Dissertations / Theses on the topic 'Mozart K'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Mozart K.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
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.
Full textSmith, 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.
Full textAnsved, 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.
Full textExamenskonsert
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
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/.
Full textTitle 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).
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.
Full textWildey, 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.
Full textRhee, 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.
Full textZajkowski, 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.
Full textLara, 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.
Full textThis 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.
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.
Full textO 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.
Renteria, Lisa M. "The Bassoon's Essential Role in the Evolution of the Wind Octet: The Serenade in Eb Major K. 375 by Mozart and the Octet for Winds by Stravinsky." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194443.
Full textMichal, Joshua Paul. "The Expressive Phrasing Concepts of Marcel Tabuteau Applied to Concerto in Eb Major for Horn and Orchestra, K. 417 by W.A. Mozart." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406050637.
Full textPotts, 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/.
Full textDalla, Costa Fábio Cirilo Santos. "O processo de transcrição da parte da harpa para violão de sete cordas do concerto em dó maior K299 para flauta, harpa e orquestra de W.A. Mozart." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/32626.
Full textThe present work deals with the Concerto in C Major for Flute and Harp K299 by Wolfgang Amadeus Mozart. The main objective was the transcription of the Harp part of the concerto for a seven-string guitar. Through comparative analysis of transcriptions made by the composer himself, along with further reading, the necessary procedures to accomplish this transcription were identified and classified. They are: range compression, suppression of notes, change in the disposition of notes and the transference of accompaniment material from the harp part to the orchestra. Such procedures agree with an idiomatic and musical adaptation for the target instrument, while remaining accurate to the original work. It was concluded that the transcription of a work must be based on an applied methodology that define the guidelines and adapt the original compositional idiom to the personal choices of the transcriber.
Somersalo, Antonia. "Friheten i att spela utantill : Att nå musikalisk frihet genom utantillspel med hjälp av Mozarts violinkonsert i A-dur (K. 219), sats I." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3950.
Full textInspelning av första satsen ur Mozarts violinkonsert i A-dur på Kungliga Musikhögskolan.
Antonia Somersalo, violin
Erik Lanninger, piano
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.
Full textMozart’s piano sonatas suffer from prejudices, such as unnecessary difficulties, which lead pianists to set this music aside(Newman 1983). Mozart’s performance practice is often discussed (Badura-Skoda 1980; Levin 1992; Ogata 2012) and his instrumental music is the purpose of many comparative analysiswith his vocal music (Chantavoine 1948; Keefe 2001; Klorman, 2013). More precisely, Jones’ (1985) compares Mozart’s piano sonatas with his operas, but he does not propose new interpretation tools. Moreover, Irving suggests that Mozart’s piano sonata K.457 shows an operatic language (1997 : 100): «The material is of narrative, even dramatic kind. This is evident from the beginning, which presents a dialogue suggestive of two radically conflicting characters, [...]» (Irving 2010: 99).Thus, this work will be regarded as a “story” following Grabócz’s definition (2009), whic his, sounds’continuity taking the form of a plot . How could narratology give a new understanding of the writing strategies specific to the first movement of this sonata? How could it influence our influence our own piano playing? We will first compare writing strategies related to the opera’s characters appearing at the same time in some of Mozart’soperas(Idomeneo 1781, Die Entführung aus demSerail 1782, Le Nozze di Figaro 1786, Don Giovanni 1789, Die Zauberflöte 1791) and in this movement. These similarities will then be associated with Grabócz’s “figures dynamiques de la mise en intrigue”, which are “suspense” and “curiosity”. Finally, we will take a look at how these analyses influencedour interpretation of this work, and how our creative process impacted our researches.
Chiang, I.-Chun. "A Historical Technique from a Modern Perspective: The Transcription Scordatura in Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169540.
Full textGeidel, Stanley M. "Mozart's Trio in E-flat, K. 498, for piano, clarinet, and viola : an analytical examination of melodic relationships, a comparative study of current editions, and an investigation of contemporary performance practices." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722774.
Full textSchool of Music
Kim, Jung Won. "An analysis of J.S. Bach’s Partita in B flat major, BWV 825; W.A. Mozart’s Piano Sonata in D major, K.576; F. Chopin’s Mazurkas, Opus 17; A. Khachaturian’s Toccata: theoretical, stylistic, and historical background." Kansas State University, 2015. http://hdl.handle.net/2097/20101.
