Relevant bibliographies by topics / Mozart, Wolfgang Amadeus, 1756-1791

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Academic literature on the topic 'Mozart, Wolfgang Amadeus, 1756-1791'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Mozart, Wolfgang Amadeus, 1756-1791"

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Zhang, DuoHan. "The Aesthetic Exploration and Ideological Implication of Mozart’ s “Jupiter” Symphony." Advances in Education, Humanities and Social Science Research 7, no. 1 (September 22, 2023): 469. http://dx.doi.org/10.56028/aehssr.7.1.469.2023.

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Wolfgang Amadeus Mozart (1756-1791), one of greatest Austrian musicians who was undisputedly considered as the supramundane genius in the history of Western classical music. Mozart’s symphony No. 41 “Jupiter” is his last symphony. This article elaborates that “Jupiter” symphony not only has innovation and superior consciousness, but also has cosmological characteristic through example illustrations and analysis of application of counterpoint or polyphonic writing in the last movement of “Jupiter” symphony. Its composition technique that pursues symmetrical sequence is close to Boethius’s definition of Musica Mundana that it contains numeral, the order, and the supreme harmony of the heaven.
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Franzen, Caspar. "Krankheit und Tod Wolfgang Amadeus Mozarts (1756–1791)." Medizinische Klinik 101, no. 9 (September 2006): 761–72. http://dx.doi.org/10.1007/s00063-006-1105-x.

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Kanat, Ayhan, Elena Romana Gasenzer, and Edmund Neugebauer. "A different aspect of the unexpected death of Mozart at the age of 35 years." CNS Spectrums 24, no. 6 (April 23, 2019): 628–31. http://dx.doi.org/10.1017/s1092852918001736.

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The cause of the early death of Wolfgang Amadeus Mozart (1756–1791) at the age of 35 has been the source of much discussion in the medical community. Investigators attributed to Mozart nearly 150 different medical diagnoses. However, the neurosurgical aspect of the early death of Mozart has yet to be well-analyzed, and this subject was investigated herein. The key words “Mozart” and “Mozart’s death” were searched in PubMed as well as the libraries of universities. The main source was the archive and website of Internationale Stiftung MOZARTEUM/Salzburg (www.mozarteum.at) and the cranium stored in the Internationale Stiftung Mozarteum in Salzburg/Austria. The linear fracture of the cranium is important, since it shows the neurosurgical aspect of the early death of Mozart. Mozart’s disease was most likely a neurotraumatologic one. His fracture likely occurred several months before his death, as evidenced by signs of healing. Intense headaches and declining musical performance in his last year may have been influenced by intracranial hemorrhage induced by the linear fracture. His final disease therefore may have been chronic postconcussion syndrome depending on chronic calcified epidural hematoma.
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Camargo, Carlos Henrique F., and Augusto Bronzini. "Tourette's syndrome in famous musicians." Arquivos de Neuro-Psiquiatria 73, no. 12 (October 6, 2015): 1038–40. http://dx.doi.org/10.1590/0004-282x20150148.

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Tourette's syndrome (TS) is defined as a disorder characterized by multiple motor tics and at least one vocal tic that have lasted for not less than one year. It is a relatively complex neurobehavioral disorder, in which patients may present with coexistent attention deficit hyperactivity disorder, obsessive-compulsive disorder or other behavioral comorbidities. The musical genius Wolfgang Amadeus Mozart (1756-1791) and the rock star Kurt Cobain (1967-1994) may both have suffered from TS, and some contemporary musicians have had their clinical condition confirmed as TS. Our hypothetical diagnosis of TS in Mozart and Cobain is based on the presence of tics and psychiatric comorbidities. In contemporary musicians, such as Michael Wolff, Nick Van Bloss and James Durbin, TS has often only been diagnosed after a considerable delay. This delay in diagnosis and the controversies surrounding the clinical case of Mozart show how difficult a confirmatory diagnosis of this complex disease is.
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Zikri, Afdhal. "Analisis Teknik Permainan Bagian Pertama Konserto Oboe dalam C Mayor karya Wolfgang Amadeus Mozart (1756- 1791)." PROMUSIKA 5, no. 1 (April 25, 2017): 25–40. http://dx.doi.org/10.24821/promusika.v5i1.2284.

