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Relevant bibliographies by topics / Mozart, Wolfgang Amadeus, Music theory. Music

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Academic literature on the topic 'Mozart, Wolfgang Amadeus, Music theory. Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Mozart, Wolfgang Amadeus, Music theory. Music"

1

Glasow, E. T. "Zaide. Wolfgang Amadeus Mozart." Opera Quarterly 15, no. 2 (January 1, 1999): 336–38. http://dx.doi.org/10.1093/oq/15.2.336.

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Law, Joe K. "Idomeneo. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 1 (1987): 153–55. http://dx.doi.org/10.1093/oq/5.1.153.

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Graeme, R. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 18, no. 1 (January 1, 2002): 114–17. http://dx.doi.org/10.1093/oq/18.1.114.

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Huck, William. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 3, no. 1 (1985): 152–53. http://dx.doi.org/10.1093/oq/3.1.152.

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Pines, Roger G. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 4, no. 4 (1986): 105–6. http://dx.doi.org/10.1093/oq/4.4.105.

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Jellinek, George. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 4 (1987): 128–30. http://dx.doi.org/10.1093/oq/5.4.128.

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Glasow, E. Thomas. "Die Zauberflöte. Wolfgang Amadeus Mozart." Opera Quarterly 7, no. 1 (1990): 220–22. http://dx.doi.org/10.1093/oq/7.1.220.

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Wolff, Christoph. ": Wolfgang Amadeus Mozart. Requiem . Alfred Schnerich. ; Wolfgang Amadeus Mozart. Requiem, K. 626 . Gunter Brosche." 19th-Century Music 15, no. 2 (October 1991): 162–65. http://dx.doi.org/10.1525/ncm.1991.15.2.02a00070.

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Till, N. "Wolfgang Amadeus Mozart: Cosi fan tutte." Opera Quarterly 25, no. 1-2 (November 8, 2009): 145–49. http://dx.doi.org/10.1093/oq/kbp022.

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Glasow, E. Thomas. "Il re pastore. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 2 (1993): 184–86. http://dx.doi.org/10.1093/oq/10.2.184.

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Dissertations / Theses on the topic "Mozart, Wolfgang Amadeus, Music theory. Music"

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Chen, Wen-Mi. "An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363864.

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Mathews, Steven D. "Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623241774278313.

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Shantz, Bren. "Organic relationships motivic parallelisms between the first and second themes of sonata form /." Diss., Connect to online resource - MSU authorized users, 2008.

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Smith, Linda S. "Mozart's dialectic with gender : Le nozze di Figaro and Piano concerto no. 25, K. 503 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11391.

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Fogelberg, Viktor. "Wolfgang Amadeus Mozart - Fagottkonsert : analys och Instudering." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2365.

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I detta självständiga arbete redovisar och analyserar jag min instudering av de två första satserna i Wolfgang Amadeus Mozarts fagottkonsert. Därtill redovisar jag den historiska kontexten kring Mozart och fagottkonserten med hjälp av relevant litteratur. Analysen av stycket består av en harmonisk analys, redovisning av motiven i en motivkatalog och en grafisk översikt. I metoddelen berättar jag även hur jag lagt upp min övning i samband med instuderingen av verket.

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Choi, Yoon-Sook. "Humor in the piano sonatas of Wolfgang Amadeus Mozart /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11200.

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Hsu, Mei-Na. "Mozart's Piano Concerto in D Minor, K. 466: analysis and discussion of interpretation and performance /." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180454448.

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Eriksson, Emilia. "Wolfgang Amadeus Mozart: Klarinettkvintett K. 581 : Analys och instudering med basettklarinetten i fokus." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4066.

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Uppsatsen handlar om W.A. Mozarts Klarinettkvintett i A-dur, K. 581. Arbetet innehåller en musikteoretisk analys av verkets första sats, samt egna erfarenheter från instuderingsprocessen. Viktiga aspekter är arbetet tillsammans med en stråkkvartett, hur det som blåsare är att arbeta med stråkar samt att finna sin plats i en så etablerad kammarmusikkonstellation som en stråkkvartett är. Arbetet fokuserar till stor del på basettklarinetten. En historisk bakgrund för tiden kring basettklarinettens uppkomst, användning, varför ingen annan än Mozart skrivit för instrumentet och hur det skiljer sig att spela kvintetten på A-klarinett och basettklarinett ingår.

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Jan, Steven B. "Aspects of Mozart's music in G minor : toward the identification of common structural and compositional characteristics /." New York ; London : Garland, 1995. http://catalogue.bnf.fr/ark:/12148/cb36961806h.

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Windt, Nathan John. "A Conductor’s Guide to Selected Short, Pre-Viennese Liturgical and Sacred Choral Works of Wolfgang Amadeus Mozart." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211394102.

