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Relevant bibliographies by topics / Mozart analysis

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Academic literature on the topic 'Mozart analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Mozart analysis"

1

Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.

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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works dedicated to various aspects of the artist’s and composer’s artwork. According to J.W. Goethe’s and F. List’s studies, Raphael’s and Mozart’s creations appear to be congenial. Romantic poets and artists took up Goethe’s and List’s ideas and developed them in their own fashion. E.T.A. Hoffmann was the first to pay attention to color symbolism in Mozart’s works, and the coloration of Raphael’s paintings influenced K. Bryullov. In the 20th century, G.V. Chicherin and H. Abert made their contribution to investigating a possible interrelation between Raphael’s and Mozarts’ works of art. In the article, the author considers an interpretation of the color on the fresco «The School of Athens» by Raphael and also in the songs and operas by Mozart.

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Panjaitan, Harry Mangasi Binsar, Hermanto Tri Joewono, and Widjiati Widjiati. "Default sequence of Mozart’s compositions during pregnancy gave higher dendritic density in the cerebrum and cerebellum of Rattus norvegicus offsprings compared with reversed sequence and control." Majalah Obstetri & Ginekologi 27, no. 1 (May 23, 2019): 5. http://dx.doi.org/10.20473/mog.v1i12019.5-11.

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Objectives: This study aim to determine sequence of Mozart songs in the analyzing differences in dendritic density of cerebellum and cerebellum of new born Rattus novergicusMaterials and Methods: Experimental study randomized post test only control group design using Rattus norvegicus. Animal subjects were divided into three groups which were control group, and the treatment group that were given exposure to default sequence and reversed sequence of Mozart's music from gestation day 10. We used a comparison test in the analysis expression of BDNF.Results: In the cerebrum there was a significant difference in the Mozart group in reverse rather than with Mozart standard sequence and in standard Mozart group with no exposure group, with p=0.003 and p=0.000. In the cerebellum there was a significant difference in the group in reverse rather than with standard Mozart and in the standard Mozart group with the control group, with p=0.000 and p=0.000. However, there was no significant difference between control group and Mozart group upside down in cerebrum and cerebellum with p=0.109 and p=0.077Conclusion: The density of dendrites in the cerebrum and cerebellum of Rattus norvegicus newborn exposed to Mozart's music during pregnancy with standard Mozart sequence was higher than that in those receiving reverse order and without exposure. There were no significant differences between the density of the cerebrum and cerebellum dendrites between groups exposed to reversed sequence of Mozart composition and those without exposure.

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MELAMED, DANIEL R. "Counterpoint in Mozart’s Die Entführung aus dem Serail." Cambridge Opera Journal 20, no. 1 (March 2008): 25–51. http://dx.doi.org/10.1017/s0954586708002395.

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ABSTRACTCounterpoint plays a surprisingly large role in the musical language of Mozart’s Die Entführung au dem Serail. In solo material for the deep bass voice of the character Osmin Mozart suggested contapuntal relationships with other parts to give the vocal line independence from the instrumental bass. In ensemble numbers like Osmin and Blonde’s duet No. 9 the composer strongly suggested a contrapuntal relationship between lines sung by antagonistic characters. In Osmin and Belmonte’s duet No. 2, represented in the sources in a nearly complete sketch, Mozard used numerous contrapuntal techniques in support of the dramatic situation. Though the work was composed right around Mozart’s well-known Bach year of 1782, most of the counterpoint is not particularly Bachian. But the polyphonic textures and contrapuntal thinking mark the work as stylistically connected with the composer’s most mature music. Contrapuntal analysis turns out to be a useful perspective of Mozart’s operatic writing.

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Arif, Muhammad, and Yuli Permata Sari. "EFEKTIFITAS TERAPI MUSIK MOZART TERHADAP PENURUNAN INTENSITAS NYERI PASIEN POST OPERASI FRAKTUR." Jurnal Kesehatan Medika Saintika 10, no. 1 (June 1, 2019): 69. http://dx.doi.org/10.30633/jkms.v10i1.310.