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Teknik permainan oboe yang terkandung dalam Konserto C Major Oboe karya Mozart memiliki tingkat kesulitan yang tinggi. Teknik-tekniknya, khususnya fingering dan pernapasan tidaklah mudah untuk dicapai kecuali melalui latihan-latihan yang penuh disiplin dalam waktu yang tidak sebentar. Dengan tingkat kesulitan yang tinggi karya ini sering dipakai untuk audisi untuk orkestra yang berkelas internasional. Karya ini dimainkan oleh penulis saat menyelesaikan studi Sarjana di Jurusan Musik ISI Yogyakarta. Melalui penelitian ini penulis mencari pendekatan tekknik permainan dengan mencoba berbagai berbagai kemungkinan musikologis maupun teknis dalam menginterpretasikan karya ini.
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Zanette, Damián H. "Mozart’s Nocturnal Habits Are Disproved by Historical Evidence." Medical Problems of Performing Artists 27, no. 1 (March 1, 2012): 49. http://dx.doi.org/10.21091/mppa.2012.1009.

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In a recent Letter to the Editor, Grant and Pilz propose the hypothesis of a contribution of very low serum 25-hydroxyvitamin D levels to provoke Wolfgang Amadeus Mozart’s death. Mozart died on the 5th of December, 1791, aged 35, probably due to an infection which, very likely, had low vitamin D levels as an important risk factor. According to Grant and Pilz, the lack of vitamin D is to be attributed, in the case of Mozart’s, to insufficient exposure to sunlight, because he “did much of his composing at night, so would have slept during much of the day.” Historical evidence, however, disproves the nocturnal habits of the Austrian composer.
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BASTÍAS G., EDUARDO. "W.A. Mozart ¿murió de una carditis reumática?" Revista Chilena de Reumatología 35, no. 4 (July 24, 2023): 161–64. http://dx.doi.org/10.58450/rcr.v35i4.56.

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Wolfgang Amadeus Mozart murió en Viena el 5 de diciembre de 1791, dos me­ses antes de cumplir 36 años. Sus restos fueron sepultados con otros cadáveres. El certificado de defunción consignó como causa de muerte “Fiebre miliar,” sin mayores precisiones. Se ha postulado como causa de muerte un envenenamien­to, pero no existen evidencias para precisar la naturaleza de su enfermedad, lo que ha dado origen a diversas hipótesis diagnósticas. Por los testimonios dispo­nibles, es razonable postular una carditis por fiebre reumática aguda como causa de muerte.
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Solares Altamirano, Blanca. "Los itinerarios del alma en La flauta mágica de Mozart. Hermenéutica de la iniciación." Interpretatio. Revista de hermenéutica 4, no. 2 (September 10, 2019): 13. http://dx.doi.org/10.19130/irh.4.2.2019.150.

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La flauta mágica de Wolfgang Amadeus Mozart fue representada por vez primera en Viena en 1791. Es un lugar común asociar esta ópera con los misterios egipcios y la masonería, frente a la que si bien Mozart simpatizó mantuvo una afectuosa distancia. La flauta mágica es, más bien, un haz de enigmas, que incluso pondrá en cuestión los principios excesivamente masculinos de los francmasones. El presente ensayo, en un intento de mitoanálisis, hace énfasis en el mitologema de la iniciación, clave existencial de la aventura humana que echa sus raíces en el Mito y que es recreada aquí a través del lenguaje quintaesenciado de la música.
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Huguelet, P., and N. Perroud. "L'apport d'une classification internationale des troubles mentaux dans la compréhension de la psychopathologie de Wolfgang Amadeus Mozart (1756–1791)." Annales Médico-psychologiques, revue psychiatrique 163, no. 7 (September 2005): 549–60. http://dx.doi.org/10.1016/j.amp.2004.06.018.