Full textMusic, Theatre, and Dance
Slawomir Dobrzanski
This Master’s report analyzes four piano compositions performed on April 9, 2015 at the author’s Master’s recital. The works under consideration are Johann Sebastian Bach’s Partita in B flat major, BWV 825; Wolfgang Amadeus Mozart’s Piano Sonata in D major, K.576; Fryderyk Chopin’s Four Mazurkas, Opus 17; and Aram Khachaturian’s Toccata. This analysis includes the discussion of the theoretical, stylistic, and historical background of each composition.
Leong, Jeremy. "A Comparative Analysis of the "Dies Irae" in Mozart's Requiem and Cherubini's Requiem in D Minor." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278634/.
Full textMašlaňová, Magdaléna. "Přínos Leopolda Mozarta k vývoji houslové techniky." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79389.
Full textCavett-Dunsby, Esther Caroline. "Mozart's variations reconsidered: four case studies (K.613, K.501, and the finales of K.421 (417b), and K.491)." Thesis, King's College London (University of London), 1985. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.744784.
Full textSommer, Maralyn T., and Maralyn T. Sommer. "Pedagogical Approaches to Mozart's Conerto In Bb Major, K. 191, First Movement." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/626213.
Full textAlonso, Orlay. "Illuminated Scores and the Architectural Design of Musical Form." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429802524.
Full textAyres, Michelle Elizabeth. "Crossover Genres, Syncretic Form| Understanding Mozart's Concert Aria "Ch'io mi scordi di te," K. 505, as a Link between Piano Concerto and Opera." Thesis, The University of North Carolina at Greensboro, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977683.
Full textMozart’s concert aria Ch’io mi scordi di te K. 505 bridges the genres of piano concerto and opera seria aria by combining elements of sonata rondo, sonata concerto, and ritornello. Mozart’s experimentation with Classical form emerging in the late eighteenth-century is characterized by unique transitions and retransitions, surprising modulations to secondary keys, and polarization of tonic and dominant tonalities. K. 505, a two-tempo rondo for soprano with piano obbligato, is the only one of its type in Mozart’s oeuvre and shares many of the same ritornello form and dialogue between the soloist and the orchestra found in Mozart’s piano concerti. Composed as a duet for himself, an accomplished pianist, and his close friend Nancy Storace, a highly regarded opera singer, as part of her farewell concert in Vienna, K. 505 highlights their virtuosic abilities celebrating artistic kinship.
After establishing the historic contexts for its composition, this study applies the theories and models developed by James Hepokoski and Warren Darcy (2006), Martha Feldman and Rosa Cafiero (1993), John Irving (2003), and Simon P. Keefe (2001) in order to analyze K. 505 as a work in a composite genre utilizing compositional techniques later associated with more conventional applications of sonata-form. K. 505 is one of several compositions rooted in Mozart’s tonally adventurous Idomeneo (1781/1786). An analytical comparison of K. 505 with related works—the concert aria Non piu tutto ascoltai…non temer amato bene K. 490 for soprano and violin obbligato, a replacement aria in the revised Idomeneo (1786) and the Viennese piano concerto no. 25 in C Major K. 503 (1786) demonstrate how Mozart’s syncretic genres played a part in the creation and expansion of the maturing conventions of sonata-form in the late eighteenth-century.
Lo, Chih Yu, and 羅志瑜. "Mozart Symphony No.39 K.543 Conducting Interpretation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/73239107716320613546.
Full text國立臺灣藝術大學
音樂學系
101
Wolfgang Amadeus Mozart (1756 - 1791) in history to be called one of the all talented musicians. His works in many forms, including symphony total of 50, the complete works included in the 41, almost all outstanding works. His youth life was tough, but the impression of the public about the music of Mozart, in general, are melodic obvious, lively and cheerful colors. Mozart's Symphony No. 39, K. 543 is Mozart in the poor, in order to be able to live, to get rid of the predicament made, but the genre unaffected, still cheerful, lively, pleasing not completely feel he is in poverty dilemma of the present. In this essay, Mozart's Symphony No. 39 K. 543's conducting interpretation as the focus of this research, reference books at home and abroad, academic websites, as research data based on narrative Mozart's era background in. Moreover, analysis of the symphony, the last clearly documented personal conducting and interpretation of the content.
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.
Full text中國文化大學
音樂學系碩士班西洋音樂組
98
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 follow the same procedure as the third chapter. The fifth chapter will conclude with the result of my investigation into the background, music style, analysis, interpretation and performance.
