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Relevant bibliographies by topics / Mozart K. 452

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Academic literature on the topic 'Mozart K. 452'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Mozart K. 452"

1

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.

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Giardina, Adriano. "Vers le style d’exécution « mainstream » des concertos pour piano de Mozart: l’enregistrement Columbia du Concerto en Sol majeur, K. 453, par Ernst von Dohnányi." Studia Musicologica 58, no. 2 (2017): 197–224. http://dx.doi.org/10.1556/6.2017.58.2.4.

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The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest

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3

Roth, Edward A., and Kenneth H. Smith. "The Mozart Effect: Evidence for the Arousal Hypothesis." Perceptual and Motor Skills 107, no. 2 (2008): 396–402. http://dx.doi.org/10.2466/pms.107.2.396-402.

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This study investigated the effect of music listening for performance on a 25-question portion of the analytical section of the Graduate Record Exam by 72 undergraduate students ( M age 21.9 yr.). Five levels of an auditor condition were based on Mozart Piano Sonata No. 3 (K. 281), Movement I (Allegro); a rhythm excerpt; a melody excerpt; traffic sounds; and silence. Participants were randomly assigned to one of the stimuli. After a 5-min., 43-sec. (length of the first Allegro movement) listening period, participants answered the questions. Analysis indicated participants achieved significantl

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4

Marsden, Alan A. "A Study of Cognitive Demands in Listening to Mozart's Quintet for Piano and Wind Instruments, K.452." Psychology of Music 15, no. 1 (1987): 30–57. http://dx.doi.org/10.1177/0305735687151004.

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Wolf, Eugene K. "The Rediscovered Autograph of Mozart's Fantasy and Sonata in C Minor, K. 475/457." Journal of Musicology 10, no. 1 (1992): 3–47. http://dx.doi.org/10.2307/763559.

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Wolf, Eugene K. "The Rediscovered Autograph of Mozart's Fantasy and Sonata in C Minor, K. 475/457." Journal of Musicology 10, no. 1 (1992): 3–47. http://dx.doi.org/10.1525/jm.1992.10.1.03a00010.

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7

McClary, Susan. "A Musical Dialectic from the Enlightenment: Mozart's "Piano Concerto in G Major, K. 453", Movement 2." Cultural Critique, no. 4 (1986): 129. http://dx.doi.org/10.2307/1354338.

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8

Knyt, Erinn E. ""How I Compose": Ferruccio Busoni's Views about Invention, Quotation, and the Compositional Process." Journal of Musicology 27, no. 2 (2010): 224–64. http://dx.doi.org/10.1525/jm.2010.27.2.224.

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An anecdote circulating among pupils of Egon Petri (1881––1962), a protégé of Ferruccio Busoni (1866––1924), was the story Petri told of how on more than one occasion Busoni's wife was mistakenly introduced as "Mrs. Bach-Busoni." Whether fact or fiction, this social faux pas illustrates how closely Busoni's name has been associated with the names of composers whose works he arranged. Despite his prolific compositional career, he is remembered more as a transcriber and arranger than as a composer of original works. His practice of arranging others' works also affected his own compositions, whic

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Dissertations / Theses on the topic "Mozart K. 452"

1

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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Bélanger, Anne-Marie. "Les personnages narratologiques du 1er mouvement de la sonate pour piano K.457 de Mozart : une démarche de recherche-création." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/31907.

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De nombreux préjugés entourant les sonates pour piano de Mozart, notamment leur trop grande simplicité, font en sorte qu’elles ne font pas partie du répertoire de prédilection (Newman 1983). De manière générale, les problèmes d’interprétation reliés à la musique de Mozart ont souvent été relevés (Badura-Skoda 1980; Levin 1992; Ogata 2012) et sa musique instrumentale a fait l’objet d’analyses comparatives avec sa musique vocale (Chantavoine 1948; Keefe 2001; Klorman, 2013). Plus précisément, Jones (1985) compare les sonates pour piano de Mozart avec ses opéras, mais ne suggère pas un renouvelle

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3

Wu, Meng-hua, and 吳孟樺. "A Study on the Cadenzas from the First Movements of the Mozart Piano Concerti, K. 414, K. 453 and K. 456." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/28255151800909058324.

