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1
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 préconscientDebility 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
2
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
8
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 renouveléA 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 siècleFrom 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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Spicer, Mark Stuart. "The Chaconne Bass as a Musical Topos in Mozart's Fantasia Music." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500498/.
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This thesis provides evidence that a particular "topos" from the high Baroque's exalted style, the so-called chaconne bass, made a profound impact on a considerable body of Mozart's compositions from the last ten years of his life in Vienna. After identifying the topos in the first chapter, a detailed study in chapter two shows how Mozart's faith in the extraordinary emotional power carried by this topos was enough for him to work it into all of the completed keyboard fantasias. Chapter three illustrates that an understanding of the chaconne bass and its unmistakable association with the fantasia style can shed new light on three of Mozart's most enigmatic compositions from his final period, K. 465, K. 491, and K. 527.
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Lieberzeit, Michal. "Don Giovanni - historie díla,jeho vznik a interpretace opery ve 20.století." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177883.
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The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.
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Dalla, 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.
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Este trabalho trata do processo de transcrição do Concerto em Dó Maior K 299 para Flauta e Harpa de Wolfgang Amadeus Mozart. O objetivo geral foi a transcrição da parte da harpa do concerto para violão de sete cordas. Por meio da análise comparativa de transcrições do próprio compositor do concerto e do estudo de referencial teórico, foram classificados os procedimentos necessários para a realização da transcrição, que são: compressão de registro, supressão de notas, mudança na disposição de notas, e transferência da parte da harpa para a orquestra. Esses procedimentos vão diretamente ao encontro da adaptação idiomática e musical ao instrumento para o qual verte a transcrição, e à fidelidade ao original da obra. Concluiu-se, por fim, que a transcrição de uma obra, deve se embasar em uma metodologia aplicada, que defina as diretrizes do processo e adapte a linha composicional do original às escolhas pessoais do transcritor.The 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.
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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 renouvellement concret du jeu pianistique –et donc une revalorisation de ce répertoire. De plus, Irving soutient que la sonate K.457 emprunte le langage de l’opéra (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). Nous aborderons donc la sonate K.457 en tant que «récit» au sens de Grabócz (2009b), c’est-à-dire: des productions sonores qui se déroulent comme une «intrigue». Ainsi, suivant une démarche narratologique, en quoi un examen des stratégies d’écriture opératiques de Mozart permettrait-il de mieux comprendre celles présentes dans la sonate K.457 ? Comment cette approche pourrait-elle influencer notre jeu pianistique ? Nous associerons d’abord les paramètres musicaux caractérisant quelques personnages de certains des opéras de Mozart (Idomeneo 1781, Die Entführung aus dem Serail 1782, Le Nozze di Figaro 1786, Don Giovanni 1789, Die Zauberflöte 1791) aux éléments musicaux propres au 1er mouvement de la sonate KMozart’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.
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Pavlovič, Lenka. "Mozartovy písně pohledem interpreta." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177712.
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The following theoretical work titled MOZART'S SONGS FROM THE PERSPECTIVE OF THE INTERPRETER has been written on the grounds of the personal experience of the author with the interpretation of Mozart's work. It discusses the history of the origin of nine selected songs, which have been analysed from the vocal-interpretive standpoint and from the standpoint of tectonic structure and musical form. Primarily, the analysis is an expert treatise of the vocal technique field enriched by the components of the historically informed interpretation.
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Viskotová, Edita. "Figarova svatba se zaměřením na roli hraběnky." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253653.
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This diploma thesis deals with the theme of Mozart's opera The Marriage of Figaro, focusing on the role of the Countess and her contextualisation into the work of W. A. Mozart. The fundamental objective of this thesis is to analyze Mozart's work in the broader context of the composer's life story, the plot of the opera and interpretative concept of the role of Countess by three selected protagonists. A secondary aim of the thesis highlights the importance of Mozart's operas in music history. The introductory part covers the life of Mozart, followed by an overview and analysis of the formation of his operas. The main part is the analysis of The Marriage of Figaro and the Countess role in various concepts. Conclusion of the thesis confirms the hypothesis of Mozart importance for the neo-classical opera.