Liao, Pin-Fen, and 廖品棻. "The Analysis and Interpretation ofWolfgang Amadeus Mozart’ s《Fantasy》K.396、K.397 and K.475." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3x9sda.
Full text國立臺北教育大學
音樂學系碩士班
104
Fantasy can be traced back to the manuscript of lute from Italy. It has same function as prelude and ricercare, which represents imitation. In music dictionary, fantasy implies a freely structure and full of fantasy form. As time goes by, it becomes an independent music form allowed composers display their ability of improvisation. In this article, I will discuss three piano fantasy from Mozart: c minor, K.396, d minor, K.397 and c minor, K.479. This article will divided into six chapter. First, I will explain my research motivation, purpose and methods, also, introduce the history and development of Fantasy. In second chapter, I will study the history and musical style of Mozart, especially in Piano pieces. From chapter three to five, I will analyse Piano Fantasy in c minor (K.396), d minor (K.397) and c minor (K.475) separately by their texture, such as their background, form, materials, harmony, rhythm, dynamic and the way of interpretation. In sixth chapter, I will conclude a comparison of these three pieces and finally make my conclusion.
Chang, Hsin-Hsin, and 張馨心. "Research and Analysis of Mozart ConcertoFor Horn No.3 k.447." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/r2c886.
Full textWu, 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.
Full text國立中山大學
音樂學系研究所
103
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 three Classical-period musicians Johann Joachim Quantz, Carl Philipp Emanuel Bach, and Daniel Gottlob Türk then summarized the three-parts-section composing approach of Mozart’s Cadenza and discussed the applications in harmony, length, modulation and materials by citing Mozart’s three piano concerti, K414, K453 and K456. These three concerti were composed during Mozart''s most matured and representative Vienna period. This article also explored the change of Mozart from being an employed court musician to a free-lance virtuoso and the metamorphosis of his audience from aristrocrat to middle and upper-class populace. The influence and impact of rising of amateur musicians on Mozart''s composing works are also examined in this paper.
Wang, Ying-siou, and 王盈琇. "The analysis and the influence of Mozart''s Clarinet Quintet K. V. 581." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/64338399079036196626.
Full text國立中山大學
音樂學系研究所
94
W. A. Mozart‘s compositions for clarinet played a significant role in the music history. Many scholars took their attention to Concerto in A major for Clarinet and Orchestra. However, the importance of Clarinet Quintet for Clarinet and String Quartet is unneglectable. According to the literature, the development of clarinet in the musical history is no earlier than the seventeenth century. Clarinet had a variety of sizes and tonalities in the beginning of development. Mozart composed lots of brilliant compositions for the combination with the clarinet in A. A. Stadler, a clarinetist, had excellent skill in playing clarinet. He cooperated with T. Lotz, an instrumental maker, extended the compass of basset clarinet lower to C. Inspired by Stadler and the invented instrument, Mozart wrote Clarinet Quintet, K. V. 581 and Clarinet Concerto, K. V. 622 for the basset clarinet. Mozart’s Clarinet Quintet, K. V. 581 is undeniably important to the history of chamber music. Clarinet Quintet, K. V. 581 is composed in four movements. Harmony, form, texture, idiom and expression in every movement were discussed in Chapter3. The setting of clarinet and string quartet was also an innovation for the chamber music in his time. This setting of Clarinet Quintet became one of the standard settings which several composers tried to compose music for. Among the works, J. Brahms’ Clarinet Quintet, op. 115 and M. Reger’s Clarinet Quintet, op. 146 have gained the same respect as Mozart’s Clarinet Quintet, K. V. 581. These works have several similarities. For example, they were all created in one or two years before the composers’ death, and the inspiration for creating the music all came from the cooperation with the outstanding performers …etc. To sum up, Mozart’s Clarinet Quintet, K. V. 581 is important and influential to the history of chamber music.
Wuchner, Emily Michelle. "AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551." 2011. http://trace.tennessee.edu/utk_gradthes/925.
Full textLin, Hsin-Ping, and 林心平. "An Analysis and Performing Interpretation of Mozart Sonata for Piano and Violin K. 301." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/87nwxj.
Full textYeh, Chia-Chun, and 葉家君. "The Analysis and Interpretation of "Concerto for flute No.2" K.314 by Mozart." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/65753218650298446408.
