Sonata For Piano No.3 in F Sharp Minor,op.23
Author : Alexander Scriabin
Publisher :
Page : pages
File Size : 35,78 MB
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Author : Alexander Scriabin
Publisher :
Page : pages
File Size : 35,78 MB
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Author : Aleksandr Nikolayevich Scriabin
Publisher :
Page : 32 pages
File Size : 47,87 MB
Release : 1978
Category : Sonatas (Piano)
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Author : Aleksandr Nikolayevich Scriabin
Publisher :
Page : 27 pages
File Size : 37,46 MB
Release : 19??
Category : Sonatas (Piano)
ISBN :
Author : Aleksandr N. Skrjabin
Publisher :
Page : 0 pages
File Size : 49,54 MB
Release : 1952
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Author : Aleksandr Nikolayevich Scriabin
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Page : pages
File Size : 19,50 MB
Release : 1976
Category : Sonatas (Piano)
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Author : Robert Kurka
Publisher :
Page : 40 pages
File Size : 47,36 MB
Release : 1964
Category : Sonatas (Violin and piano)
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Publisher : PediaPress
Page : 91 pages
File Size : 47,57 MB
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Author : Antonio Artese
Publisher :
Page : 196 pages
File Size : 15,42 MB
Release : 2000
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Author : James Arnold Hepokoski
Publisher : Oxford University Press, USA
Page : 1172 pages
File Size : 16,47 MB
Release : 2011
Category : Music
ISBN : 0199773912
Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries. Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured. The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart's concertos.
Author : Michael Talbot
Publisher : Oxford Monographs on Music
Page : 272 pages
File Size : 16,35 MB
Release : 2001
Category : Language Arts & Disciplines
ISBN : 9780198166955
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.