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Lužná, Kateřina. "Komorní dechová hudba v období klasicism u na příkladech W.A. Mozarta, L.v.Beethovena a A. Rejchy." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156079.
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This thesis deals with a chamber music, especially for a woodwind instruments in the classicism. In the beginning we focus on the general aspects of the classicism and thereafter we continuously approach a musical classicism which we divide into three periods. Following chapters deal with the masters of classical and preromantic music - W. A. Mozart, L. v. Beethoven and A. Rejcha
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Geidel, 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.
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The purpose of this study was to create a document which would provide a variety of insights into Mozart's Trio in E-Flat, K. 498, for piano, clarinet, and viola. Three specific areas were investigated. A melodic analysis of the work was developed with the intention of illuminating the structure of the musical material itself. This analysis explored the dual forces of unity and contrast. Specific motivic shapes were explored which serve to unite the various thematic areas of the work; other elements were identified which are consistently utilized to create contrast and conflict.Secondly, the writer undertook a comparison of current editions of K. 498. Editions were identified as one of three types. Those editions identified as Authentic sought to reflect Mozart's original manuscript; Interpretive editions presented an editorial view of the Trio. Imitative editions were developed entirely from previously existing editions. Comparisons were made both within individual categories as well as between categories. The writer conducted a personal investigation of Mozart's manuscript which provided valuable information regarding the authenticity of certain passages.The study concluded with an investigation of current views on the presentation of K. 498 in performance. Information was obtained from recorded performances of the Trio. In addition, the writer conducted a survey of the opinions of teachers and performers. Comments on the revision of specific passages relative to pitch are included, as well as opinions on tempo, meter, dynamics, articulations, stresses, balance, the interpretation of specific phrases, and musical character.School of Music
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Marty, Laurent. "1805, la création de Don Giovanni à Paris." Paris 12, 2003. http://www.theses.fr/2003PA120007.
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La première représentation à l’Opéra de Paris du Don Giovanni de Mozart fut l’un des événements marquants de la saison 1805, car c’était la première fois qu’une oeuvre véritablement intégrale du compositeur était jouée en France. Après l’étude du contexte musical et esthétique de l’époque, cette thèse retrace l’historique de cette création, avec de nombreux documents et extraits de correspondance montrant les nombreuses réticences de l’administration et la peur des chanteurs. L’étude détaillée du livret et de la partition de la version française, en comparaison avec l’oeuvre de Mozart et Da Ponte, révèle les très nombreuses différences entre original et adaptation et permet de mieux comprendre l’esthétique musicale française du temps. Enfin, l’étude de la réception de l’oeuvre au travers de la presse française et étrangère met en évidence les réticences du public français au style de Mozart et plus généralement à la musique allemande, vus comme une atteinte au “bon goût” classiqueFirst performance of Mozart’s Don Giovanni at the the Opera de Paris was one of the outstanding events of 1 805 season, because it was the flrst time that a truly coniplete work by this composer was played in France. After studying musical and aesthetic context of the tirne. This thesis recalls the history of this creation, with many documents and extracts of correspondence showing administration’s reserves and singers’ fear. The detailed study of French version booklet and score, in comparison with work by Mozart and Da Ponte. Reveals the very many differences between original and adaptation and makes it possible to understand better French musical aesthetics oftime. Lastly, study ofreception ofwork through French and foreign press highlights reluctance of French audience to Mozart’s style, and more generally to German music, seen to be an attack on classical “good taste’
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Goodchild, Meghan. "Formal structures in the solo keyboard music of J.C. Bach and their influence on Mozart." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112339.
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During his lifetime, Johann Christian Bach (1739--1782) was considered the most famous musician of the Bach family throughout England and Europe. Although his music was highly regarded in the eighteenth century, little scholarly work has been undertaken on the historical and analytical aspects of his compositions. His keyboard compositions are valuable in tracing his musical development since this was the only genre that he wrote throughout his career in Berlin, Milan and London. Previous analyses of Bach's keyboard music have mainly focused on stylistic development, thus neglecting the importance of phrase and larger formal functions.I adopt William Caplin's theory of formal functions to analyze Bach's solo keyboard sonatas: the Solo in A minor from Berlin (1750--55), three sonatas from the Milan collection (1755), six sonatas from London Op. 5 (1767), and six sonatas from London Op. 17 (1773--4). I demonstrate that Bach gradually refines phrase and thematic functions of the exposition of first-movement sonatas. I examine Bach's use of core technique and subordinate theme-like units in development sections and discuss the reasoning behind different recapitulation strategies. I also compare the sonata forms of the first movement to the second and third movements, and discuss other types of large-scale formal design (theme and variations, minuet and trio, and rondo).
