scholarly journals Classical and Jazz Influences in the Music of Nikolai Kapustin: Piano Sonata No. 3, Op. 55

2015 ◽  
Author(s):  
Yana Tyulkova
Keyword(s):  
Piano Sonata ◽  
Nikolai Kapustin

scholarly journals Two-Part Transition or Two-Part Subordinate Theme?

2012 ◽  
Vol 31 (1) ◽  
pp. 46-65
Author(s):  
Carl Wiens
Keyword(s):  
Functional Role ◽  
Sonata Form ◽  
Piano Sonata ◽  
Classical Form ◽  
Clear Cut

In William Caplin’s Classical Form (1998), the ending of a sonata-form exposition’s two-part transition and a two-part subordinate theme’s internal cadence share the same harmonic goal: the new key’s dominant. In this article, the author contends that the choice between the two is not as clear-cut as Caplin suggests, arguing that the functional role of these passages should be read within the context of the entire sonata movement, rather than on more localized analytical interpretations of the sonata’s sections taken in isolation. Two works are discussed: the first movement of Beethoven’s Piano Sonata op. 2, no. 3, and the first movement of the Piano Sonata op. 10, no. 2.

Can Mozart Improve Weight Gain and Development of Feeding Skills in Premature Infants? A Randomized Trial

2021 ◽  
Author(s):  
Margaret A. Lafferty ◽  
Amy Mackley ◽  
Pam Green ◽  
Deborah Ottenthal ◽  
Robert Locke ◽  
...  
Keyword(s):  
Birth Weight ◽  
Premature Infants ◽  
Randomized Study ◽  
Oral Feeding ◽  
Secondary Outcome ◽  
Piano Sonata ◽  
Speech Language Pathologist ◽  
Physiologic Effect ◽  
Feeding Skills ◽  
Very Premature Infants

Objective The study aimed to assess in a prospective randomized study the effect of Mozart's music on time to regain birth weight (BW) and development of oral feeding skills in babies born between 280/7 and 316/7 weeks of gestation. Study Design Healthy premature infants born between 280/7 and 316/7 completed weeks of gestation were randomized within 3 days of birth to either music or no music exposure. Infants in the music group were exposed to Mozart's double piano sonata twice per day for 14 days. The primary outcome was time to regain birth weight. The secondary outcome was development of oral feeding skills as evaluated by a speech/language pathologist blinded to the intervention. We hypothesized that exposure to Mozart's double piano sonata would decrease time to regain BW and improve feeding skills. A total of 32 newborns were needed to detect a 3-day difference in time to regain BW. Results Forty infants were enrolled and randomized. There were no significant differences between the two groups regarding the time to regain BW (p = 0.181) and the time to achievement of full oral feeds (p = 0.809). Conclusion Exposure to Mozart's double piano sonata for 14 days after birth did not significantly improve time to regain BW or time to achieve full oral feedings in very premature infants. It is possible that Mozart's music has no effect or that the duration of music exposure was not sufficient to have a physiologic effect on growth and oral feeding skills. Key Points

Leonīds Vīgners – komponists

2021 ◽  
pp. 352-360
Author(s):  
Inese Žune
Keyword(s):  
20Th Century ◽  
Practical Method ◽  
Creative Work ◽  
Piano Sonata ◽  
Extensive Form ◽  
Musical Education ◽  
Composition Class ◽  
Percussion Instruments ◽  
Instrumental Works

The aim of the article is to highlight the creative work of the outstanding 20th- century Latvian conductor and pedagogue Leonīds Vīgners in the field of composition. The facts are based on the materials of Leonīds Vīgners’s archives found in the Museum of Literature and Music, which allows tracing the entire, versatile activities of the musician. Leonīds’s understanding of music, much like that of his sisters Beatrise, Meta, and prematurely deceased brother Vitālis, developed early in childhood, when they became the examples of the success of the new practical method of absolute musical hearing championed by their father Vīgneru Ernests. Later, the talented musician received a comprehensive musical education at the Latvian Conservatory. In addition to conducting the orchestra, playing the organ and percussion instruments, he also graduated from the composition class of Jāzeps Vītols. In the 1920s and 1930s, Leonīds Vīgners composed a range of instrumental works, from simple minuets to an extensive form of a piano sonata. In total, the museum’s collection contains 16 manuscripts of his instrumental works. The largest part of Leonīds Vīgners’s work consists of his solo and choir songs composed or reworked in different periods of time. He has mentioned that he has composed about 80 solo and 300 choir songs, but some of them perished during the war. Examining the manuscripts of Leonīds Vīgners’s songs, as well as many drafts that have been included in the collection of the Museum of Literature and Music, it can be concluded that he attached great importance to the words that evoked his musical ideas. Leonīds Vīgners always remained himself, with his own views on music and Latvian nationalism. However, behind his seemingly harsh exterior, there was a sensitive and fragile soul, which is truly revealed in his compositions with the plastic, bittersweet sense of melody characteristic to the Romantics and at times the impressionistic freshness and subtlety of his harmonies.

TIPPETT'S FOURTH PIANO SONATA

Tempo ◽  
2016 ◽  
Vol 71 (279) ◽  
pp. 8-17
Author(s):  
Philip Mead
Keyword(s):  
Piano Sonata ◽  
Honorary Doctorate ◽  
Lively Discussion

AbstractOn 10 May 1989 pianist Philip Mead was engaged to play Tippett's Fourth Piano Sonata at Birmingham University on the occasion of the composer receiving his honorary doctorate there. This was preceded by an afternoon workshop on the piece with lively discussion between composer and pianist. Two days previously, on 8 May 1989, in preparation for the concert, Mead played the work privately to the composer. The information in this article, which is almost entirely drawn from those two meetings, begins with a brief description of working with Tippett. Then, after an overview of all four sonatas it makes general points about the structure and style of the Fourth Sonata. Finally, each movement is discussed in turn using ideas, many of which were initiated by the composer, developed by the pianist.

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