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Tråvén, Marianne. "Mozarts musikaliska retorik: en studie av musikaliskt avbildande element i Mozarts operor." Sjuttonhundratal 8 (October 1, 2011): 209. http://dx.doi.org/10.7557/4.2399.

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<p>This article investigates and describes the components of Wolfgang Amadeus Mozart's musical rhetoric as they are visible in his operas from <em>Zaide</em> (1780) to <em>Die Zauberfl&ouml;te</em> (1791). The relationship between verbal text and musical text is in these operas especially intimate, and Mozart used the musical text to illustrate, paint and comment the verbal text. Mozart's views on the compositional process, visible in his letters, rested on the notion that music should portray the characters, emotional content and action of the play, all within the harmonic laws of the time. To achieve that he used a combination of traditional musical rhetoric figures, conventions understood by his contemporaries, paralinguistic elements such as emotional prosody, and extralinguistic elements such as musical gesture, to portray actions and objects as well as concepts.</p>
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Dissertations / Theses on the topic "Mozart, Wolfgang Amadeus, 1756-1791"

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Wong, Chi Keung Mark. "Operatic gesture in Mozart : constructions of meaning in Mozart's operas and instrumental music." Thesis, The University of Sydney, 2000. https://hdl.handle.net/2123/27863.

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There has been a call for musicologists and music analysts to provide a methodology freed from the constraints of the modernist approach for music investigation in general and Mozart study in particular.
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Höllerer, Elisabeth. "Handlungsräume des Weiblichen : die musikalische Gestaltung der Frauen in Mozarts Le nozze di Figaro und Don Giovanni." Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37714474c.

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Korten, Matthias. "Mozarts Requiem KV 626 : ein Fragment Wird ergänzt /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059746s.

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Paradis, Annie. "Mozart, l'opéra réenchanté, voyage anthropologique en pays mozartien." Paris, EHESS, 1998. http://www.theses.fr/1998EHES0017.

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Cadieux, Daniel. "La débilité selon Lacan : à la lumière d'un cas exemplaire." Rennes 2, 2002. http://www.theses.fr/2002REN20016.

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Nous introduisons la débilité mentale par une découpe entre invalidante ou féconde, à partir de l'évolution du concept dans l'enseignement de Lacan, ce qui nou amène à poser la débilité en fonction de l'esprit énantiomorphe à l'inconscient. L'opérateur en est la fonction imaginaire. Après un exemple clinique de débilité mentale invalidante en cure analytique, notre "cas exemplaire" sera Wolfgang Amadé Mozart à cause de la remarquable précocité. La qualité de la rencontre père-fils fut ici essentielle. Le génie débile "esprit gai, tête légère et plaisir au travail", a sa condition même dans une débilité du corps laissée à la charge de l'Autre. Mozart est sa musique et nous montrerons qu'elle est consubstantielle au langage, par un entrelacement entre le sgnifiant et la musique : à la fois "écriture pure" qui vaut pour le réel structural et "écriture appliquée" pour la sonorité, la voix et le signifiant. La conclusion articule la débilité au sinthome ; et, via sa bipolarité imaginaire et la fonction de modulation qu'elle supporte, lui donner son autre nom, le préconscient
Debility according to Lacan, under the light of an exemplary case. We introduce debility through a discrimination between invalidating debility and the creative one, from the evolution of the concept in Lacan's teaching, and that will lead us to question debility in relation to the symetrical-mind-in-reverse of the unconscious ; to which the operator is the imaginary function. After exposing a clinical example of invalidating debility in psychoanalytical cure, Wolfgang Amadé Mozart will be our exemplary case thanks to his remarkable precocity. The quality of the father-and-son encounter was essential here. The defective genius : "high -spirited, light-headed and pleased at work" exists, but only for a body-debility unburdened on l'Autre. Mozart is his music, and we'll demonstrate that it is consubstantial with language, through an intertwining of the signifier and the music ; it's both a "pure writing" worth the structural "real", and "applied writing" for sonority and the music ; it's both a "pure writing" worth the debility to the symptom ; and, through its imaginary bipolarity and the function of modulation it carrie, it gets at givng its other name, the preconscious
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Correia, João Eduardo de Jesus. "Mozart and the language of contrast : a study of four early piano concertos." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1006863.