Many sources indicate that Mozart was greatly influenced by Bach, but they remain vague in describing the type and extent of this influence. Building on previous melodic, motivic and stylistic studies, I draw important phrase-structural connections between the music of Bach and Mozart. I discuss the construction of Mozart's early piano pieces (KV 6 through K 284) and demonstrate that he adopts particular phrase-structural and thematic designs similar to pieces from Bach's Op. 5 and 17 collections. Through form functional analysis, I illustrate Bach's development of phrase and thematic structures and provide important phrase-structural evidence of his influence on the music of Mozart.
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Potts, 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/.
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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.
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Phillips, Edward. "Mozartean gesture and rhetoric in Hummel's Concerto for trumpet." Thesis, Recital, recorded June 13, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6062.
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Thesis (D.M.A.)--University of North Texas, 2008.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).
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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/.
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The thesis speculates on the possible influence of Mozart's Requiem on Cherubini's
Requiem in D Minor, concluding that Cherubini's setting of the Sequence ("Dies irae")
was indeed influenced by Mozart's setting of this liturgical text both on the micro and macro levels.
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Raynal-Charnay, Amélie. "Le festival de Salzbourg et l'identité autrichienne 1917-1950." Paris 1, 2011. http://www.theses.fr/2011PA010511.
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Créé en 1917 sous la forme d 'une association pour célébrer Mozart, le festival de Salzbourg tient sa première édition en 1920. La toute jeune Autriche républicaine souffre alors d'une grave crise économique et du traumatisme lié à la perte de l'Empire et l'effondrement des Habsbourg. Max Reinhardt et Hugo von Hofmannsthal, chargés de la programmation, veulent faire de ce festival une manifestation pluridisciplinaire et internationale. Malgré l 'hostilité de la population et le désintérêt du Bund, les deux hommes parviennent à attirer des visiteurs étrangers à Salzbourg qui devient un événement culturel mondial majeur à partir de 1925. Le festival connaît cependant des déficits financiers à répétition couverts par le Land, la ville et le Bund qui finissent par entrer dans le conseil d'administration. La manifestation a beau être critiquée pour sa programmation conservatrice, elle devient synonyme d' excellence musicale et contribue à renforcer l'image d'une Autriche mélomane. Harcelée par le Reich en 1933 et 1934, le festival fait figure de bastion antinazi jusqu'à l'Anschluss en 1938. Sa1zbourg est alors instrumentalisé au service de la propagande de Goebbels qui l'utilise notamment pour soutenir le moral des troupes. En 1945, l'armée américaine victorieuse réussit l'exploit de restaurer le festival trois mois seulement après son entrée dans Salzbourg. C'est l'un des premiers signes de la construction d'une Autriche libre, démocratique et indépendante de l' Allemagne.
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Torriani, Tristan Guillermo 1968. "A construção estetica e teorica de personagens no iluminismo alemão : Lessing, Moses Mendelssohn, Mozart e Kant." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279905.
