Relevant bibliographies by topics / Mozart K

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Mozart K'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Mozart K"

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EDGE, DEXTER. "Attributing Mozart (i): three accompanied recitatives." Cambridge Opera Journal 13, no. 3 (November 2001): 197–237. http://dx.doi.org/10.1017/s0954586701001975.

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In a recent issue of the Cambridge Opera Journal, Dorothea Link has proposed that Mozart may have been the author of an unattributed accompanied recitative that precedes the aria ‘‘Vado, ma dove?,” K. 583, in the Viennese court theatre’s original performing score of Martín y Soler's Il burbero di buon cuore. The present article re-examines the case for Mozart's authorship of this recitative in the wider context of Mozart studies as a whole, and through a detailed reconsideration of the source and stylistic evidence. The recitative preceding K. 583 is compared to two other accompanied recitatives with plausible connections to Mozart: an unattributed one that precedes a score of Mozart's aria ‘‘No, che non sei capace,” K. 419, in a Viennese manuscript of extracts from Paisiello’s Fedra; and one that is explicitly attributed to Mozart in the Viennese court theatre's original performing score of a pasticcio based on Guglielmi's La quacquera spirituosa.
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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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Eisen, Cliff. "New Light on Mozart's ‘Linz’ Symphony, K. 425." Journal of the Royal Musical Association 113, no. 1 (1988): 81–96. http://dx.doi.org/10.1093/jrma/113.1.81.

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Autographs survive for all of Mozart's symphonies from K.112 to K.551 with one exception: the ‘Linz’ Symphony, K.425, composed in October and November 1783. Alfred Einstein thought it might have been among the autographs sold by Constanze Mozart to the King of Prussia in February 1792; however, it also could have been one of the symphonies cited by her in a letter of 31 May 1800 to Breitkopf und Härtel, according to which the Grand Duke of Tuscany owned autographs of two Mozart symphonies and Capellmeister Stoll of Baden, for whom Mozart had composed the motet Ave verum corpus, K.618, another. In any event, it was not among the autographs and copies sold in 1799 to the Offenbach publisher Johann Anton André.
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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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Ridgewell, Rupert. "Biographical Myth and the Publication of Mozart's Piano Quartets." Journal of the Royal Musical Association 135, no. 1 (2010): 41–114. http://dx.doi.org/10.1080/02690401003597771.

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The story that Mozart was commissioned to write three piano quartets for publication in Franz Anton Hoffmeister's subscription series has proved to be remarkably resilient in the Mozart literature. According to the account that first appeared in Georg Nikolaus von Nissen's biography (1828), Hoffmeister gave Mozart an advance payment for the works, but decided to withdraw after the first quartet, K.478, was poorly received. The article exposes a series of flaws in this narrative by locating Hoffmeister's edition of K.478 in a wider contextual and bibliographical framework than has been hitherto attempted. A revised chain of events, based on a new understanding of Hoffmeister's business, suggests a more complex narrative for Mozart's dealings with the publisher. It also prompts us to reconsider the circumstances surrounding Mozart's composition of his two completed piano quartets and the reception of his chamber music in Vienna before 1791.
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Rumph, Stephen. "Mozart's Archaic Endings: A Linguistic Critique." Journal of the Royal Musical Association 130, no. 2 (2005): 159–96. http://dx.doi.org/10.1093/jrma/fki001.

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Rhetorical studies of Mozart have assumed a rationalist conception of language, ignoring the empiricist model that actually dominated the Enlightenment. The two models, comparable structurally to the stile antico and style galant, collide in Mozart's learned finales. A study of three finales, from the Mass in C minor, the Concerto in E♭, K.449, and Die Entführung aus dem Serail, shows how Mozart negotiated irreducible contradictions within Enlightenment thought by switching between the two models.
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Twomey, A., and A. Esgate. "The Mozart Effect May Only Be Demonstrable in Nonmusicians." Perceptual and Motor Skills 95, no. 3 (December 2002): 1013–26. http://dx.doi.org/10.2466/pms.2002.95.3.1013.