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ABSTRAKNyeri dapat diatasi dengan berbagai metode yang dapat dilakukan oleh pasien dalam membantu mengurangi dan menghilangkan nyeri khususnya nyeri pasca operasi fraktur salah satunya adalah dengan terapi musik mozart. Studi pendahuluan di Ruang Bedah RS. Dr. Achmad Mochtar Bukittinggi, didapatkan data informasi dari perawat ruangan bahwa dalam mengatasi nyeri pasien post operasi belum ada yang menerapkan tindakan pemberian terapi musik Mozart. Tujuan penelitian ini adalah Untuk mengetahui Efektifitas Terapi Musik Mozart Terhadap Penurunan Intensitas Nyeri Pasien Post Operasi Fraktur.Desain penelitian ini adalah Pre Experimental Design,dengan mengunakan One-grup pretest postest, sampel pada penelitian ini adalah pasien post operasi fraktur yang berjumlah15 orang yang diambil dengan tekhnik Accidental Sampling. Hasil analisis uji statistik non parametrik dengan menggunakan Wilcoxondengan tingkat kepercayaan 95% (α = 0,05) diperoleh nilai p value adalah 0,001, dengan demikian p value> α (0,001>0,05) sehingga dapat disimpulkan bahwa terapi mozart efektif dalam penurunan Intensitas Nyeri Pasien Post Operasi Fraktur. Disarankan kepada responden untuk dapat menerapkan terapi mozart sebagai alternatif untuk meminimalkan nyeri tidak hanya di rumah sakit melainkan di rumah saat sudah keluar dari rumah sakit.Kata Kunci: Terapi Musik Mozart, Intensitas Nyeri, Pasien Post Op Fraktur EFFECTIVENESS OF MOZART MUSIC THERAPY TOWARDS REDUCTION OF PATIENT INTENSITY POST OPERATION FRACTURESABSTRACTPain can be overcome by various methods that can be done by the patient in helping reduce and eliminate pain, especially post-fracture pain, one of which is Mozart's music therapy. Preliminary study in the Surgery Room. Dr. Achmad Mochtar Bukittinggi Hospital, obtained information data from room nurses that there was no one in overcoming the pain of postoperative patients applying Mozart's music therapy. The purpose of this study was to determine the effectiveness of Mozart's music therapy on the reduction of pain intensity in post patients fracture. The design of this study was Pre Experimental Design, using the One-group pretest posttest, the sample in this study were 15 postoperative fracture patients taken with the technique of Accidental Sampling. The results of non parametric statistical test analysis using Wilcoxon with a confidence level of 95% (α = 0.05) obtained p value is 0.001, thus p value> α (0.001> 0.05) so it can be concluded that mozart therapy is effective in decreasing Pain Intensity of Post Patients Fracture Surgery. It is recommended for respondents to be able to apply Mozart therapy as an alternative to minimize pain not only in the hospital but at home when they are discharged from the hospital.Key Words : Mozart Music Therapy, Pain Intensity, Patient Fracture Post Op

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Lin, Lung-Chang, Mei-Wen Lee, Ruey-Chang Wei, Hin-Kiu Mok, Hui-Chuan Wu, Chin-Lin Tsai, and Rei-Cheng Yang. "Mozart K.545 Mimics Mozart K.448 in Reducing Epileptiform Discharges in Epileptic Children." Evidence-Based Complementary and Alternative Medicine 2012 (2012): 1–6. http://dx.doi.org/10.1155/2012/607517.

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Mozart K.448 has been shown to improve cognitive function, leading to what is known as the Mozart Effect. Our previous work reveals positive effects of Mozart K.448 in reducing epileptiform discharges in epileptic children. In this study, we evaluated the effect of Mozart K.545 and compared the effects with those of Mozart K.448 on epileptiform discharges in children with epilepsy. Thirty-nine epileptic children with epileptiform discharges were included in the study. They received electroencephalogram examinations before, during, and after listening to Mozart K.448 and K.545, one week apart, respectively. The frequencies of epileptiform discharges were compared. There was a significant decrease in the frequency of epileptiform discharges during and right after listening to Mozart K.448 and K.545 (reduced by35.7±32.7% during Mozart K.448 and30.3±44.4% after Mozart K.448; and34.0±39.5% during Mozart K.545 and31.8±39.2% after Mozart K.545). Spectrogrammatic analysis of the two pieces of music demonstrated that both share similar spectrogrammatic characteristics. Listening to Mozart K.448 and K.545 decreased the epileptiform discharges in epileptic children. This suggests that Mozart K.448 is not the only piece of music to have beneficial effects on children with epilepsy. Other music with lower harmonics may also decrease epileptiform discharges in epileptic children.