Full textAbstract:
Orientador: Oswaldo Giacoia JuniorTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A proposta deste trabalho é mostrar como personagens ideais foram construídos na filosofia e literatura alemãs da segunda metade do século XVIII. No primeiro capítulo, procuro mostrar o desenvolvimento do Iluminismo na sua relação com o teatro nacional alemão. Lessing é, sem sombra de dúvida, o autor decisivo neste sentido, pois reunia em si não só o artista criativo, mas também o teórico. Para explorar essa potente combinação, é necessário que se estude sua produção artística associada à sua teorização estética, política e educacional. Um aspecto particularmente interessante a ser notado é a complexa coexistência de aspectos nacionalistas e cosmopolitas nos personagens e ideais por ele propostos. Os textos discutidos, embora não esgotem sua obra, são indispensáveis para uma compreensão do Iluminismo lessinguiano: a peça juvenil Os judeus, o diálogo Ernesto e Falco, as teses sobre A educação da humanidade, e sua obra-prima Natan, o sábio, que se inspira na figura de Moses Mendelssohn. No segundo capítulo, passo a examinar, entre outros escritos, o ensaio Jerusalém de Moses Mendelssohn, no qual ele ataca a autoridade eclesiástica e estatal, além de advogar a missão monoteísta do Judaísmo e defender a obtenção de direitos para os judeus. Tendo previamente examinado a peça por ele inspirada, não deixa de ser instigante ver o próprio Mendelssohn ou ¿Natan¿ falar em suas próprias palavras, dando-nos, assim, um certo senso de realidade. No terceiro capítulo, procuro mostrar o interesse filosófico de A flauta mágica de Wolfgang Amadeus Mozart, com um enfoque sobre os personagens como Papageno, Tamino, Pamina, Papagena e Sarastro. Por algum motivo, este Singspiel parece levantar questões candentes da modernidade como machismo, racismo, e homossexualidade, apesar de sua aparente falta de coerência narrativa. Admitindo o caráter esotérico da narrativa, acompanho, no decorrer da peça, a expressão literal desses conflitos permeando a interação dos personagens. No quarto capítulo, procuro delinear a figura kantiana do ser humano (Mensch) iluminado partindo das diferenças antropológicas concretas, mas posteriormente explicitando os conceitos envolvidos na teorização sobre seu suposto esclarecimento. Ao contrário dos autores anteriores, nos quais se pode falar de uma construção estética de personagens, em Kant essa construção dos tipos antropológicos passa a ser teórica, mesmo se baseada em fatos provindos da literatura de viagem. A prova disso está na sua tentativa, explícita, de construir um conceito de raça humana a partir do critério da cor da pele
Abstract: The main purpose of this dissertation is to show how ideal characters were constructed by major German philosophers and writers during the second half of the eighteenth century. Chapter One (¿Lessing¿) is concerned with establishing and clarifying the relation between Enlightenment philosophy and literature in the German-speaking world. G. E. Lessing is certainly the most critical author in this respect, as he was both a major creative artist and a theoretician to boot. To fully appreciate this powerful combination, it is necessary to study his plays in light of his aesthetic, political and educational ideas and vice versa. It is especially interesting to see the tense coexistence between concerns for national German political and linguistic unity on the one hand, and, on the other hand, a yearning for cosmopolitan, abstract, humanity (the so-called Mensch). Although not exhaustive, my examination covers several texts which are crucial to an adequate understanding of Lessing¿s Enlightenment project: the play, written in his youth, The Jews, the Masonic dialogue Ernest and Falk, the philosophical and theological theses in The education of humanity, and his masterpiece Nathan, the wise, whose title character was inspired by Moses Mendelssohn. Chapter Two (¿Moses Mendelssohn as Nathan¿) reviews, among other writings, the essay Jerusalem, in which Moses Mendelssohn attacks church and state authority, claims a monotheist mission for Judaism and argues for Jewish rights. It is particularly enlightening to compare Lessing¿s fictional Nathan to Mendelssohn himself. Chapter Three (¿Mozart and The magic flute¿) is an attempt to show the philosophical relevance of W. A. Mozart¿s The magic flute, while focussing on characters such as Papageno, Tamino, Pamina, Papagena, Monostatos and Sarastro. For some reason, this Singspiel raises several controversial issues of modernity such as male chauvinism, racism and homosexuality, despite its apparent lack of narrative coherence. I acknowledge the esoteric character of the narrative but follow the literal expression of these conflicts as the characters interact throughout the play. Chapter Four (¿Kant and the Mensch¿) deals with I. Kant¿s pre-critical anthropology and relates it to his concept of the enlightened Mensch. Contrary to the previous authors, however, who were concerned with an aesthetic construction of characters, in Kant¿s case, the construction of anthropological types is, properly understood, theoretical, even if it relies on data gleaned from the then popular travel book literature. Proof of this is his explicit attempt to construct a concept of human race upon the criterion of skin coloration
Doutorado
Filosofia
Doutor em Filosofia
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Accaoui, Christian. "Musique et temps : rythme, variation, symbolique dans la musique instrumentale de Haydn à Beethoven." Paris 8, 1994. http://www.theses.fr/1995PA080921.
