Piano sonata
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A Critical Ear: Analysis of Value Judgments in Reviews of Beethoven's Piano Sonata Recordings Open
What sets a great music performance apart? In this study, we addressed this question through an examination of value judgments in written criticism of recorded performance. One hundred reviews of recordings of Beethoven's piano sonatas, pu…
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Inventing Tradition: Webern's Piano Variations in Early Recordings Open
Webern's Piano Variations Op. 27 were first performed two years before the outbreak of the Second World War, but it was only after the war – and in very different aesthetic and ideological circumstances – that a performance tradition devel…
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Beethoven’s pianoforte damper pedalling: a case of double notational style Open
This article challenges the so-called ‘Urtext’ approach whereby performers aim to play no more and no less than is notated in an authoritative edition. With reference to Beethoven’s pedalling, it shows that he provided no pedal markings in…
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Formal Jests: the Sonata‐Form Scherzo in Mendelssohn's Mature Chamber Music Open
One of the most striking aspects of Mendelssohn's scherzi is his unusual propensity for sonata form in this movement type. Yet in referencing sonata construction, the composer frequently appears to be playing against its norms, taking deli…
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Formal Excess in the Opening Movement of Fanny Hensel’s String Quartet in E♭ Major (1834) Open
This article analyzes the Adagio opening movement of Fanny Hensel’s sole string quartet by reading the ways in which it dialogues with several genres: the increasingly independent early nineteenth-century slow introduction; the slow first …
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Re-examining Czerny’s and Moscheles’s Metronome Marks for Beethoven’s Piano Sonatas Open
Shortly after Beethoven’s death, several of his closest associates provided performance indications for editions of his works. Previous discussions of Carl Czerny’s and Ignaz Moscheles’s metronome marks for Beethoven’s piano sonatas have h…
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A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire Open
Present‐day sonata theory scholarship increasingly draws on a typology of sonata forms that consists of five interrelated types, placing particular emphasis on the double return and thematic rotation. The present article aims at scrutinisi…
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Strophic and Sonata Form in the Italian Opera Aria of the 1720s and the 1730s Open
At present, the theory of musical form is still dominated by the notion that elements of sonata form in composition began to penetrate into vocal genres or, more specifically, into the opera aria only by the end of the 18th century, when t…
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Mozart’s Sonata for Two Pianos K448 in D-Major 2nd Movement Improves Short-Term Memory and Concentration Open
Rhythm, melody, and high frequencies in Mozart’s music are capable to stimulate creativity and motivation regions of the brain and activate brain’s areas, especially the prefrontal area of the brain, which contributes to short-term memory.…
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Topoi and Narratives in Classical Instrumental Music: Ideen and il filo in Mozart’s Clavier Sonata KV 311/284c Open
The article deals with the thematicism and thematic work in the first movement of Mozart’s Piano Sonata KV 311/284c (1777). The analysis of thematical process in this instrumental composition is examined under the angle of correlation betw…
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A Clustering-Based Approach to Automatic Harmonic Analysis: An Exploratory Study of Harmony and Form in Mozart’s Piano Sonatas Open
We implement a novel approach to automatic harmonic analysis using a clustering method on pitch-class vectors (chroma vectors). The advantage of this method is its lack of top-down assumptions, allowing us to objectively validate the basic…
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The Mozart Expositional Punctuation Corpus: A Dataset of Interthematic Cadences in Mozart's Sonata-Allegro Exposition Open
This report documents a dataset consisting of expert annotations (symbolic data) of interthematic (higher-level) cadences in the exposition sections of all of Mozart's instrumental sonata-allegro movements.