Full text東吳大學
音樂學系
100
Wolfgang Amadeus Mozart (1756-1791) was one of the most influential composers of the Classical era. His Flute Concerto No.1 (K.313) and Flute Concerto No.2 (K.314), composed more than two centuries ago, play an important role in the rich repertoire of the flute. Among all the other compositions in the flute repertoire of the Classical era, Flute Concerto No.2 could be considered as one of the most mentioned and discussed pieces. With the focus of my thesis centered on Mozart's Flute Concerto No.2, I hope I would be able to provide thorough research on the piece through the study of related documents and biography, compositional style, compositional technique of the composer, and the application of materials and harmonic language in application to performance execution. This thesis will be divided into 4 chapters: Chapter 1 outlines the purpose, motivation, subject, scope, method and related documents; chapter 2 presents the biography, compositional style and background; chapter 3 begins with an introduction of the Classical concertos as a genre, followed by the formal structure of the three movements, along with discussing the compositional technique, application of the materials, harmonic language, and the connection between movements; chapter 4, based on the analysis provided in chapter 3, further discusses the interpretation of the music.
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.
Full textLee, Jeewon. "The First-Movement Cadenzas for Mozart Piano Concerto No. 20 in D Minor, K. 466." Thesis, 2012. http://hdl.handle.net/1911/71666.
Full textHsieh, Hsin-ying, and 謝馨瑩. "A Study of Wolfgang Amadeus Mozart’ s“Rondo in D major, K.485 No.1”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/00374302416206412134.
Full text國立臺南大學
音樂學系教學碩士班
99
Wolfgang Amadeus Mozart(1756-1791) was an eighteenth century composer in the Classic period. In his early age, he played all over the Europe so that Mozart was influenced by different styles of music. He then took these different music styles into a varied interaction. The “ Rondo in D major, K.485 No.1” was completed in 1786. Although the work is short, it fully expresses the characteristics of emphasizing both the playing skills and the music itself. The purpose of this thesis is to study Mazart’s “Rondo in D major, K.485 No.1”. At first, the study examines the definition of Rondo, its historic development, forms, and its features in different periods. Secondly, the study explores the relativity between Mozart’s life and his piano musical style, and to compare the features of his three Rondos and the musical styles. Finally, the author discusses the background and the musical structures on the work. An analysis of this work in harmony, tonality and rhythm is made. The author probes into the playing skills of the work, which include tempo, dynamics, ornaments, legato, staccato and pedaling to provide an appropriate performing interpretation. The research concludes the Mazart’s “Rondo in D major, K.485 No.1” in that the piece is not a formal but varied Sonata-Rondo. With constant appear of the principal phrases, the Rondo performs in cheerful style. For the composing teacnique to make the cheerful melody, a great deal of appoggiatura was used. Furthermore, this piece includes varied and colorful styles by imitating the concerto grosso method and repeating the same part of melody twice. A good interpretation of the work must include moderate tempo, dynamics, a smooth-flowing and clear touch with less pedal.
Chun, Kuo Yi, and 郭怡君. "The Analysis and Performance of Wolfgang Amadeus Mozart: Concerto Rondo in Eb Major(K. 371)." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/64615057986841426703.
Full textmeng-rong, Cai, and 蔡孟蓉. "THE Analysis and Interpretation of Wolfgang Amadeus Mozart: Flute Concerto No. 2 in D Major, K. 314." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/45501353111310130217.
Full textLin, Yin-Hsin, and 林因欣. "The Study of Mozart''s Concerto in D Major for Violin and Orchestra No.4 (K.218)." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/64283982393446456722.
Full text國立中山大學
音樂學系研究所
91
Wolfgang Amadeus Mozart (1756~1791) is one of the most important composers in the Classic period. In his early age, he used to be a virtuoso, played across Europe such as England, France, and Italy, etc. Therefore Mozart was influenced by different styles of music. He then took these different music styles into a refined and harmonious integration. Mozart not only had great dedication in operas, but also in the sonata form with “double exposition” which he used in the concertos. We can see this progressing from the piano concertos that Mozart composed through his whole life. Although Mozart’s violin concertos belong to his early work, they are the bridge between the concertos with ritornello form in the Baroque period and the sonata form with double exposition in the Classic period. In addition to the preface, this thesis consists of three chapters. The First Chapter mainly summarizes the life of Mozart, dividing into three periods—the early period (1756~1779), Salzburg period (1773~1782), and Vienna period (1782~1791). The Second Chapter discusses the background of the Mozart’s Violin Concerto No. 4, including the Mozart as a violinist, the interaction between Mozart and other violinists in his time , and the differences between the form of this violin concerto, ritornello form and the sonata form with ”double exposition”. The Third Chapter concentrates on the analysis of the concerto, and the tempo, dynamics, fingerings, and bowings, and the way of playing the decorative notes. In this article, the cadenza written by Joachim was adopted. The writer of this thesis sincerely hopes this article can make some attribution to the persons who are interested in Mozart’s music and play the Mozart’s violin concertos.