Full textAbstract:
La musiqsue instrumentale s'abandonne-t-elle a ses propres mouvements ou son mouvement est-il predetermine par une (ou des) conception(s) du temps ? dazns quelle mesure le sens de la musique instrumentale reside-t-il dans la forme de son mouvement en regard des trois modalites du temps : succession, duree, simultaneite ? cette recherche tente de repondre a ces deux questions a partir de l'etude des oeuvres classiques de haydn, mozart, beethoven. La position mediane de ce corpus dans l'histoire de la musique instrumentale, son influence durable sur les productions des deux derniers siecles, permettent d'etendre, en les nuancant, la plupart des conclusions de cette etude a une tres large periode, du baroque a nos jours. Deux premieres parties (rythme, variation), tres analytiqsues, etudient, a partir de nombreux exemples musicaux, les implications temporelles des structures rythmiques et des techniques de variation classiques. Les deux dernieres parties (temps, symboliqsue) marquent les convergences d'une telle conception du temps avec certaines conceptions philosophiques du temps : celle, contemporaine, de l'idealisme allemand, celle, plus ancienne, de la tradition theologique et philosophique, depuis plotin, saint augustin, boeceDoes instrumental music give way to its own movements or is its movement predetermined by a (or several) conception(s) of time ? does sense of instrumental music lie on its movement's configuration regarding to the three modalitees of time : succession, duraztion, simultaneousness ? this research attempts to answer to these the questions studing classical works from haydn, mozart, beethoven. The middle position of this corpus in instrumental music's history, its durable influence over the last two centuries' productions allow to extend, varing them slightly, most of this work's conclusions to a very large periode, since baroque up to now. The first two parts (rhythm, variation), very analytical, study from many musical examples the temporal involvings of rhythmical structures and classical technics of variation. The last two parts (time, symbolism) indicate convergences of such a conception of time : the contemporaneous one which is the german idealism, the earliest one which is the theological and philosophical tradition since plotin, saint augustin, boece
27
Obert, Julie. "Les traductions françaises de Die Entführung aus dem Serail et Die Zauberflöte de W. A. Mozart sur les scènes parisiennes de 1798 à 1954." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2023.
Full textAbstract:
De la fin du 18e siècle jusqu’au milieu du 20e siècle, la plupart des opéras de Mozart ont été joués en français sur les scènes parisiennes. Condition essentielle aux représentations, la traduction a donc joué un rôle décisif dans la diffusion des œuvres lyriques de Mozart en France. Cette thèse étudie les traductions françaises des deux plus célèbres opéras de Mozart en langue allemande, Die Entführung aus dem Serail und Die Zauberflöte, représentées sur les scènes parisiennes entre 1798 et 1954. S’appuyant sur de nombreuses sources encore inédites, cette étude cherche à comprendre comment les traducteurs affrontent les multiples enjeux que représente la traduction des livrets allemands pour le public français. Loin de n’assurer que le transfert d’une langue à l’autre, les traductions remodèlent sans cesse le livret comme la partition des opéras mozartiens, donnant souvent naissance à des œuvres entièrement nouvelles. En croisant l’approche historique et les méthodes de l’analyse textuelle, il s’agit de mettre en lumière les spécificités de chaque traduction, d’éclairer les choix des traducteurs et d’interroger l’évolution des traductions au fil du temps. En permettant au public français de découvrir et d’entendre les opéras de Mozart, les traductions façonnent la réception française de ces œuvres en même temps qu’elles en témoignent. Ce qui est en cause est tout autant la situation particulière du monde lyrique français et ses rapports avec les pays de langue allemande, que la conception de la traduction et de l’œuvre d’artThe two German operas of Mozart, Die Entführung aus dem Serail and Die Zauberflöte were performed primarily in French from the end of the 18th century until the middle of the 20th century. Cultural conventions and market conditions required that the libretti of German operas be translated into French. In consequence, translation was a vital element in the diffusion