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碩士<br>國立中山大學<br>音樂學系研究所<br>103<br>The term “ Cadenza ” first emerged in the 16th century. It evolved through the Renaissance, Baroque, and the early Classical period. It gradually refined from embellishment of the penultimate note before cadence into a section with complete structure among phrases, harmony and tonalities and finally established its own characteristic. As a representative musician and a master of improvisation in the Classical period, Wolfgang Amadeus Mozart’s Cadenza presented a special structure and techniques of his own. This article reviewed extensively the treatises by thr

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Fei-Shiuan, Chi, and 紀妃璇. "Analytical Study of Piano Fantasia K.475 and Sonata K.457 of Mozart." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/d7yve9.

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碩士<br>中國文化大學<br>音樂學系碩士班西洋音樂組<br>98<br>This study will focus on W. A. Mozart’s Piano Fantasia K.475 and Sonata K.457. It consists of five chapters. The first chapter will introduce the motives, scope and methods for the research of Mozart’s Fantasia K.475 and Sonata K.457. The second chapter will focus on the background and music style of Mozart’s Fantasia K.475 and Sonata K.457. The third chapter will analyze its harmonic and tonal structure. It will provide the theoretical foundation for the performance of interpretation. The fourth chapter would analyze Sonata K.457. This analysis will follo

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5

Moylan, Andrew L. "Venerable Style, Form, and the Avant-Garde in Mozart’s Minor Key Piano Sonatas K. 310 and K. 457: Topic and Structure." 2014. https://scholarworks.umass.edu/masters_theses_2/35.

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Although the topoi and elements of what has been described as the “Venerable Style” (V.S.) are found in many places in Mozart’s solo keyboard sonatas, the obsessive juxtaposition of these elements against brilliant, concerted, Empfindsamer Stil, and Sturm und Drang topoi can be shown to define the first and third movements of his minor key piano sonatas K.310 and K.457. This thesis will investigate using the theoretical tools developed by a range of Topic Theory authors such as Ratner (1980,) Allanbrook (1983,) Hatten (2004,) and Monelle (2000, 2006,) a newly developed analytical concept known

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Chen, Ying-Fang, and 陳盈方. "An Analysis and Interpretation of Mozart's Piano Variation in G major, K.455 and Haydn's Piano Variation in f minor, Hob. XVII: 6." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/bnn5tv.

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Books on the topic "Mozart K. 452"

1

Music Minus One Bassoon: Mozart Piano Quintet in Eb Major, K.452. Music Minus One, 1999.

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Amadeus, Mozart Wolfgang. Mozart Piano Concerto #5 (K.450) (Kalmus Edition). Alfred Publishing Company, 1985.

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Book chapters on the topic "Mozart K. 452"

1

"Piano concerto in D major, K.451." In Mozart's Piano Concertos. Routledge, 2017. http://dx.doi.org/10.4324/9781315091037-18.

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"Piano concerto in G major, K.453." In Mozart's Piano Concertos. Routledge, 2017. http://dx.doi.org/10.4324/9781315091037-19.

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"Piano concerto in F major, K.459." In Mozart's Piano Concertos. Routledge, 2017. http://dx.doi.org/10.4324/9781315091037-21.

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4

"Piano concerto in B flat major, K.450." In Mozart's Piano Concertos. Routledge, 2017. http://dx.doi.org/10.4324/9781315091037-17.

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"Piano concerto in B flat major, K.456." In Mozart's Piano Concertos. Routledge, 2017. http://dx.doi.org/10.4324/9781315091037-20.

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6

"Fantasia and Sonata in C minor, K.475 and 457." In Mozart's Piano Sonatas. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511612121.008.

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