, 2007 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2009 Approved by: Major Professor Dr. Gary Mortenson Abstract This Master‟s report contains biographical, historical, and theoretical analysis as well as stylistic and technical considerations for the four works performed for the author‟s Master‟s recital on April 29th, 2009. The works are Handel‟s aria “Let the Bright Seraphim” from Samson, Franz Joseph Haydn‟s Concerto for Trumpet in E Flat Major, Karl Jenkins‟s Salm o Dewi Sant, and Erik Morales‟s Concerto for Trumpet in C and Piano. Table of Contents List of Figures ................................................................................................................................. v List of Tables ................................................................................................................................. vi CHAPTER 1 - “Let the Bright Seraphim” From Samson............................................................... 1 Brief Biography of George Frederic Handel .............................................................................. 1 The Creation and Performance of Samson ................................................................................ -
Young Person's Guide to the Orchestra
Tasmanian Symphony Orchestra Presents Young Person’s Guide to the Orchestra Teacher Resource Booklet Prepared by Maxine Antolli ©2018 Tasmanian Symphony Orchestra Pty Ltd https://creativecommons.org/licenses/by-nc/3.0/au/ Table of Contents BRITTEN YOUNG PERSON’S GUIDE TO THE ORCHESTRA ...................................... 1 1 SING, LISTEN, DISCOVER ............................................................................................................................. 1 LEARNING INTENTIONS ............................................................................................................................. 1 TUNES ................................................................................................................................................................. 1 TIMBRES .............................................................................................................................................................. 3 2 ACCENTS RULE! .............................................................................................................................................. 5 LEARNING INTENTIONS: ............................................................................................................................ 5 LEARN THE RHYTHM .................................................................................................................................... 6 ADD THE ACCENTS .....................................................................................................................................