Relevant bibliographies by topics / Mozart, Wolfgang Amadeus (1756-1791) – Famille

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Academic literature on the topic 'Mozart, Wolfgang Amadeus (1756-1791) – Famille'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Mozart, Wolfgang Amadeus (1756-1791) – Famille"

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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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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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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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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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SCHMIDT-BESTE, THOMAS. "WOLFGANG AMADEUS MOZART (1756–1791) SONATAS FOR FORTEPIANO & VIOLIN Petra Müllejans (violin), Kristian Bezuidenhout (fortepiano) Harmonia Mundi HMU 907494, 2009; one disc, 73 minutes." Eighteenth Century Music 7, no. 1 (January 21, 2010): 154–55. http://dx.doi.org/10.1017/s1478570609990674.

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KEENAN, PETER. "WOLFGANG AMADEUS MOZART (1756–1791), ED. CLEMENS KEMME MISSA IN C K. 427 Wiesbaden: Breitkopf & Härtel, 2018 pp. x + 177, ismn979 0 004 21372 8." Eighteenth Century Music 17, no. 2 (September 2020): 273–75. http://dx.doi.org/10.1017/s1478570620000135.

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CORNEILSON, PAUL. "WOLFGANG AMADEUS MOZART (1756–1791) MASS IN C MINOR, K427 Completed by Robert D. Levin St Luke’s Orchestra/Helmut Rilling New York City, Carnegie Hall, 15 January 2005." Eighteenth Century Music 2, no. 2 (September 2005): 364–66. http://dx.doi.org/10.1017/s1478570605310414.

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KEEFE, SIMON P. "WOLFGANG AMADEUS MOZART (1756–1791), WITH COMMENTARY BY ROBERT D. LEVIN AND PREFACE BY COLIN LAWSON KLAVIERKONZERT C-MOLL, KV 491: BÄRENREITER FACSIMILE Kassel: Bärenreiter, 2014 pp. 74 (facsimile) + 40 (commentary), isbn 978 3 7618 1927 2." Eighteenth Century Music 13, no. 1 (February 11, 2016): 134–36. http://dx.doi.org/10.1017/s147857061500055x.

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RUSHTON, JULIAN. "MICHAEL HAYDN (1737–1806), WOLFGANG AMADEUS MOZART (1756–1791), GIOVANNI PUNTO (1746–1803) MOZART: STOLEN BEAUTIES. CHAMBER MUSIC BY MOZART, PUNTO AND MICHAEL HAYDN Anneke Scott (natural and piston horns) / Ironwood: Alice Evans and Julia Fredersdorff (violins), Nicole Forsyth and Heather Lloyd (violas), Daniel Yeadon (cello), Neal Peres Da Costa (fortepiano) ABC Classics 481 1244, 2015; one disc, 63 minutes." Eighteenth Century Music 15, no. 1 (March 2018): 95–96. http://dx.doi.org/10.1017/s1478570617000549.

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IRVINE, THOMAS. "DIVAS OF MOZART'S DAY: OPERATIC ARIAS BY DOMENICO CIMAROSA (1749–1801), VICENTE MARTÍN Y SOLER (1754–1806), WOLFGANG AMADEUS MOZART (1756–1791), VINCENZO RIGHINI (1756–1812), ANTONIO SALIERI (1750–1825), STEPHEN STORACE (1762–1796) Patrice Michaels (soprano), Peter van de Graaff (bass-baritone) / Classical Arts Orchestra / Stephen Alltop (conductor and fortepiano) Cedrille CDR 90000 064, 2002; one disc, 1'16"." Eighteenth Century Music 1, no. 1 (March 2004): 116–18. http://dx.doi.org/10.1017/s1478570604330071.

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Dissertations / Theses on the topic "Mozart, Wolfgang Amadeus (1756-1791) – Famille"

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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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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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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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Allio, Guy. "Mozart-Schubert-Beethoven : filiations." Bordeaux 2, 1989. http://www.theses.fr/1989BOR23069.