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The “Mozart effect” is the tendency to score higher on spatiotemporal IQ subscales following exposure to complex music such as Mozart's Sonata K.448. This phenomenon was investigated in 20 musicians and 20 nonmusicians. The trion model predicts increased synchrony between musical and spatiotemporal centres in the right cerebral hemisphere. Since increased left-hemispheric involvement in music processing occurs as a result of music training, predictions deriving from the possibility of increased synchrony with left-hemispheric areas in musicians were tested. These included improved performance on language as well as spatiotemporal tasks. Spatiotemporal, synonym generation, and rhyming word generation tasks were employed as was the Mozart Sonata K.448. A Mozart effect was demonstrated on the spatiotemporal task, and the facilitatory effect of exposure to Mozart was greater for the non-musician group. This finding adds to the robustness of the Mozart effect since novel tasks were used. No Mozart effect was found for either group on the verbal tasks, although the musicians scored higher on rhyming word generation. This new finding adds to the number of nonmusical tasks apparently showing long-term benefits from music training. However, no systematic link was found between performance on any task and number of years spent in music training. The failure to induce a Mozart effect in the musician group on verbal tasks, as well as that group's limited facilitation on spatiotemporal tasks, may be associated with either a ceiling effect due to the long-term effects of music training or from methodological factors. Both possibilities are discussed.
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Gilleta, Karen S., Mirna I. Vrbancic, Lorin J. Elias, and Deborah M. Saucier. "A Mozart Effect for Women on a Mental Rotations Task." Perceptual and Motor Skills 96, no. 3_suppl (June 2003): 1086–92. http://dx.doi.org/10.2466/pms.2003.96.3c.1086.

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During the past decade, there have been numerous reports of a brief, but statistically significant, improvement in immediate spatial-temporal performance after listening to 10 min. of Mozart's Sonata K.448, known as the “Mozart effect.” The purpose of the present study was to assess whether production of the effect is influenced by length of listening conditions or sex. Each of 52 right-handed participants (26 females, 26 males) completed a paper-folding and cutting task and a Mental Rotations task following a listening condition in which the Mozart sonata was played and a silent condition (no music was played). A significant 3-way interaction among sex, listening condition, and task indicated that an effect was present only for women on the Mental Rotations task. As such, researchers should investigate the role of sex in production of the Mozart effect.
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Hernando Requejo, Virgilio. "Epilepsia, Mozart y su sonata K.448: ¿es terapéutico el «efecto Mozart»?" Revista de Neurología 66, no. 09 (2018): 308. http://dx.doi.org/10.33588/rn.6609.2017460.

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Yudkin, Jeremy. "Beethoven's Mozart Quartet." Journal of the American Musicological Society 45, no. 1 (1992): 30–74. http://dx.doi.org/10.2307/831489.

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The literary critic Harold Bloom coined the term "anxiety of influence" to cover stages in the emancipation of poets from their powerful forebears. Much has been written on the shadow cast by Beethoven over later nineteenth-century composers, but Beethoven too had to come to terms with powerful influences. It has long been recognized that the slow movement of Beethoven's String Quartet, op. 18, no. 5, is modeled on that of Mozart's String Quartet in A major, K. 464. Here it is shown that in fact, the imitation involves not only the slow movement but all four of the movements. This provides an opportunity to examine in detail Beethoven's technique of reinterpreting his model. Indeed an examination of Beethoven's "anxiety" at different stages of his career may lead us to a closer understanding of his creative development. Toward the end of his life Beethoven imitated one of the movements from K. 464 again. Here may be seen the final stage in the confrontation of his anxiety.
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Dissertations / Theses on the topic "Mozart K"

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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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Smith, Linda S. "Mozart's dialectic with gender : Le nozze di Figaro and Piano concerto no. 25, K. 503 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11391.

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Ansved, Josefine. "Mozart och hans relation till flöjten : En skriftlig reflektion över W. A. Mozarts flöjtkvartett i C-dur (K. 285b)." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1608.

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Wolfgang Amadeus Mozart, underbarnet från Salzburg, levde under andra halvan av 1700-talet och anses av många som världens genom tiderna mest framstående kompositör. Under sina 35 levnadsår hann han tonsätta över 600 verk. Han skrev inte minst operor, symfonier, konserter, kör- och kammarmusik. Mozart komponerade fyra flöjtkvartetter för besättningen flöjt, violin, viola, och cello (K. 285, 285a, 285b, och 298). I den här uppsatsen har jag fördjupat mig i ett av dessa verk – Flöjtkvartett i C-dur K. 285b.          I arbetet har jag studerat flöjtens historia, Mozarts liv, med en närgående blick över den period då han komponerade flöjtkvartetterna, och till sist gjort en analys av kvartetten. I analysdelen har jag i styckets båda satser gått in på form, harmonik, och melodik i ett kronologiskt skeende.          Syftet med studien är att djupare förstå Mozarts komposition och uppbyggnad då jag själv ska spela kvartetten.          Ur analysen framgår det att Mozarts fabulösa kompositionsförmåga ger liv åt alla instrumenten i stycket. Melodierna och variationerna vittnar om en genial lätthet och formbarhet men lämnar samtidigt utrymme för utövarnas musikalitet. Det framgår också att flöjten har genomgått en stor utveckling sedan 1700-talet. Instrumentets dåvarande skick kan ha bidragit till eventuella dåliga anseenden och därmed att Mozart skrev så få verk för flöjt.          Jag har använt mig av diverse litteratur för att få en bättre förståelse av omständigheterna runt Mozarts verk. Jag har även använt mig av noter för att kunna analysera kvartetten.