of Mozart’s operatic corpus in France. This dissertation is the first to focus on all four sequential translations of Die Entführung aus dem Serail and the five of Die Zauberflöte, performed in Paris between 1798 and 1954. Based on a number of unpublished manuscripts and unknown publications, this scholarly study of the process of translation discloses the transformations of the original works into new versions of Mozart’s operas, not only in the libretti but also in the music. What matters most is to understand how these translations were made and how they evolved over time, as well as exploring the way translators approached the particular difficulties presented by the need to translate texts meant to be sung. What we see is not only a set of changes in the nature of translations, but also a shift in the professional and popular understanding of what constitutes a work of art. Translation both transmitted and framed the meanings of Mozart’s operas at the same time as they made them available to the French musical world. In this context we can see how fruitful it is to braid together musicological research and the insights of literary scholarship in German studies
In Frankreich wurden Mozarts Opern vom Ende des 18. Jahrhunderts bis in die zweite Hälfte des 20. Jahrhunderts hinein in erster Linie auf Französisch aufgeführt. Um kulturellen Konventionen Genüge zu tun und Markttauglichkeit zu sichern, mussten deutsche Opernlibretti ins Französische übertragen werden, damit das Publikum die Werke verstehen konnte. Folglich waren Übersetzungen eine unumgängliche Voraussetzung für die Verbreitung von Mozarts Opernschaffen in Frankreich. Die vorliegende Dissertation untersucht zum ersten Mal alle Übersetzungen der beiden bekanntesten deutschsprachigen Opern Mozarts, Die Entführung aus dem Serail und Die Zauberflöte, die zwischen 1798 und 1954 auf Pariser Bühnen zu hören und zu sehen waren. Die Studie zieht eine Reihe unveröffentlichter Handschriften und in Vergessenheit geratener Veröffentlichungen heran und zeigt, dass die Übersetzer nicht nur am Text, sondern auch an der Musik Veränderungen vornahmen, die die neuen Fassungen gleichsam zu eigenständigen Werken machten. Das vorrangige Ziel der Arbeit besteht darin zu verstehen, wie die jeweilige Gestaltung der Übersetzungen zustande kam, und wie sie sich im Lauf der Zeit entwickelten. Dabei wird nicht nur ein Wandel in der Übersetzungsart festgestellt: vielmehr wird auch sichtbar, dass sich bei den Übersetzern wie beim Publikum die Auffassung verändert von dem, was ein Kunstwerk ist, und wie man mit ihm umgehen sollte. Indem sie Mozarts Opern der französischen Musikwelt zugänglich machten, bestimmten die Übertragungen das Verständnis der Werke mit, so dass sie aufschlussreiche Quellen zur französischen Mozart-Rezeption darstellen. Um diesen Verschiebungen und wechselseitigen Wirkungen nachzugehen, werden die Methoden der Übersetzungskritik mit den Grundlagen historischmusikwissenschaftlicher Forschung zusammengeführt
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"Characterization in Mozart's opera: the Magic Flute through the language of music." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5895746.
Full textAbstract:
by Wong Chi Keung, Mark.Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.
Includes bibliographical references (leaves [464]-466).
Chapter CHAPTER 1 --- INTRODUCTION --- p.1
Chapter CHAPTER 2 --- TAMINO --- p.7
MUSICAL EXAMPLES --- p.66
Chapter CHAPTER 3 --- PAMINA --- p.152
MUSICAL EXAMPLES --- p.214
Chapter CHAPTER 4 --- PAPAGENO --- p.274
MUSICAL EXAMPLES --- p.337
Chapter CHAPTER 5 --- CONCLUSION --- p.446
BIBLIOGRAPHY --- p.464
29
Suderman, Betty Louise. "The problem of the keyboard slur in the works of W.A. Mozart : a study based on contemporary treatises." Thesis, 1999. http://hdl.handle.net/2429/10917.
Full textAbstract:
The problem of how to perform the early Classical keyboard slur has prompted
perplexity and dissension in generations of thoughtful performers and teachers. While the
mandatory legato indicated by the slur is unquestioned, diversity of opinion centers around
the performance of the last note of the slur, specifically regarding its length. Modern
pedagogy has generally followed a time-honoured principle of an early release for the last
note of a slur, yet many artists seem to disregard this guidance at will. This study attempts
to clarify the issue by examining several treatises of the early Classical period.