MA, MO-FEI, and 馬莫非. "The Analysis and Interpretation of concerto for Horn in E flat major k.495 by Wolfgang Amadeus Mozart." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/fa55ju.
Full text國立臺灣藝術大學
音樂學系
105
The main research purpose of this study is to discuss the interpretation on performing Wolfgang Amadeus Mozart’s “Horn Concerto in E-flat major, K.495” in depth. First, the essay discusses the growing background (family background) of Mozart and his composing methods, then divide his career of music composition into three periods: travel (1756-1773), Salzburg (1773-1781) , Vienna (1781-1791). The present study particularises the differences of Mozart’s composing techniques in each period. Afterwards, it continues discussing the development of horn from early hunting horn to contemporary Rotary Valve in nineteenth century, especially focusing on the different structures under historical environments. The essay further introduces the details of horn in Classical Period of Mozart, then study the creating background of this work. After analysing the structure of the music, the essay provides methods for understanding the styles of the work and the motives in each movement. The final part of this essay includes musical interpretation based on the result of above studies as well as individual experience.
HSIAO, WEN-LI, and 蕭文莉. "An Analysis and Interpretation of the Horn Quintet in E flat major K.407 by Wolfgang Amadeus Mozart." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/x5rdrt.
Full text國立臺中教育大學
音樂學系碩士班
105
Abstract Wolfgang Amadeus Mozart (1756-1791) is a prominent composer in the Classical Period. He composed more than 600 works which have great influence on and make tremendous contribution to subsequent Western music. In addition, we can find out that his concerns about the horn, which is of much importance in his work. In 1782, Mozart wrote Horn Quintet K.407 for a good friend, Joseph Iganz Leutgeb (1732-1811), a prominent horn soloist at the same time. Most of it, this work is his first horn work during the time that he lived in Vienna, and its skills are more difficult than concertos. Although the composition of this work is quintet, yet the horn plays an important role in it. Moreover, this work has some influence on his horn concertos afterwards. This thesis focuses on the study of Mozart Horn Quintet K. 407 which is divided into five chapters. The first chapter is the preface, mainly about the research motive, purpose, range and methodology. The second chapter introduces the background of Mozart Horn Quintet K. 407. Also, it includes the composer's biography, the development process of the horn, and this work's background through literature reviews. The third chapter is the analysis of Mozart Horn Quintet K. 407, by means of the structure of music to illustrate the composer’s framework. The fourth chapter describes the playing skills and the music interpretation of Mozart Horn Quintet K. 407. Then, the performing technique and the interpretation of the work will be further discussed through researcher's actual performing experience. Last, the fifth chapter is about the suggestions as well as conclusions of the whole study. Keywords：Wolfgang Amadeus Mozart, Horn, Quintet, K.407, Joseph Iganz Leutgeb
張菀芠. "The Analysis and Interpretation of Flute Concerto No. 1 in G Major, K. 313 by Wolfgang Amadeus Mozart." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/76173634176598363680.
Full text輔仁大學
音樂學系
105
Wolfgang Amadeus Mozart (1756-1791) was a composer with genius among many others in the classical era. He showed his amazing talents of music since he was a child, so his father brought him to travel and gave performances around Europe. Having too much pressure from performances and busy running for a long time had bad impact on his health, which caused his life merely thirty-five years. Although the short live he had, Mozart composed more than six hundreds works. Included operas, symphonies, concertos, sonatas, chamber musics and so on. This thesis will confer “ Flute Concerto No.1 in G Major, K.313 ” Mozart was commissioned to compose this work by a flute playing lover named Ferdinand De Jean (1731－1797) who was introduced by a flute player named Johann Baptist Wendling (1720-1797) while Mozart go Mannheim with his mother. At the time Mozart composed the music, the structure of flute wasn't as complete as modern flute. Even though, Mozart conquered the limits of instruments and sprang the feature of flute. As a result, this work become a work can not miss so far. Through this thesis, I confer Mozart 's growth environment, upbringing and the creative background of « Flute Concerto No.1 in G Major, K.313 » . I also analyzed the work so as to know how to interpret the composition appropriately which made me deeply understand the work and have progressive ideas about interpret it.