Examenskonsert

A. Vivaldi (N. Chédeville) - Sonat i g-moll ur "Il Pastor Fido"

P. Gaubert - Ballade

O. Messiaen - Le merle noir

W. A. Mozart - Flöjtkvartett i C-dur K.285b

Josefine Ansved, flöjt

Olivia Lundberg, violin

Sophie Bretschneider, viola

Ruben Friedman, cello

Georg Öquist, piano

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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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Eriksson, Emilia. "Wolfgang Amadeus Mozart: Klarinettkvintett K. 581 : Analys och instudering med basettklarinetten i fokus." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4066.

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Uppsatsen handlar om W.A. Mozarts Klarinettkvintett i A-dur, K. 581. Arbetet innehåller en musikteoretisk analys av verkets första sats, samt egna erfarenheter från instuderingsprocessen. Viktiga aspekter är arbetet tillsammans med en stråkkvartett, hur det som blåsare är att arbeta med stråkar samt att finna sin plats i en så etablerad kammarmusikkonstellation som en stråkkvartett är. Arbetet fokuserar till stor del på basettklarinetten. En historisk bakgrund för tiden kring basettklarinettens uppkomst, användning, varför ingen annan än Mozart skrivit för instrumentet och hur det skiljer sig att spela kvintetten på A-klarinett och basettklarinett ingår.
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Wildey, Sarah Anne. "Historical performance practice in cadenzas for Mozart's concerto for bassoon, K. 191 (186e)." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3404.

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Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen. Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period. While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.
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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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Zajkowski, Roberta. "The Piano and Wind Quintets of Mozart and Beethoven: Reception and Relationship." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275422871.

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Lara, Alexsander Ribeiro de. "As texturas do estilo concertante no primeiro movimento da sonata K.284 de W.A. Mozart." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/37400.

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Este trabalho apresenta a comparação entre excertos do primeiro movimento da Sonata K. 284 com trechos de obras de compostas no estilo concertante, com o objetivo de identificar texturas que sejam compartilhadas em ambos, e assim fornecer subsídios para uma interpretação. Para o reconhecimento da equivalência entre essas as texturas, foi utilizada a obra The Technique of Orchestration de Kent W. Kennan, O Diálogo Musical e O Discurso dos Sons de Nikolaus Harnoncourt.
This dissertation presents a comparison between excerpts of the first movement of Mozart Piano Sonata K. 284 with excerpts of Mozart works composed in the concertante style, aiming to point out textures that are shared by these genres to provide to basis for an interpretation. The relationship of idiomatic features was based on Kent W. Kennan´s book The Technique of Orchestration and on Nikolaus Harnoncourt´s books The Musical Dialogue and Music As Speech.
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Silva, Nuno Luís Caçote da. "Um piano de Stein ou de Steinway: o concerto em Mlb, K. 271, de W. A. Mozart." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3596.

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Mestrado em Música
O Concerto per il clavicembalo, K. 271, de W. A. Mozart (1756-1791), como é visto pelo seu título, pode ser tocado no cravo mas foi estreada no pianoforte pelo compositor. A evolução organológica do piano – desde a criação do pianoforte no início do séc. XVIII até a estandardização do instrumento na segunda metade no século seguinte levanta muitas questões para o executante neste concerto Na obra musical do período Clássico e particularmente em Mozart, aspectos como a articulação, dinâmica, tempo e carácter, emprego do pedal, escolha do instrumento e a criação de cadência são elementos estilísticos fundamentais, que têm influência vital na condução da frase e na fluência da linha melódica. Este trabalho pretende explorar estes aspectos numa luz histórica, tomando em conta também a estrutura formal inovadora da obra, para poder construir uma interpretação historicamente informada numa performativa moderna.
The Concerto per il clavicembalo, K. 271, of W. A. Mozart (1756-1791), as seen by its title, can be played on the harpsichord but was premiered on the fortepiano by the composer. The organological evolution of the piano – from the creation of the fortepiano in the beginning of the 18th century until the standardization of the instrument in the second half of the following century – gives rise to many questions for the performer in this concert. In musical works of the Classical period and particularly in Mozart, aspects such as articulation, dynamics, tempo and character, use of the pedal, choice of the instrument, and the creation of a cadenza, are fundamental stylistic elements, which have vital influence in the shape of the phrase and melodic line. This work will has the objective to explore these aspects in an historical light, also taking into account the innovative formal structure of the work, in order to able to construct an historically-informed interpretation in a modern performative way.
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Books on the topic "Mozart K"

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Simone, Roberto De. Novelle K 666: Fra Mozart e Napoli. Torino: Einaudi, 2007.