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Schachter, Carl. "20th-century analysis and Mozart performance." Early Music XIX, no. 4 (November 1991): 620–28. http://dx.doi.org/10.1093/earlyj/xix.4.620.

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Hidayati, Agustina, Hermanto Tri Joewono, and Widjiati Widjiati. "Increased Brain Derived Neurothropic Factor in the cerebrum and cerebellum of Rattus norvegicus newborn with exposure to Mozart's music in default sequence compared with the reversed sequence and without exposure during gestation." Majalah Obstetri & Ginekologi 26, no. 2 (August 23, 2018): 67. http://dx.doi.org/10.20473/mog.v26i22018.67-73.

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Objectives: To analyze the differences in the expression of Brain Derived Neurothropic Factor (BDNF) in Rattus norvegicus cerebrum and cerebellum of newborn between those exposed to Mozart's music composition in default sequence, reverse sequence, and without exposure in the womb.Materials and Methods: Analytical laboratory experimental study with randomized post test only control group design using animal models Rattus norvegicus. The animal models were divided into three groups: control group without any exposure, the treatment groups with exposure to Mozart's music in default sequence and another group in reverse sequence since day 10 of gestation. We used a comparison test in the analysis of BDNF expression.Results: We found significant difference in BDNF expression with p value 0.004 (mean 8.98±1.31 default sequence group, 5.58±3.08 reverse sequence group, 6.80±1.95 control) in the cerebrum. We found significant difference of BDNF expression with p value 0.003 (mean 9.48±1.41 default sequence group, 6.02±3.25 reverse sequence group, 7.14±2.54 control) in the cerebellum. In cerebrum dan cerebellum we found significant difference between standard Mozart’s music and control (cere-brum p=0.018, cerebellum p=0.001), and we found significant difference between standard Mozart’s music and reverse Mozart’s music (cerebrum p=0.001, cerebellum p=0.008) and no significant difference in reverse Mozart and control (cerebrum p=0.264, cerebellum p=0.490)Conclusion: Sequence in Mozart’s music is very important in increase expression of BDNF.

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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.

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Pietschnig, Jakob, Martin Voracek, and Anton K. Formann. "Mozart effect–Shmozart effect: A meta-analysis." Intelligence 38, no. 3 (May 2010): 314–23. http://dx.doi.org/10.1016/j.intell.2010.03.001.

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Štillová, Klára, Tomáš Kiska, Eva Koriťáková, Ondřej Strýček, Jiří Mekyska, Jan Chrastina, and Ivan Rektor. "Mozart effect in epilepsy: Why is Mozart better than Haydn? Acoustic qualities‐based analysis of stereoelectroencephalography." European Journal of Neurology 28, no. 5 (February 24, 2021): 1463–69. http://dx.doi.org/10.1111/ene.14758.

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Dissertations / Theses on the topic "Mozart analysis"

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Hsu, Mei-Na. "Mozart's Piano Concerto in D Minor, K. 466: analysis and discussion of interpretation and performance /." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180454448.

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Walker, Michael Edward. "Franz Xaver Wolfgang Mozart : an analysis of selected works /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3136451.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 209-211). Also available for download via the World Wide Web; free to University of Oregon users.

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Kim, Hak Min. "A critical analysis of Peter Sellars's three stage productions of the Mozart/da Ponte operas /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004200.

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Marsden, Alan A. "Analysing music as listeners' cognitive activity : a study with reference to Mozart." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328867.

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Zemánek, Václav. "Akustická analýza Mozartova efektu a jeho působení u pacientů s epilepsii." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2018. http://www.nusl.cz/ntk/nusl-377329.

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The music, in generaly, can calm down a human internally. The effect of Mozart's music can even be measured. Students, who listened Mozart's music, had higher IQ result and epileptiform activity is describing on patients with epilepsy. This master's thesis is dealing with design of the evaluation system, which can determine music parameters describing epileptiform activity.

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Hunt, Antonio Montrell. "A Comparison of Mozart's Missa Brevis in C Major, K.220 and Kodaly's Missa Brevis." mixed, 2006. http://etd.gsu.edu/theses/available/etd-04212006-213047/.

