Seedlings of wild-type and etiolate mutant plants of Anthurium andraeanum cultivar 'Sonate' were treated for 15 d with different light intensities (20, 100, and 400 µmol·m
−2
·s
−1
) to analyze leaf ...plastid development and pigment content. Significant changes appeared in treated seedlings, including in leaf color, plastid ultrastructure, chloroplast development gene AaGLK expression, chlorophyll and anthocyanin contents, and protoplast shape. Wild-type and etiolated plants exhibited different plastid structures under the same light condition. The results suggest that light intensity is a crucial environmental factor influencing plastid development and leaf color formation in the A. andraeanum cultivar 'Sonate'.
La thèse porte sur les six dernières sonates de Scriabine. L’analyse des œuvres a été pensée en relation avec l’interprétation pianistique. L’univers de référence et l’imaginaire sonore de Scriabine ...sont reconstitués à partir de la perception des œuvres et des indications d’interprétation présentes dans les partitions. Une méthode inspirée par l’analyse schenkerienne est développée pour étudier les logiques d’écriture d’un langage dans lequel la notion de tonalité est considérablement élargie. La dernière partie, plus directement liée à l’interprétation, étudie les spécificités de l’écriture pianistique et des paramètres du timbre et du temps en s’appuyant sur l’étude d’enregistrements historiques.
The following thesis focuses on the six final piano sonatas by Alexander Scriabin from the point of view of pianistic interpretation. The first part reconstitutes Scriabin’s unique musical and image-oriented universe from the basis of the listener’s perspective. The second part analyses the works from a musicological stand-point, taking into consideration indications on interpretation found in the scores. In order to more clearly identify the logic and structure of the musical language, which is marked by the usage of extended tonality, the analyses presented are inspired from Schenkerian traditions. The third part, directly linked to performance practises, explores the pianistic writing style as well as the timbral and temporal parameters, with an important place given to historical recordings.
Italijanski duhovnik in amaterski plemiški skladatelj Francesco Antonio Bonporti je leta 1703 ponatis svoje inštrumentalne zbirke Sonate da camera a tre, opus 2, posvetil ljubljanskemu knezoškofu ...Ferdinandu grofu Kuenburgu (na tem položaju med 1701 in 1711). Kuenburg je bil znan podpornik italijanske umetnosti v svoji škofiji in kranjski prestolnici. Bonportijeve trio sonate sodijo v inštrumentalno glasbeno zvrst, ki je bila še posebno uporabna, saj je bila primerna tako za povsem razvedrilne namene kot tudi pedagoške in duhovne. Trio sonate so bile priljubljene zlasti med plemiškimi glasbenimi amaterji in v Ljubljani je bilo prav v času Bonportijevega posvetila knezoškofu Kuenburgu na vrhuncu svojega razcveta glasbeno združenje Academia philharmonicorum labacensium, katerega člani so zato zelo verjetno igrali tudi njegove trio sonate.
InSonata Fragments, Andrew Davis argues that the Romantic sonata is firmly rooted, both formally and expressively, in its Classical forebears, using Classical conventions in order to convey a broad ...constellation of Romantic aesthetic values. This claim runs contrary to conventional theories of the Romantic sonata that place this nineteenth-century musical form squarely outside inherited Classical sonata procedures. Building on Sonata Theory, Davis examines moments of fracture and fragmentation that disrupt the cohesive and linear temporality in piano sonatas by Chopin, Brahms, and Schumann. These disruptions in the sonata form are a narrative technique that signify temporal shifts during which we move from the outer action to the inner thoughts of a musical agent, or we move from the story as it unfolds to a flashback or flash-forward. Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic.
Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a ...sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin’s theory of formal functions, and Hepokoski and Darcy’s Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss’s tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky’s Second String Quartet.
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Even in Beethoven's day the 'Moonlight' Sonata was a popular favourite. This 1999 book provides an accessible introduction to the Sonatas Opp. 27 and 31 (including The 'Moonlight' and 'The Tempest'), ...aimed at pianists, students, and music lovers. It begins with the works' historical background - the emergence of a 'piano culture' at the end of the eighteenth century, Beethoven's aristocratic milieu in Vienna, and his oft-quoted intention to follow a new compositional path. An account of the sonatas' genesis is followed by a discussion of their reception history, including a survey of changing performing styles since the mid-nineteenth century. The concept of the Sonata quasi una Fantasia is examined in relation to the cult of artistic sensibility in early-nineteenth-century Vienna. The study concludes with a critical introduction to each sonata.
This book examines Gustav Mahler’s career-long engagement with sonata form. It argues that a dynamic, process-based sonata-form concept factors into all of his early and middle-period symphonies, ...informing not just their schematic design, but also their narrative/expressive character. The first three chapters lay out the interpretive machinery for the analyses to follow. Chapter 1 considers the role of sonata form in Mahler’s creative imagination, with special interest in (1) his consistent linkage of tonal plot and affect, and (2) the intertextual networks that link his sonata forms to one another. Chapter 2 examines the celebrated Mahler writings of Theodor W. Adorno and draws from that author several of the study’s leading interpretive themes, including the idea of Mahler’s deformational idiom as a “nominalist” indictment of prefabricated forms. Chapter 3 attends to issues of music and narrative, with special focus on the complex relation of single-movement narratives to those spanning entire symphonies. Chapters 4 through 7 are analytical studies of complete movements: Symphonies nos. 3/I, 4/I, 6/I, and 6/IV. On the one hand, each is concerned with the nature and extent of the movement’s dialogue with the traditional sonata plot. On the other, they seek to connect this sonata-form dialogue (1) to the processes implicated by Adorno’s vision of “novelistic” construction and (2) to the traditional programmatic frameworks that accompany the symphonies that embed them.
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