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Batt, Robert Gordon. "A study of closure in sonata-form first movements in selected works of W. A. Mozart." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28620.

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This study of large-scale closure in Mozart's sonata-form first movements focusses on the structure and function of the closing section in these works, the section that brings the exposition and recapitulation sections to an end. Also taken into account are closural effects of the coda (when present) and the subordinate theme area. Because sonata form in the 18th-century involves a variety of differently-functioning sections such as themes and transitions, the analytical approach adopted centers on matters of form—the ways in which all the various channels of musical structure (primarily rhythm, melody, and harmony) interact to shape a particular piece—and in particular on the form of the closing section. The study is limited to one composer's use of one section in one formal type, thereby reaching highly specific conclusions about this facet of sonata form at a particular stage in music history. Since each section of sonata form has a distinct, unique structure and function, the study aims at identifying these in the closing section, and at contrasting them with the other sections of the form. If closure is primarily generated in the closing section, then there must be particular structures found mainly in that section that are responsible for closure. The majority of Mozart's closing sections are based on a model which can be simplified to aabbcc, where each letter symbolizes one group. The second, fourth, and sixth entries may be either exact repeats or variants of the first, third, and fifth entries respectively. The most common lengths in measures are (4 + 4) + (2 + 2) + (1+1). An example is the Sonata for Violin and Piano in B-flat Major, K. 454, mm. 50-65. Chapter 1 is primarily a survey of previous writing on the subject of closure. Chapter 2 presents a theory that accounts for structure at various levels of Mozart's sonata form. Chapters 3 through 6 contain discussion and analysis of different types of closing sections and movements. Chapter 7 includes a summary of the research undertaken.
Arts, Faculty of
Music, School of
Graduate
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Allio, Guy. "Mozart-Schubert-Beethoven : filiations." Bordeaux 2, 1989. http://www.theses.fr/1989BOR23069.

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Marshall, Eldred. "Conducting from the Piano? A Tradition Worth Reviving?" Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157619/.

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Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.
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Desbordes, Bertrand. "Le langage harmonique des récitatifs simples mozartiens : une approche par les vecteurs harmoniques." Paris 4, 2001. http://www.theses.fr/2001PA040147.

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La présente thèse réalise une étude statistique du langage harmonique des récitatifs simples des opéras de Mozart, au travers de la basse fondamentale (vecteurs harmoniques de N. Meeus), des ac cords et de la basse réelle. Le répertoire étudié, depuis 'Die Schuldigkeit des ersten Gebotes' jusqu'à 'La Clemenza di Tito' intègre plusieurs courants esthétiques (opera buffa, opera seria, dramma giocoso, azione teatrale, oratorio) et permet une approche synchronique et diachronique du langage harmonique des récitatifs simples. Le résultat obtenu témoigne d'un langage riche, varié et sans cesse renouvelé
A statistical study of harTmonic relations in Mozart's "recitativi secchi", applied to fundamental bass (using Meeus'theory of "harmony vectors") to chords and to bass. The corpus i,ncludes MozarTt's operatic works from 'Die Schuldigkeit des ersten Gebotes' to 'La Clemenza di Tito', with to@pics such as opera buffa, opera seria, dramma giocoso, azione teatrale and oratorio. The result testifies of great diversity and of perpetual renewing
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Books on the topic "Mozart, Wolfgang Amadeus, 1756-1791"

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Thompson, Wendy. Wolfgang Amadeus Mozart. London: Faber & Faber in association with Faber Music, 1990.

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Malam, John. Wolfgang Amadeus Mozart. Minneapolis: Carolrhoda Books, 1998.

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Loria, Laura. Wolfgang Amadeus Mozart. New York: Britannica Educational Publishing : in association with Rosen Educational Services, 2015.

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Riggs, Kate. Wolfgang Amadeus Mozart. Mankato, MN: Creative Education, 2008.

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Anneliese, Schneider, ed. Konzertführer Wolfgang Amadeus Mozart, 1756-1791. Wiesbaden: Breitkopf & Härtel, 1991.