A brief history of the slur is included because its origins undoubtedly influenced
how it was later performed. Most of the research, however, focuses on relevant material
found in three treatises written by contemporaries of Wolfgang Mozart, namely, CPE.
Bach, Daniel Turk, and Mozart's father, Leopold. The three components of the slur—the
first note, the notes under the slur, and the last note are treated in turn by presenting
information found in the treatises and providing interpretative commentary. This
information is then applied to slurs found in the keyboard sonatas of Wolfgang Mozart.
Unfortunately, treatises provide no definitive answer to the question of the
performance of the last note of a slur. This lacuna is most likely due to the daunting task
of describing the many musical circumstances involved in performing the last note under a
slur. Solutions to the problem, therefore, cannot simply be founded solely on treatise
instructions regarding the slur. Fortunately, the wealth of descriptive writing on the
general art of effective music-making also provides some important clues to understanding
the principles of performing the last note under a slur. Much of this study focuses on
understanding the three important factors influencing the slur's ending: formal structure,
Classical violin bowing technique and, most important, the musical context in which a slur
is found. When these three aspects of performance are understood, much of the
uncertainty surrounding Wolfgang Mozart's slurs will disappear.
30
Kao, Ya-fang, and 高雅芳. "The Research of “Litaniae de Venerabili altaris sacramento, KV 243” by Wolfgang Amadeus Mozart(1756-1791)." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/07428347969212403512.
Full textAbstract:
碩士東吳大學
音樂學系
99
Most of Mozart's religious works were composed during the Salzburg period. Due to Mozart's rich life experiences and his strong desire for change, he composed a considerable amount of works with diversified styles. This thesis is focused on studying Litany and its equivalent importance to Mass from several dimensions. The author's main purpose is to explore how Mozart's musical style of《Litaniae de Venerabili altaris sacramento KV 243》is influenced by Salzburg's traditions, the Napoli's and Manhan's school. This thesis includes four parts: the introduction, the methodology, and the scope of the research; the introduction to Mozart's life and to how the Salzburg's traditions influenced his composition, and the religious meaning of Litany and its application to music; a framework for analysis the form, tonality, harmony of the work and to provide appropriate interpretations of the work.
31
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 textAbstract:
碩士東吳大學
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.
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"Mozart's Salzburg Masses and the Mass in C minor, K. 427." 2008. http://library.cuhk.edu.hk/record=b5896758.
Full textAbstract:
Mok, Kiu Ho.Thesis (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
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Lin, Hsiu-yuan, and 林修圓. "The Interpretation and Research of “Missa Brevis in D Major KV 194” by Wolfgang Amadeus Mozart (1756-1791) / Master's Recital Hsiu-yuan Lin Choral Conducting." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/62781138238231696463.
Full textAbstract:
碩士東吳大學
音樂學系
96
Mozart composed a lot of Masses while he stayed in Salzburg. Missa Brevis is one kind of those. His short Masses had their form dictated by the needs of the Cathedral in Salzburg where Archbishop Hieronvmus Colloredo was insisting on short and uncomplicated works to accompany his religious services. In this “Missa Brevis in D Major KV 194” Mozart sought to combine trational polyphonic techniques with more modern musical language. This thesis consists of four parts. The first part is an introduction of research purpose, contents and methods. The second part explains concepts of “Missa Brevis in D Major KV 194” in four aspects: the development of Mass in the Classical period, the development of Missa Brevis, the influence of sacred music in Salzburg to Mozart, and Haydns’ influence toward Mozart. The third part focuses on analyzing each movement in terms of musical form analysis, tonal analysis, harmonic analysis, and motivic and thematic analysis. The final part proposes the appropriate performance style by the discussion of performance practice during the Classical period. ----------------------------------------------------------- G. P. Palestrina(1525~1594): Super Flumina T. L. de Victoria(1548~1611): Ave Maria Orlando di Lasso(1530~1594): Alleluia, Laus et Gloria W. A. Mozart(1756~1791): Missa Brevis in D, KV194 F. Mendelssohn(1809~1847): Ich Wollt', Meine Lieb' Ergösse Sich Herbstlied Maiglöckchen und die Blümelein Andre J. Thomas(1952~): Goin' Up to Glory Imant Raminsh(1943~): In the Night We shall Go in Andre J. Thomas(1952~): Fences Arr. by Tien-Hao Jan: The Gloomy Moon Arr. by Yu-Shan Tsai : The Flower of One-sided Love Arr. by Yu-Shan Tsai: A Joyful Ranch
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"Reason and Desire, Education and Regression: Aspects of Rousseauist Gender Roles in Così fan tutte." Thesis, 1999. http://hdl.handle.net/1911/20470.