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Grayson, David A. Mozart, Piano concertos no. 20 in D minor, K. 466, and no. 21 in C major, K. 467. Cambridge, United Kingdom: Cambridge University Press, 1998.

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Mozart, the "Jupiter" symphony, no. 41 in C major, K. 551. Cambridge [England]: Cambridge University Press, 1993.

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Sisman, Elaine R. Mozart: The "Jupiter" symphony : no.41 in C major,K.551. Cambridge: Cambridge University Press, 1993.

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Foil, David. Mozart : the piano concerti: No. 20 in D minor, K. 466 ; No. 21 in C, K. 467. New York: Black Dog & Leventhal Publishers, 1995.

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Küng, Hans. Mozart: Traces of transcendence. Grand Rapids, Mich: W.B. Eerdmans Pub. Co., 1993.

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Pagannone, Giorgio. W. A. Mozart: Concerto per pianoforte e orchestra K 491 in Do minore. Roma: Carocci, 2006.

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Konrad, Thomas Edmund. K for Köchel: The life and work of Ludwig Ritter von Köchel, cataloguer of Mozart. Lanham, MD: Scarecrow Press, 2001.

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Horin, Benny. Stylistic contrast between Beethoven and Mozart: Based upon the Beethoven Quartet no. 11 in F minor, op. 95, and the Mozart Quartet in C major, K. 465. Silver Spring, Md: Shazco, 1990.

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Praze, Národní galerie v. Mozart a Praha: Výstavka k dvoustému výročí skladatelovy smrti : Národní galerie v Praze, Palác Kinských, září-říjen 1991. Praha: Národní galerie v Praze, 1991.

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Book chapters on the topic "Mozart K"

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Peres Da Costa, Neal. "Carl Reinecke’s Performance of his Arrangement of the Second Movement from Mozart’s Piano Concerto K. 488. Some Thoughts on Style and the Hidden Messages in Musical Notation." In Musikforschung der Hochschule der Künste Bern, 114–49. Schliengen: Edition Argus, 2019. http://dx.doi.org/10.26045/kp64-6178-007.

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Shaw, Gordon L. "Listening to Mozart Sonata (K.448) Enhances Spatial-Temporal Reasoning." In Keeping Mozart in Mind, 159–68. Elsevier, 2004. http://dx.doi.org/10.1016/b978-012639061-2/50016-1.

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Arthur, John. "The Composition Date of Mozart’s Symphony in C, K. 73." In Mozart Studien Band 15, 113–64. Hollitzer Verlag, 2006. http://dx.doi.org/10.2307/j.ctvg8p2vb.6.

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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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"Exploring Bowed-String Sound." In Advances in Early Childhood and K-12 Education, 20–44. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3359-8.ch002.

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Bowed-string instruments contain a wealth of exploratory opportunities and illustrate the framework to apply flow theory to strings teaching and learning. In this chapter, the author analyzes how strings students, including very young children, experience flow by listening and exploring the sound of strings. The author also investigates the origin of bowed-strings instrument historically and illustrates violin pedagogy in a historical context. The chapter discusses Leopold Mozart, Auer, Flesh, Ivan Galamian, and Ruggero Ricci with a special emphasis on their sound production.
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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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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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Burstein, L. Poundie. "Analyses." In Journeys Through Galant Expositions, 233–51. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.003.0015.

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This chapter wraps up the book with close analyses of first movements from four Galant pieces: Johann Adolph Hasse, Overture to Alcide al Bivio (1760); Marianna Martines, Sonata for Keyboard in A (c. 1765); Joseph Haydn, Symphony No. 14 in A (c. 1762); and Wolfgang Amadeus Mozart, Quartet for Strings in B-flat, K. 159 (1773). In each case, the entire movement—not just the exposition—is analyzed, considering matters such form, tonal structure, and hermeneutic impact. As in the previous chapters, eighteenth-century formal concepts are taken as the starting point for the analyses, and more modern formal notions are applied where appropriate.
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Hepokoski, James. "The Type 2 Sonata." In A Sonata Theory Handbook, 198–232. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0011.