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Turner, Barrie Carson. Wolfgang Amadeus Mozart. Edited by Richards Jon. London: Chrysalis Children's Books, 2003.

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Venezia, Mike. Wolfgang Amadeus Mozart. Chicago: Childrens Press, 1995.

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Kröplin, Hildigund. Wolfgang Amadeus Mozart, 1756-1791: Eine Chronik. Wiesbaden: Breitkopf & Härtel, 1990.

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ill, Stevens Daniel, ed. Operantics with Wolfgang Amadeus Mozart. Santa Fe, NM: Sunstone Press, 1987.

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Sollers, Philippe. Mysterious Mozart. Urbana: University of Illinois Press, 2010.

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Book chapters on the topic "Mozart, Wolfgang Amadeus, 1756-1791"

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Hartung, Günter. "Mozart, Wolfgang Amadeus (1756–1791)." In Goethe Handbuch, 718–19. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03656-8_30.

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Steinberg, Michael. "Mozart." In The Concerto, 271–331. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0025.

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Abstract Joannes Chrisostomus Wolfgang Gottlieb Mozart, who began to call himself Wolfgango Amadeo about 1770 and Wolfgang Amade in 1777-but who never used Amadeus except injest was born in Salzburg, Austria, on 27 January 1756 and died in Vienna on 5 December 1791. The identifying K numbers refer to the chronological thematic catalogue of Mozart’s works published in 1862 by Ludwig, Ritter von Kochel, an Austrian botanist, mineralogist, and music bibliographer.
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"MOZART, WOLFGANG AMADEUS, 1756–1791." In Thematic Catalog of a Manuscript Collection of Eighteenth-Century Italian Instrumental Music, 152. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501304.55.

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"Mozart, Wolfgang Amadeus (1756–1791)." In Encyclopedia of Genetics, Genomics, Proteomics and Informatics, 1269. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6754-9_10801.

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Sautter, Udo. "Wolfgang Amadeus Mozart (1756–1791)." In Die 101 wichtigsten Personen der Weltgeschichte, 69. C.H.Beck, 2015. http://dx.doi.org/10.17104/9783406679483-69.

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"Wolfgang Amadeus Mozart (1756–91)." In The Classical Music Lover's Companion to Orchestral Music, 472–544. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-041.

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"Wolfgang Amadeus Mozart (1756–91)." In Accompanied Voices, 35–41. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-021.

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Tilmouth, Michael, David Kimbell, and Roger Savage. "Wolfgang Amadeus Mozart (1756-1791) [The Operas And The Requiem]." In The Classics of Music, 380–83. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0064.

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Abstract The first period in Mozart’s development must be taken seriously as beginning at the age of 5 and merging into the second somewhere about the age of 16 or 17. It was fortunate that the infancy of the sonata forms coincided with the infancy of Mozart; for in no earlier or later epoch could his juvenile work have had so normal a relation to the musical world at large. The little pieces com posed by Mozart in his fifth and sixth years show an unswerving progress in which every step is represented, and the same mistake is never made twice, nor is a form once mastered ever repeated mechanically.
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Gjerdingen, Robert O. "The Child Mozart." In Music in the Galant Style, 333–58. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313710.003.0025.

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Abstract the earliest compositions of Wolfgang A m a dues Moa rt (1756–1791) reflect both the private and the public faces of the Mozart family. Some of them resemble individual leaves in a childhood album—an internal family record of the boy’s musical growth, complete with music-grammatical errors and awkward expressions. Others suggest the transcription of a studied musical performance—a written documentation of the boy’s precocity and professionalism intended to impress potential patrons or sponsors. All of them were produced under the careful eye and ear of his father, an esteemed court musician in his own right. These early manuscripts are in the father’s hand because Wolfgang, like a child in any language, learned to “speak” before he learned to write. That is, he learned to recognize and replicate phrases of adult music before he learned musical notation. The possibility of a kind of dual authorship of father and son cannot therefore be fully excluded. Moreover, Mozart’s first published
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