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Thesis (M.M.)--Georgia State University, 2006.
Title from title screen. Alan Raines, committee chair; John Haberlen, N. Lee Orr, committee members. Electronic text (72 p. : music) : digital, PDF file. Description based on contents viewed Apr. 10, 2007. Includes bibliographical references (p. 58-63).

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Rhee, Meehyun. "A background and an analysis of Mozart's piano concerto no. 24 in C minor, K. 491 : aids towards performance /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335282431.

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Magarotto, Matteo. "The Interaction of Sonata Form and Schemata Derived from Galant Practice in the First Movements of Mozart's Keyboard Sonatas." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470754875.

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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.

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Chen, Wen-Mi. "An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363864.

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Books on the topic "Mozart analysis"

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Sadie, Stanley. Mozart symphonies. London: Ariel Music, 1986.

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Mozart piano concertos. London: BBC Publications, 1986.

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Varga, Ovidiu. Wolfgang Amadeus Mozart. București: Editura Muzicală, 1988.

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Hocquard, Jean Victor. Les opéras de Mozart. Paris: Les Belles Lettres, 1995.

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Maasalo, Kai. Mozart ja hänen pianokonserttonsa. Helsinki: WSOY, 1985.

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Noske, Frits. Mozart: Opera no kaidoku. Tōkyō: Tōjusha, 1985.

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Girdlestone, Cuthbert Morton. Mozart & his piano concertos. Mineola, N.Y: Dover Publications, 2011.

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Mozart Theater: Vom "Idomeneo" bis zur "Zauberflöte". Stuttgart: J.B. Metzler, 1996.

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Messiaen, Olivier. Les 22 concertos pour piano de Mozart. Paris: Libr. Séguier, 1987.

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Mozart wind and string concertos. [London]: Ariel Music, BBC Publications, 1986.

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Book chapters on the topic "Mozart analysis"

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Proksch, Bryan. "Schönberg’s Analyses and Reception of Haydn’s Music." In Mozart und Schönberg, 243–60. Wien: Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792208.243.

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Sawaly, Dina, Wajdi Zaghouani, and David Kaufer. "A Voice for Education: A Digital Analysis of Sheikha Moza’s Public Statements, 2009–2018." In Lecture Notes in Computer Science, 239–52. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-34971-4_16.

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Burns, Ellen J. "An Exploration of Post-Aesthetic Analysis: W. A. Mozart’s Die ZauberflÖte by Ingmar Bergman." In Life the Play of Life on the Stage of the World in Fine Arts, Stage-Play, and Literature, 129–44. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0826-6_10.

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Rumph, Stephen. "Mozart in Theory and Analysis." In Mozart in Context, 254–62. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781316848487.031.

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Schachter, Carl. "Mozart, Sonata for Violin and Piano, K. 481, Adagio." In The Art of Tonal Analysis, 126–53. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190227395.003.0007.

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Auerbach, Brent. "Basic Motivic Analysis." In Musical Motives, 129–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.003.0005.

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Chapter 5 establishes the rules and guidelines for basic motivic analysis (BMA), the more elementary mode of analysis limited to examining the pitch and rhythmic content of music. The first part of the chapter establishes a standard procedure for reduction, or extracting motives from ornamented melodies; this includes rules for motives spanning multiple phrases. The second part of the chapter establishes rules for associating shapes within a work. Such associations are required to be literal, in stark contrast to Schoenberg’s philosophy of Developing Variation. The allowable transformations in pitch are transposition, inversion, and retrograde, and in rhythm are the duration scaling operations, augmentation and diminution. A single, informal associative relation, “sensed connection,” may be used to indicate an analyst’s artistic intuitions about motivic relationships that are unprovable. A last set of rules delineates a proper format for BMA. An analysis must be structured around a single source event called a Focal Point, that occurs near the beginning and furnishes all or nearly all relevant shapes in the piece. Motives must be derived from the Focal Point in forward order (propagative). Discussion is supported by analyses of excerpts by Bach, Beethoven, Brahms, Mozart, Rossini, and Pierre Leemans.

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Hepokoski, James. "Mozart, Piano Sonata in B-flat, K. 333/i (Allegro)." In A Sonata Theory Handbook, 24–39. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0002.