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The Type 2 sonata is a “double-rotational” (or “binary”) sonata: (1) exposition (P TR’ S / C); and (2) developmental space (P and/or TR) plus tonal resolution (S / C). The Type 2 lacks the “double return” of P and the tonic at the onset of other sonata types. For that reason Sonata Theory does not use the term “recapitulation” for Type 2s. This format was widely used in sonatas c. 1740–70, after which its use began to wane sharply, though several examples of it persist throughout the nineteenth century. Because the Type 2 has been the most frequently misunderstood sonata type (sometimes misread through ahistorical claims of a supposed “reversed recapitulation”), this chapter is devoted to building a case for the Type 2 sonata, beginning with the simplest, prototypical examples in early Mozart and then moving through more extended, complex examples from later years, including toward the end, a look at two deformational Type 2s by Mozart: K. 311/i and the Overture to La clemenza di Tito. At its conclusion the chapter lays out an argument on behalf of Sonata Theory’s case for the persistence of the Type 2 and double-rotational sonatas into the nineteenth century (these include both Type 2s and expanded Type 1 sonatas, which under some conditions are almost indistinguishable) and responds to some recent critics of the Type 2 concept for romantic works, along the way presenting an overview of Wagner’s (expanded Type 1) Overture to Tannhäuser, which in this case presents the same structural questions as those of a Type 2 sonata.
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"Case-ette 3: Separation, Loss, Grief, and Growth – Mozart in 1778, Piano Sonata in A Minor, K. 310." In Melodies of the Mind, 74–95. Routledge, 2012. http://dx.doi.org/10.4324/9780203078631-15.

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Conference papers on the topic "Mozart K"

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Fratila, Mariana. "ANALYTICAL STUDY FROM THE PERSPECTIVE OF MOTIVIC UNITY IN MOZART PIANO SONATA K. 545." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.028.

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Iborra Pallarés, Vicente, and Francisco Zaragoza Saura. "Altea Urban Project: An academic approach to the transformation of a coastal Spanish touristic city based on the improvement of the public space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5990.

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Vicente Iborra Pallarés¹, Francisco Zaragoza Saura2 ¹Building Sciences and Urbanism Department. University of Alicante. Alicante. Politécnica IV, módulo III, 1ª planta. Carretera de San Vicente del Raspeig s/n. 03690 San Vicente del Raspeig ²Concejalía de Urbanismo, Ayuntamiento de Altea. Plaza José María Planelles, 1. 03590 Altea E-mail: vicente.iborra@ua.es, zaragozasaura@gmail.com Keywords (3-5): Public space, historical urban evolution, tourism phenomena, urbanistic project, educational experience Conference topics and scale: City transformations The town of Altea (Alicante, Spain) has an important urban center that has historically been characterized by two contrasting situations: on one hand, the settlements located on the seaside elevations (Bellaguarda and the Renaissance Bastion) linked to the agricultural uses of the fertile valleys of the rivers Algar and els Arcs, and on the other hand the coastal developments, originally fishery, but nowadays with touristic uses on the maritime front. All these elements configure an urban nucleus that, due to its urban, architectural and landscape qualities, gives rise to one of the main tourist attractions of the region. However, the area described nowadays presents an important problem related to the use and habitability of public space, which is invaded by the presence of the private vehicle, even along the seaside, due to its touristic relevance. This article presents the results of an academic experience developed to study different possibilities of urban transformations for the municipality of Altea, taking as a project site the urban vacuum still conserved between the two situations previously described: the historical areas on the coastal elevations (Dalt) and new urban developments parallel to the seaside (Baix). This academic activity, performed by nearly 50 students from the University of Alicante, was developed in the context of the design course Urbanism 5 during the academic year 2015-16, thanks to the agreement signed between the Municipality of Altea and the University of Alicante. References (100 words) Busquets, J. and Correa, F. (2006) Cities X lines: a new lens for the Urbanistic Project (Harvard University Graduate School of Design, Cambridge). Europan Europe (2016) Project and processes (http://www.europan-europe.eu/en/project-and-processes/) accessed January-May 2016. Fernández Per, A. and Mozas, J. (2010) Strategy public (a+t ediciones, Vitoria-Gasteiz). Gehl, J. (2006) La humanización del espacio urbano: la vida social entre los edificios (Reverté, Barcelona). Koolhaas, R. (1995) S, M, L, XL (The Monacelli Press, New York). Lynch, K. (1960) The Image of the City (The Massachusetts Institute of Technology Press, Cambridge). Rebois, D. (ed.) (2014) Europan 12 results. The adaptable city /1 (Europan Europe, Paris).
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