Liu, Min-hsun, and 劉閔薰. "The Interpretation and Research of "Concerto in C major for Oboe and Orchestra k.314" by Wolfgang Amadeus Mozart." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/75629393043798770392.
Full text東吳大學
音樂學系
93
No matter opera, symphony or chamber music, the works of Wolfgang Amadeus Mozart (1756-1791) disclosed his unique appreciation to the sound characters of wind instruments. Mozart’s works for piano outnumbered those for wind instruments. The reason is apparent that Mozart himself is a pianist. As Mozart really knew the character of piano, he could write a lot of master pieces. Though the wind works were less in number, to so may oboist, the musical skills of his work is paramount. As we know, one of Mozart’s work , concerto in D major for flute, was almost identical to the concerto in C major for Oboe, which I am going to discuss.Because the original manuscript of oboe concerto in C major did not hand down, the similarity between the two pieces is easily confusing. The condition motivates me to research in depth of the Mozart’s oboe concerto in C major, K. 314. This article will discuss Mozart’s oboe concerto in C major, K. 314 from three aspects, especially emphasizing on the composition analysis and musical interpretation. I described in several components according to the composition structures in the analysis aspect. On the other hand, the musical interpretation includes skills, musical tones. The musical score adopts the version of Germany: Bärenreiter and the solo part was from London:Boosey and Hawks. The Chinese of musician’s name and musical nouns come from “Musical noun” of The National Institute for Compilation and Translation. Through more thorough discussion of the historical background and compositional analysis, I hope we could understand and be more close to the original idea of Mozart’s music.
Sung, Hsiao-yuan, and 宋曉爰. "The Analysis and Interpretation of Concerto for Flute No.1 in G Major, K. 313 by Wolfgang Amadeus Mozart." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/44317020637952297654.
Full text東吳大學
音樂學系
103
Wolfgang Amadeus Mozart (1756-91) was an influential Austrian composer who shares the fame of three great geniuses with Franz Joseph Haydn (1732-1809) and Ludwig van Beethoven (1770-1827) in the late eighteenth century, the Classical period of Western music. Around this time, the style of Classical concertos had reached its mature stage. Even though Mozart did not compose many works for flute, the existing works are essential repertoire for any flutists for their light and fresh music styles, allowing the performers to demonstrate the tuneful timbre of woodwind instruments and their nimbly splendid techniques. “The Flute Concerto No.1 in G Major” (K. 313) was a work of Mozart commissioned by a wealthy Dutch amateur flutist, Ferdinand De Jean, in 1777; it was then completed in 1778 and contains three movements as all the classical works that time. The first movement is an allegro in sonata form, which showcases highly skilled performance in terms of grand and colorful musical periods, the change of tonality, the elaboration of the themes and the motifs, and the virtuosic candenza. The next is a lento which makes a contrast to the previous movement with a slow, soft yet broad-ranged melody. Finally, in the third movement, the concerto is completed with a vivid and brisk rondo. Taking this concerto as my major study case, in this thesis, with a well-organized literature review, a part will conduct an in-depth investigation and analysis of the style and the characteristics of this concerto in Classical period. Then, through a detailed analysis of form, I will give an interpretation of Mozart’s musical syntax and the strategy of his style. It is hoped that this thesis will offer an insight into the essence of his works for flute, and provides further references for future performances on Mozart’s works or related researches.
Chan, Yi-chieh, and 詹宜潔. "Research on the Characterization of Blonde in “Die Entführung aus dem Serail” K. 384 by Wolfgang Amadeus Mozart (1756-1791)." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/5k262w.