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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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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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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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Perchet-Féron, Séverine. "Don Giovanni de Mozart et Da Ponte à travers les premières adaptations parisiennes (1805-1834) : contribution à l'histoire du goût musical." Paris 4, 2002. http://www.theses.fr/2001PA040186.

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De sa découverte en 1805 à sa consécration définitive au sein du répertoire de l'Académie de Musique en 1834, le Don Giovanni de Mozart-Da Ponte fut régulièrement joué à Paris, y compris en version originale au Théâtre des Italiens dès 1811. Durant ces trente années, l'ouvrage connut de nombreuses adaptations en langue française qui le transformèrent successivement en une tragédie lyrique, en un opéra-comique et en un grand opéra romantique. L'analyse de ces remaniements (nécessités par la francisation d'un opéra étranger sur les scènes de l'Odéon et de l'Académie), ainsi que l'étude des multiples réactions provoquées par leur réception, permettront d'appréhender le goût lyrique français tout en mesurant les diverses strates de son évolution tout au long d'une époque particulièrement mouvante recouvrant l'Empire, la Restauration et la Monarchie de Juillet. L'imaginaire de ce début de siècle, dévoilé à travers l'étude technique des moyens mis en oeuvre en ces parodies (choix musicaux et formels, parti-pris littéraires et scénographiques, problématiques vocales, enjeux culturels, dimensions politiques et religieuses) nous servira alors à cerner la vision romantique du mythe de Don juan et à comprendre l'éclosion d'une esthétique du Don Giovanni qui perdurera plus d'un siècle durant. La bibliographie traitant des premières adaptations du Don Giovanni en langue française, s'avère aussi peu abondante que les études en sont rares. Aussi, cet essai sur la perception de l'"opéra des opéras" (comme le qualifiait Hoffmann), comblera-t-il un vide et contribuera-t-il, nous l'espérons, à enrichir tout autant la connaissance de cet ouvrage polysémique singulier que celle du goût français en ce début de XIXème siècle
From its discovery in 1805 to its definitive consecration within the repertory of the Academy of Music in 1834, Mozart-Da Ponte's Don Giovanni has been regularly in Paris, including in its original version in the 1811 Italian's Theatre. Over this 30 year period, the work was adapted in the French language many times, adaptations that transformed it successively into a lyric tragedy, a comic opera and a great romantic opera. In order to understand the French lyrical style, while taking into account the different stages in its evolution throughout a particularly dynamic era which spanned The Empire, The Restoration and The July Monarchy, one must analyse these rearrangements (made necessary by the need to 'Frenchify' a foreign opera being produced in the Odeon's and Academy's stages) as well as the multiple reactions to their performances. The collective imagination of the turn of the century, unveiled by the technical study of the methods employed in these parodies (musical and forma choices, literary and theatrical bias, vocal questions, cultural games, political and religious dimensions) will lead us to the romantic vision of the myth of Don Juan and to an understanding of the de-compartmentalisation of the aesthetic of Don Giovanni, an aesthetic that would be lost for more than a century. The background reading list on the first French adaptations of Don Giovanni is as sparse as studies are scarce. Therefore this essay about the perception of <> (as Hoffmann termed it) will fill a gap and contribute - we hope - to enriching the recognition of this singularly ground-breaking work as a reflection of French style as the beginning of the 19th century
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Books on the topic "Mozart, Wolfgang Amadeus (1756-1791) – Famille"

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

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Mozart's women: His family, his friends, his music. London: Macmillan, 2005.

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Mozart's women: His family, his friends, his music. New York: HarperCollins, 2005.

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Glover, Jane. Mozart's women: The man, the music, and the loves of his life. New York: HarperCollins, 2006.

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

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Braunbehrens, Volkmar. Mozart in Vienna 1781-1791. London: Deutsch, 1990.

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

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1943-, Mortimer Armine Kotin, ed. Mysterious Mozart. Urbana: University of Illinois Press, 2010.

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W.A. Mozart, Idomeneo. Cambridge [England]: Cambridge University Press, 1993.

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Mozart, clarinet concerto. New York: Cambridge University Press, 1996.

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Book chapters on the topic "Mozart, Wolfgang Amadeus (1756-1791) – Famille"

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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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"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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