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Chapter 2—which may be read before chapter 1, if that is the preference of the reader—is the book’s first illustration of Sonata Theory in practice. It provides a close reading of the first movement of Mozart’s Piano Sonata in B-flat, K. 333, that simultaneously presents an introduction to the theory’s specific mode of analysis and its most central concepts and terms. Not least of its concerns are its urgings that the listener/analyst is a co-creator of the work’s meaning (resulting ultimately in a responsible hermeneutic reading): Sonata Theory analysis seeks to be an aesthetically receptive, interactive dialogue with an individual work. Even in its most language-technical moments, it tries to integrate methodical observation with a personal sensitivity to the affective contours and colors of music as music. Two other features of the book are also introduced here: a historical/contextual backdrop for the work under consideration (including dating, original purpose, and aesthetic); and the inclusion of other modes of analytical practice to suggest their compatibility with Sonata Theory.

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Marvin, Elizabeth West. "Exploring Ternary Form through the Lens of Analysis-Performance in a Mozart Aria." In The Routledge Companion to Music Theory Pedagogy, 311–18. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-52.

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Hepokoski, James. "Mozart, Symphony No. 34 in C, K. 338/ii (Andante di molto più tosto Allegretto)." In A Sonata Theory Handbook, 40–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0003.

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Chapter 3 reinforces the analytical concepts presented in the preceding chapter by providing another close analysis of a movement by Mozart—the slow movement of his Symphony No. 34 in C, K. 338. The choice of a slow movement also introduces the concept of the role of such movements in multimovement works. Since slow movements are often in a key other than that of the whole work’s tonic (referred to here as a “global tonic”) the analyst needs to keep in mind the relation of that slow-movement key to that governing the larger piece. Of special interest are cases (as here) where the global tonic, primary in the other movements, is visited only as a secondary key here. The chapter also introduces the concept of the “Type 1 sonata,” that is, the sonata that, lacking a development, consists of only an exposition and a recapitulation (as opposed to the more common “Type 3 sonata,” which includes that development).

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Pomerance, Murray. "Beyond the Sea." In Cinema, If You Please, 8–35. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474428682.003.0002.

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This chapter works to use Hitchcock’s Vertigo (1958) as a way to open thought about what film is and can be as it is experienced. It provides a detailed analysis of the film’s “sanatorium” sequence, in which its protagonist, Scottie, has been immobilized by grief. It is argued that the efforts of his closest friend Midge to bring Scottie “back to life” with the music of Mozart is part of a motif that links these two principal characters to a classical “past,” conflicting with the dominating social order of the modern present in which they find themselves. A conceptual link is offered between the presence of the color “blue” in the scene, and the various psychological states and identities that Scottie adopts and experiences throughout the film.

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Conference papers on the topic "Mozart analysis"

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Neuwirth, Markus, Johannes Hentschel, and Martin Rohrmeier. "Perspectives of Musical Corpus Studies: The Annotated Mozart Sonatas." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.96.

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Abstract:

This paper discusses the potential of musical corpus studies, taking research on common-practice tonal harmony as a case in point. Based on a brief depiction of a project carried out at the École polytechnique fédérale de Lausanne (EPFL) and two novel datasets of harmonic analyses of music in the classical style, we elaborate on research questions, applications, and the need of extending the annotation standard used.

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Tsuruoka, Masako, Ryosuke Shibasaki, and Yuriko Tsuruoka. "Analysis of 1/f fluctuations of walking listening to Mozart's music." In 2010 IEEE 23rd International Symposium on Computer-Based Medical Systems (CBMS). IEEE, 2010. http://dx.doi.org/10.1109/cbms.2010.6042615.

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3

Xiang, Yu. "Study and Analysis on Ensemble Works' Artistic Features in the Heydays of Mozart's Opera Creation." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.56.

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4

Masawi, F., P. Naidoo, W. Majola, and T. J. Hammons. "Analysis of the Performance of an African Joint Venture Company Established for the Transport of Bulk Power from Eskom South Africa to Swaziland, Mozambique and the Mozal Aluminum Smelter in Maputo." In 2007 IEEE Power Engineering Society General Meeting. IEEE, 2007. http://dx.doi.org/10.1109/pes.2007.386123.

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