Full text東吳大學
音樂學系
96
Wolfgang Amadeus Mozart (1756-1791), the Austrian composer in the 18th century, played an extremely important role in the music history. The opera “Die Entführung aus dem Serail” (K. 384), especially, showed us all Mozart’s charming talent. This composition also stood for the mile stone during his years, and became the foundation of his other operas afterwards. In “Die Entführung aus dem Serail”, besides the leading female role Konstanze, there is another one sung by soprano—the maid Blonde, which is mainly studied in this thesis consisted of four chapters. In the first chapter, the lifetime of Mozart is introduced, as well as his overall composition of operas. The opera “Die Entführung aus dem Serail” is studied in the second chapter, including the background of composing, the overview of the leading roles, and the story itself. Blonde the role is discussed in chapter three, and all the details are studied—her character and personality, the role’s feature in this play, and how this person affected others as a whole; following in the same chapter, two arias sung by Blonde are analyzed and interpreted. In chapter four, two different maid roles in Mozart’s other operas are described—Susanna in “Le nozze di Figaro” (K. 492) and Despina in “Così fan tutte” (K. 588); then all these three female roles are studied and compared to get the general ideas of maid roles in Mozart’s operas, and to discuss about the significance of his musical use on this kind of characters.
"Mozart's Salzburg Masses and the Mass in C minor, K. 427." 2008. http://library.cuhk.edu.hk/record=b5896758.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 128-137).
Abstracts in English and Chinese.
LIST OF TABLES --- p.vii
LIST OF MUSICAL EXAMPLES --- p.x
Introduction --- p.1
Chapter Chapter 1. --- Tradition of Church Music in Salzburg before W. A. Mozart --- p.8
Missa Brevis in Salzburg before W. A. Mozart --- p.19
Missa Solemnis in Salzburg before W. A. Mozart --- p.25
Missa Brevis et Solemnis in Salzburg before W. A. Mozart --- p.33
Chapter Chapter 2. --- Mozart´ةs Salzburg Masses --- p.40
Personal and Musical conflicts between Mozart and Colloredo --- p.41
Mozart´ةs Salzburg Masses and Momentary Breakthrough --- p.48
Chapter Chapter 3. --- "Mozart´ةs Mass in C Minor, K. 427" --- p.65
Leopold Mozart´ةs Aesthetic Preferences --- p.69
"Mozart´ةs Mass in C Minor, K. 427: Overview" --- p.83
"Mozart's Mass in C Minor, K. 427: Old Style" --- p.95
"Mozart´ةs Mass in C Minor, K. 427: New Style" --- p.100
Conclusion --- p.119
Appendix
The Latin Text of the Ordinary Movements of the Mass --- p.123
Bibliography --- p.126
Lee, Kun Da, and 李坤達. "The analysis and interpretation of Mozart Concert Arias for tenor─“Per pieta, non ricercate”(K.420) and“Misero！O sogno, o son desto？…Aura che intorno spiri”(K.431)." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/78993291071410762671.
Full text中國文化大學
音樂研究所
91
This thesis is focused on the analysis and interpretation of two Mozart Concert Arias for tenor：“Per pieta , non ricercate”(K.420) and “Misero! o sogno , o son desto?…Aura , che intorno spiri”(K.431). It is divided into five chapters as follows. Chapter 1：Introduction─ includes the motivations , purposes , methods and arias where this research covers. Chapter 2：Subdivides into two parts. The first part is to establish a more appropriate definition of“Concert Arias”.The second part is to distinguish Concert Arias according to different element , in order to increase the readers basic understandings toward this repertoire. Chapter 3：Introducing nine Mozart Concert Arias for tenor one by one , including reflections based on the writer’s own experiences in performing and singing the repertoire. Chapter 4：The main focus of this thesis , containing the research and interpretation of two Mozart Concert Arias for tenor：Analysis of composition , analysis of musical interpretation and comparisons of various recordings of “Per pieta , non ricercate”(K.420) and “Misero! o sogno , o son desto?…Aura , che intorno spiri”(K.431). Chapter 5：Conclusion─The writer compares the above two Mozart Concert Arias for tenor , and briefly illustrates the individual characteristics of these two pieces. Mozart applied the composition philosophy of “Affekte”, and we can find proves in both the music and lyrics through the analysis in chapter 4. I hope the writing of this thesis can benefit performers who wish to interpret this particular music genre.
謝翠玲. "莫札特〈W. A. Mozart〉單簧管協奏曲〈Konzert in A fur Klarinet und Orchester K.622〉之演奏探討." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/48654086814554941523.
Full textScott, Douglas Walter. "Hatten’s theory of musical gesture : an applied logico-deductive analysis of Mozart’s Flute quartet in D, K.285." Diss., 2009. http://hdl.handle.net/10500/6733.
Full textArt History, Visual Arts & Musicology
M. Mus.