Full textAbstract:
Mozart's opera Così fan tutte encapsulates various theories of
Enlightenment sexual expression and presents a didactic program aiming at
appropriate male comportment in a love situation. Through various musical
devices, Mozart establishes ideal Rousseauist gender characteristics
and their debased forms, and applies them to the respective sexes as evidence of
weakened or enlightened states. Mozart also provides an educative voice in the
character of Don Alfonso, whose musical lines are appropriately instructive. An
exploration of sexual ideals in the Enlightenment as expressed in contemporary
texts and civil documents will provide a framework for Rousseau's theories of
education and gender formation as postulated in Emile, ou de l'education and
Sophie, ou la Nouvelle Héloïse. A musical analysis of several numbers in Cosi
demonstrates the unfolding weaknesses of the characters. While the men
progress towards an enlightened education in the natures of the sexes, the
women undergo a regression of character.
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Untiedt, Glenda Louise. "Scenography in context : a comparative analysis of the influences on set designs for Wolfgang Amadeus Mozart's opera The Magic Flute (1791) with specific reference to selected set designers." Thesis, 2013. http://hdl.handle.net/10413/9669.
Full textAbstract:
The aim of this dissertation is to comparatively analyse the set designs for Wolfgang Amadeus Mozart’s (1756-1791) opera, The Magic Flute (1791), with specific reference to selected set designers from the 18th to the early 21st century. The selection was made in light of each set designer’s unique design concepts for The Magic Flute which were all realised as stage settings in a proscenium arch theatre.
In order to analyse the designs, it is necessary to trace theatrical practices and chronologically examine the reforms that affected the visual and spatial representation of scenography from the 18th to the 20th
Chapter one provides a brief overview of the development of the proscenium arch stage. It examines the architectural reforms that were made to the proscenium arch in order to accommodate deeper stages and changes in stage settings. In addition, Chapter one investigates methods that theatre architects used to alter the proscenium arch and forestage in order to create a unity between the audience members and the performance. century. The set designs for The Magic Flute by Emanuel Johann Schikaneder (1791), Karl Friederich Schinkel (1816), David Hockney (1978) and William Kentridge (2007) will be analysed within the context of this investigation.
Chapter two further considers the architectural modifications that were made to the stage and auditoria of opera theatres in more detail, from the first U-shaped auditorium onwards. It is essential to consider the different architectural structures of opera theatres because in order for each designer to initiate their design concept, they would be required to consider the architectural limitations of their chosen auditoria. The architectural structure would be determined by the foyer area, the style and arrangement of seating and the size of the proscenium arch and stage.
Chapter three, by means of a comparative analysis, considers the social and cultural influences on the design concepts of Schikaneder, Schinkel and Hockney and how they informed those of Kentridge for The Magic Flute. It also provides a brief overview of stage lighting, scenic styles and stage machinery used in opera from the 16th to the 20th
Chapter four classifies the theatrical spaces used in opera theatres by examining three key areas in an opera theatre, in relation to the foyer, auditorium and stage area. This investigation will be conducted with specific reference to the Theatre Auf Der Wieden, The Royal Opera House, the old Glyndebourne Opera House and The Artscape Opera House. In addition to this it will examine the selected designers’ approach to their design concepts by comparatively analysing the stage settings of Schikaneder, Schinkel, Hockney and Kentridge for The Magic Flute and the stage technology that was used to realise their design concepts. Thereafter, the set designs for Kentridge’s production and how they were conceptualised from a South African perspective will be examined. century
Chapter five summarises the ways in which scenography is influenced by architectural, cultural and theatrical discourses, from the analysis of the designs and concepts for The Magic Flute.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2013.
36
Scott, 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 textAbstract:
This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development.Art History, Visual Arts & Musicology
M. Mus.