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You searched for subject:(Concerto Sonata Form). Showing records 1 – 3 of 3 total matches.

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NSYSU

1. Chiang, Chia-jung. The Inheritance and Innovation of Haydn's D Major Keyboard Concerto First-Movement.

Degree: Master, Music, 2015, NSYSU

The first movement of Johann Sebastian Bach's keyboard concertos was applied the ritornello form in 1720s. The first movement of Carl Philipp Emanuel Bach's keyboard concertos in 1738 had already showed the concept of sonata form on harmonie usage and materials in the solo sections. Up to 1784, the first movement of Mozart's keyboard concertos clearly had the coexistence of two forms. Theorist called it as "concerto-sonata form". This thesis mainly discuses Haydn's D Major Keyboard Concerto composed in 1784. In this concerto, the use of harmonies and the relationship between the orchestra and soloist is closed to Emanuel Bach's writing, but the using of the materials and themes are closed to Mozart's. In addition to the introduction and conclusion, this thesis includes three parts. Part one is explored the development of the first movement form of keyboard concertos before 1784. The second part describes Haydn's D Major Keyboard Concerto compositional background and related information. It also gives the evidence how Emanuel Bach and Mozart influenced Haydn's writhing. The third part analyses Haydn's D Major Keyboard Concerto first movement's form and function; the contents include the using of orchestration, harmonies, themes, motives; the relationship between the orchestra and soloist; and the cadenzas. Hopefully, through this research, we can find out the inheritance and innovation of Haydn's keyboard concertos. Advisors/Committee Members: Mei-Wen Lee (committee member), Chia-Hui Ko (chair), Kheng-Keow Koay (chair).

Subjects/Keywords: Concerto-Sonata Form; Ritornello Form; D Major Keyboard Concerto; C. P. E. Bach; Haydn

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APA (6th Edition):

Chiang, C. (2015). The Inheritance and Innovation of Haydn's D Major Keyboard Concerto First-Movement. (Thesis). NSYSU. Retrieved from http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0112115-014851

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Chiang, Chia-jung. “The Inheritance and Innovation of Haydn's D Major Keyboard Concerto First-Movement.” 2015. Thesis, NSYSU. Accessed November 11, 2019. http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0112115-014851.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Chiang, Chia-jung. “The Inheritance and Innovation of Haydn's D Major Keyboard Concerto First-Movement.” 2015. Web. 11 Nov 2019.

Vancouver:

Chiang C. The Inheritance and Innovation of Haydn's D Major Keyboard Concerto First-Movement. [Internet] [Thesis]. NSYSU; 2015. [cited 2019 Nov 11]. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0112115-014851.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Chiang C. The Inheritance and Innovation of Haydn's D Major Keyboard Concerto First-Movement. [Thesis]. NSYSU; 2015. Available from: http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0112115-014851

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation


University of Ottawa

2. Fox, Margaret Elizabeth. Formal Relationships in Clara Wieck's Piano Concerto Op. 7 .

Degree: 2015, University of Ottawa

Clara Wieck Schumann’s 1836 Piano Concerto Op. 7 represents an era of radical formal experimentation in the early nineteenth century. As such, critics including Robert Schumann questioned its unity, thus prompting late twentieth-century scholars to reassess both its departures from tradition and its cohesive mechanisms. I propose that the concerto’s formal innovations are a result of Wieck’s decision to construct a tripartite work from her autonomous Concertsatz, which became the Finale after the addition of a first and second movement. This study uses William Caplin’s theory of formal functions and Steven Vande Moortele’s theory of two-dimensional sonata form to examine how Wieck complemented the independent Finale with a formally divergent first movement, which facilitates the projection of an overarching sonata form spanning the entire work. In doing so, this study produces a model to assess the concerto’s internal logic.

Subjects/Keywords: Clara Wieck; Schumann; Formal Functions; Concerto; Two-Dimensional Sonata Form; Virtuosity

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Fox, M. E. (2015). Formal Relationships in Clara Wieck's Piano Concerto Op. 7 . (Thesis). University of Ottawa. Retrieved from http://hdl.handle.net/10393/32002

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Fox, Margaret Elizabeth. “Formal Relationships in Clara Wieck's Piano Concerto Op. 7 .” 2015. Thesis, University of Ottawa. Accessed November 11, 2019. http://hdl.handle.net/10393/32002.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Fox, Margaret Elizabeth. “Formal Relationships in Clara Wieck's Piano Concerto Op. 7 .” 2015. Web. 11 Nov 2019.

