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Concerto for oboe and orchestra in c major by W.A. Mozart: compositional and performance features

Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova, 2023
Mozart's Concerto for oboe and orchestra in C Major K. 314 / 271k occupies one of the leading positions in the modern artistic concert and educational repertoire.
Petru Iuriev
semanticscholar   +1 more source

Post-Recapitulatory Organization in Beethoven’s Early Sonata-Rondo Finales

Music Theory Online
This paper proposes a new model of closure for Beethoven’s sonata-rondo finales that describes the wide variety of ways in which sonata and rondo elements can interact to create unexpected harmonic and formal possibilities after the recapitulation.
J. Huguet
semanticscholar   +1 more source

Remarks on Form and Temporality in Rondo I Wq. 57‎ by Carl Philipp Emanuel Bach

Dirasat Human and Social Sciences
Objectives: The research aims at identifying the temporal structure that constitutes the C. Ph. E. Bach’s Rondo and determining the tools through which temporality operates on different structural levels.
Iyad A. Mohammad
semanticscholar   +1 more source

Critical Forum

Chopin, 2020
‘Chopin at the supreme summit of his art’, ‘the acme of his power as an artist’, ‘the crown of Chopin’s work’, ‘one of Chopin’s supreme achievements’: each of these comments bears witness to the enthusiastic critical response to Chopin’s Ballades ...
John Rink
semanticscholar   +1 more source

Auxiliary Cadences and the Binary Rondo

Gamut, 2013
James Hepokoski’s and Warren Darcy’s Elements of Sonata Theory is fast emerging as one the most influential theories of form to have been advanced in recent decades. The authors only briefly discuss some of the Schenkerian implications of their work, but
J. Galand
semanticscholar   +1 more source

Classical Rondos and Sonatas as Stylistic Categories

, 2020
Sonata and rondo movements are often defined in terms of large-scale form, yet in the classical era, rondos were also identified according to their lively, cheerful character.
Jonathan de Souza   +2 more
semanticscholar   +1 more source

Contrapuntal Parody and Transsymphonic Narrative in Mahler’s Rondo-Burleske

Music Theory Spectrum
This article deconstructs the intersections of form, counterpoint, and narrative that contribute to parody in the third movement Rondo-Burleske of Gustav Mahler’s Ninth Symphony.
Sam Reenan
semanticscholar   +1 more source

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