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Books on the topic "Mozart, Wolfgang Amadeus, Music theory. Music"

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Classical form: A theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven. Oxford: Oxford University Press, 2001.

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Caplin, William Earl. Classical form: A theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.

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Varga, Ovidiu. Wolfgang Amadeus Mozart. București: Editura Muzicală, 1988.

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Korff, Malte. Wolfgang Amadeus Mozart. Frankfurt am Main: Suhrkamp, 2005.

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Ziegler, Frank. Wolfgang Amadeus Mozart: Autographenverzeichnis. Berlin: Deutsche Staatsbibliothek, 1990.

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

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Berke, Dietrich, Wolfgang Rehm, and Miriam Pfadt. Wolfgang Amadeus Mozart, neue Ausgabe sämtlicher Werke. Kassel: Bärenreiter, 2007.

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8

Rich, Alan. Wolfgang Amadeus Mozart: Play by play. San Francisco: HarperCollins, 1995.

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ill, Gabbey Terry, and Bunting Janet, eds. Play Mozart: The music and travels of Wolfgang Amadeus Mozart. Hauppauge, N.Y: Barron's, 1988.

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Terry, Gabbey, and Bunting Janet, eds. Play Mozart: The music and travels of Wolfgang Amadeus Mozart. London: Octopus, 1988.

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Book chapters on the topic "Mozart, Wolfgang Amadeus, Music theory. Music"

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"WOLFGANG AMADEUS MOZART." In The Classical Music Lover's Companion to Orchestral Music, 472–544. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.43.

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Haroutounian, Joanne. "Talent as Giftedness." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0012.

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Wolfgang Amadeus Mozart began composing at the age of four. He toured as a prodigy for three years before the age of ten, astounding audiences with his ability to perform on the harpsichord, voice, organ, and violin. He would compose on sight in different styles and on different instruments. He could “most accurately name from a distance any notes that may be sounded for him either singly or in chords, on the clavier or on every imaginable instrument, including bells, glasses, and clocks.” When his father was recovering from an illness, eight-year-old Wolfgang was not allowed to play the piano. He filled his time by composing his first symphony (K.16) for all instruments of the orchestra. When we hear the word “gifted” in connection with music, the musical prodigy immediately comes to mind. The arguments of recognizing talent through performance, creative endeavors, or music aptitude tests seem incidental in comparison to the possibilities and accomplishments of the musical prodigy. There is no question that these young musicians show incredible levels of musical talent, often exhibiting musical capabilities equal to those of a highly trained adult. Mozart remains the preeminent example of the prodigy, described by his father and teacher as a “God-given miracle,” knowing “in his eighth year what one would expect from a man of forty. Indeed, only he who sees him can believe it.” A prodigy is a child who displays extraordinary talent at an early age. Prodigies occur most often in the field of music, exceeding the total of all other fields combined. Musical prodigies show outstanding abilities at a younger age than other prodigies, with some as young as three or four years old. The field of chess is a distant second place in number, with prodigious achievement often seen at five or six years of age. Relatively few prodigies are identified in the natural sciences, philosophy, dance, or plastic arts. Even the field of mathematics, whose young calculating wonders gain media recognition, have few true prodigies capable of original mathematical reasoning prior to their teen years. The literature offers differing opinions concerning age and prodigious talent.

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Wiseman, Debbie. "Personal Spin H." In Defining the Discographic Self. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0021.

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George Frideric Handel: The Country Dance from Handel’s Water Music The Beatles: Eleanor Rigby Wolfgang Amadeus Mozart: Piano Sonata in Bb Major Olivier Messiaen: The Turangalîla Symphony, Finale Buxton Orr: Caledonian Suite—Allegro Leggiera Dave Grusin: The piano theme from the film On Golden Pond Claude Debussy: ...

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Leopold, Silke. "The Idea of National Opera, c. 1800*." In Unity and Diversity in European Culture c.1800. British Academy, 2006. http://dx.doi.org/10.5871/bacad/9780197263822.003.0003.

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Wolfgang Amadeus Mozart was one of many composers who, during the last quarter of the eighteenth century, thought more and more about a German-language opera. The idea of a German national opera was intensively discussed in Mannheim, and also put into practice with Ignaz Holzbauer's setting of Anton Klein's libretto Günther von Schwarzburg (1777). The idea of the national opera took hold in Europe during the nineteenth century. Is the German national opera, which composers and writers on music from Richard Wagner to Hans Pfitzner see as starting with Christoph Willibald Gluck's Iphigenie auf Tauris and Carl Maria von Weber's Freischütz, a historical reality or a historiographical construct? In order to answer this question, this chapter takes a brief look at the situation of opera around 1800, for only in Germany, and not in the other two leading opera nations, Italy and France, can a development at this time be observed in which the idea of a national opera takes shape.

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