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Beethoven's Error? The Modulating Ritornello and the Type 5 Sonata in the Post‐Classical Piano Concerto Open
In his analysis of the first movement of Beethoven's Piano Concerto No. 3, Op. 37, Donald Francis Tovey dismissed Beethoven's decision to modulate for the second theme in the movement's opening tutti as an ‘error’ that gives the impression…
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The Structural-Semantic Phenomenon of the Main Protagonist as an Attribute of Theatricality in the Thematicism of Mozart’s Piano Sonatas Open
Героя как носителя театрального начала в структуре текста фортепианных сонат Моцарта репрезентирует музыкальная тема, обладающая определёнными лексическими признаками. К ним относятся типовые форму- лы классицистского музыкального языка, к…
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BPSD: A Coherent Multi-Version Dataset for Analyzing the First Movements of Beethoven’s Piano Sonatas Open
This paper introduces the Beethoven Piano Sonata Dataset (BPSD), a multi-version dataset focusing on the first movements of Beethoven’s 32 piano sonatas. Recognized as pivotal works in classical music, Beethoven’s piano sonatas have profou…
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Discourse not dualism: An interdisciplinary dialogue on sonata form in Beethoven's early piano sonatas Open
The computational analysis of music has traditionally seen a sharp divide between the "audio approach" relying on signal processing and the "symbolic approach" based on scores. Likewise, there has also been an unfortunate gap between any s…
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Writing Under the Influence? Salieri and Schubert’s Early Opinion of Beethoven Open
In 1822, Schubert dedicated his Variations on a French Theme for Piano Four-Hands, Op. 10 (D624) to Beethoven. This dedication was his most public and extravagant proclamation of an abiding reverence for the older master that he held until…
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Clara Schumann's Piano Sonata in G Minor: A Preview of Things to Come Open
The purpose of this study is to examine, analyze, and perform a recently published edition of a nearly forgotten piece, the Piano Sonata in G minor, by Clara Schumann. This is her first attempt at writing in this form. The piece is in a la…
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Program, Tonality, and Sonata Deformation in Leopoldo Miguéz’s Symphonic Poems Open
The aim of this text is to address Leopoldo Miguéz (1850–1902) approach to sonata form in his three symphonic poems. Each one of these works presents a different approach to the rhetorical musical discourse of sonata form and a specific “d…
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The Urge to Vary: Schubert's Variation Practice from Schubertiades to Sonata Forms Open
The Urge to Vary:\nSchubert’s Variation Practice from Schubertiades to Sonata Forms\nCaitlin G. Martinkus\nDoctor of Philosophy, Music Theory\nFaculty of Music\nUniversity of Toronto\n2017\nAbstract\nRepetition has long been a focal point …
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The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570 Open
Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque …
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The Variational Principle in Dinu Lipatti’s <i>Sonatina for Violin and Piano</i> Open
This study aims to analyze the variational principle, as it is applied in Dinu Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but also from the standpoint of the interpretative implications. The variati…
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Facilitative Agency in Performance Open
This paper explores how a performer generates a cognitive infrastructure in support of a performance, and advocates for regarding such cognitive processes as a kind of agency. This notion of “facilitative agency,” which draws on Edwin Gord…
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Performers as Creative Agents; or, Musicians Just Want To Have Fun Open
In this paper, I explore conceptions of creativity in musical performance in both popular and Western art musics. I examine Cyndi Lauper’s iconic performance of the song “Girls Just Want To Have Fun,” which transformed the meaning of Rober…
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Villa-Lobos�s Segunda Sonata-Fantasia for Violin and Piano: An Analysis and Performance Guide Open
This study focuses on Villa-Lobos’s Segunda Sonata-Fantasia for Violin and Piano, written between 1913 and 1914. A brief biography of Villa-Lobos until 1915 provides the context of the period during which he composed the piece. Next, Villa…
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AN ANALYSIS OF THE PIANO SONATA IN C MINOR, OP. 4 BY FRÉDÉRIC CHOPIN Open
The aura of the composer Frédéric Chopin penetrated the Western European musical culture, touching massively other cultures as well, up to the Chinese one; the certainty through which we recognize the thrill of this aura is mostly due to t…
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18. Technical and Interpretive Considerations in<i>the Third Sonata for Violin and Piano, OP. 45</i>by Edvard Grieg Open
Considered one of the founders of the Norwegian national music culture, Grieg sought to transpose into his music the grandeur of nature, the simplicity of people and their lives, the richness of fantasy and mythological stories. Edvard Gri…
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A Dataset of Symbolic Texture Annotations in Mozart Piano Sonatas Open
Musical scores are generally analyzed under different aspects, notably melody, harmony, rhythm, but also through their texture, although this last concept is arguably more delicate to formalize. Symbolic texture depicts how sounding compon…
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10. Summary of Some Aspects of Piano Interpretation in Schubert Sonatas, According to Musical Notation Open
In order to be able to reveal the constructive value and expressive force of Schubert’s piano sonatas, one needs first of all a good edition that rends as precisely as possible the author’s original text, as well the pianist’s skill to bri…
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GENRE, STYLE AND FORM-GENERATIVE PECULIARITIES OF D. SCARLATTI’S SONATAS Open
The article examines certain features of D. Scarlatti’s composer style, reveals the genre, style and form-generative peculiarities of his sonatas. The researchers’ attention is focused on such issues as the analysis of the harpsichord tech…