Vancouver:

Fox ME. Formal Relationships in Clara Wieck's Piano Concerto Op. 7 . [Internet] [Thesis]. University of Ottawa; 2015. [cited 2019 Nov 11]. Available from: http://hdl.handle.net/10393/32002.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Fox ME. Formal Relationships in Clara Wieck's Piano Concerto Op. 7 . [Thesis]. University of Ottawa; 2015. Available from: http://hdl.handle.net/10393/32002

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

3. Φούλιας, Ιωάννης. Αργά μέρη σε μορφές σονάτας στην κλασσική περίοδο: συμβολή στην εξέλιξη των ειδών και των δομικών τύπων μέσα από τα έργα των Haydn, Mozart και Beethoven (με εκτενή επισκόπηση της θεωρητικής εξέλιξης των μορφών σονάτας από τον 18ο έως τον 20ο αιώνα).

Degree: 2005, National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ)

Subjects/Keywords: Σονάτα; Είδη; Μορφές; Συμφωνία; Κοντσέρτο; Μουσική δωματίου; Μουσική θεωρία; Συνθετική πρακτική; Δομικός τύπος; Κλασικισμός; Έκθεση; Επεξεργασία; Επανέκθεση; Haydn; Mozart; Beethoven; Sonata; Genre; Form; Symphony; Concerto; Chamber music; Music theory; Compositional praxis; Structural type; Classic era; Classical period

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Φούλιας, . . (2005). Αργά μέρη σε μορφές σονάτας στην κλασσική περίοδο: συμβολή στην εξέλιξη των ειδών και των δομικών τύπων μέσα από τα έργα των Haydn, Mozart και Beethoven (με εκτενή επισκόπηση της θεωρητικής εξέλιξης των μορφών σονάτας από τον 18ο έως τον 20ο αιώνα). (Thesis). National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ). Retrieved from http://hdl.handle.net/10442/hedi/19124

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16th Edition):

Φούλιας, Ιωάννης. “Αργά μέρη σε μορφές σονάτας στην κλασσική περίοδο: συμβολή στην εξέλιξη των ειδών και των δομικών τύπων μέσα από τα έργα των Haydn, Mozart και Beethoven (με εκτενή επισκόπηση της θεωρητικής εξέλιξης των μορφών σονάτας από τον 18ο έως τον 20ο αιώνα).” 2005. Thesis, National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ). Accessed November 11, 2019. http://hdl.handle.net/10442/hedi/19124.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7th Edition):

Φούλιας, Ιωάννης. “Αργά μέρη σε μορφές σονάτας στην κλασσική περίοδο: συμβολή στην εξέλιξη των ειδών και των δομικών τύπων μέσα από τα έργα των Haydn, Mozart και Beethoven (με εκτενή επισκόπηση της θεωρητικής εξέλιξης των μορφών σονάτας από τον 18ο έως τον 20ο αιώνα).” 2005. Web. 11 Nov 2019.

Vancouver:

Φούλιας . Αργά μέρη σε μορφές σονάτας στην κλασσική περίοδο: συμβολή στην εξέλιξη των ειδών και των δομικών τύπων μέσα από τα έργα των Haydn, Mozart και Beethoven (με εκτενή επισκόπηση της θεωρητικής εξέλιξης των μορφών σονάτας από τον 18ο έως τον 20ο αιώνα). [Internet] [Thesis]. National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ); 2005. [cited 2019 Nov 11]. Available from: http://hdl.handle.net/10442/hedi/19124.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Φούλιας . Αργά μέρη σε μορφές σονάτας στην κλασσική περίοδο: συμβολή στην εξέλιξη των ειδών και των δομικών τύπων μέσα από τα έργα των Haydn, Mozart και Beethoven (με εκτενή επισκόπηση της θεωρητικής εξέλιξης των μορφών σονάτας από τον 18ο έως τον 20ο αιώνα). [Thesis]. National and Kapodistrian University of Athens; Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών (ΕΚΠΑ); 2005. Available from: http://hdl.handle.net/10442/hedi/19124

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

.