Publication Date


Document Type


First Advisor

Weed, Maurice, 1912-2005||Fred, Bernhart G., 1914-1986||Pursley, Wilbur

Degree Name

M. Mus. (Master of Music)

Legacy Department

Department of Music


Hindemith; Paul; 1895-1963. Sonatas; trumpet; piano; Kennan; Kent Wheeler; 1913- Sonata; trumpet; piano


In connection with a full public graduate recital given in partial fulfillment of the Degree of Master of Music, an accompanying paper concerned with a structural analysis of two works performed at the recital—-Sonate by Paul Hndemith and Sonata by Kent Kennan—is also submitted. Both composers used standard musical forms in the organization of their works, but, the analysis showed that the composers deviated from these forms to achieve a great degree of individual freedom. Movement I of the Sonate by Paul Hindemith is in Sonata-Allegro form. The composer, however, does not simply base the form on first and second subjects as found in earlier sonata-allegro forms. He bases his form on groups of themes that contrast both rhythmically and melodically with each other to create the forward momentum of the music. There is an intervalic relationship between many notes in the sonata. This is first seen in Movement I with the relationship of the perfect fourth and major second in the first theme. Movement II is a three part song form with an added chorale. As in the first two movements, the composer uses a relation "between the intervals of the themes to tie the movement in with the first two. Another device which the composer uses to tie the three movements together is rhythm. A rhythmic pattern which is best described as "long-short-short- long" manifests itself throughout the three movements. Movement X of the sonata by Kent Kennan is in Sonata-Allegro form. As in the Hindemith sonata, the relationship of intervals plays an important part in the make-up of the main theme and in the continuity of the sonata as a whole. The two predominant intervals are the perfect fourth and perfect fifth. Kennan's use of accents and rhythm becomes evident in the first movement. This rhythmic nature is continued throughout the three movements of the sonata. Movement II is a three part form. The movement contrasts with the first movement in style but, again, the intervalic relation-perfect fourth and perfect fifth—is the same as in Movement I. In Movement III the composer deviates from a regular third rondo form by adding an extra digression from the main theme, and also an added return to the main theme. For this reason the form is called a "slightly irregular rounded third rondo form". As in Movement I, rhythm plays an important role with the composer utilizing syncopation and changes in meter.


Includes music.


ix, 40 pages




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