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

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Published: 4 June 2021

Last updated: 16 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Pretorious, Ane Sophia. "How did Wolfgang Amadeus Mozart adjust his compositional technique when writing for a Mezzosoprano en travesti? A comparison between the roles of Cherubino and Sesto." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30531.

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Heroic male operatic roles were not always limited to what is today mainly known as male voices (tenor or baritone/bass). In the seventeenth and eighteenth centuries prepubescent boys were often castrated in order to keep their voices within the treble range. Some of these boys were extremely musical and after many years of vigorous training, went on to become renowned singers. The singing castrati were famous for their ethereal vocal abilities as well as ‘angelic’ vocal timbre. During the castrati’s reign, Wolfgang Amadeus Mozart wrote what is speculated to be the first operatic prepubescent boy role to be sung by a female en travesti, which set in motion a new opera tradition. Between 1790 and 1825 the convention of castration purely for the sake of voice preservation began to lose strength until the complete demise of these celebrated singers in 1922. From then on theatres began to substitute female singers, falsettists and countertenors into these heroic male roles. The repertoire of mezzo-sopranos today consists mainly of these prepubescent boy and adult heroic male roles. Based on the various physiological differences between the castrato and female body and larynx, this study focused mainly on proving how Mozart wrote idiomatically differently for the castrato and the female voice. The secondary aim was to determine the influence of socio-political climate on the perception of these roles by past and present audiences, as well as to uncover the various difficulties facing contemporary mezzosopranos. Recommendations aimed at mezzo-sopranos were formed from a mezzo-soprano’s perspective

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13

Haukebo, Lindsay A. "Virtuosic commissioning the creation of a canonized oboe repertoire /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/823.

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14

Hunt, Antonio Montrell. "A Comparison of Mozart's Missa Brevis in C Major, K.220 and Kodaly's Missa Brevis." mixed, 2006. http://etd.gsu.edu/theses/available/etd-04212006-213047/.

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Thesis (M.M.)--Georgia State University, 2006.
Title from title screen. Alan Raines, committee chair; John Haberlen, N. Lee Orr, committee members. Electronic text (72 p. : music) : digital, PDF file. Description based on contents viewed Apr. 10, 2007. Includes bibliographical references (p. 58-63).

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15

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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16

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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17

Laney, Ryan Ray. "A master's report in conducting for winds & percussion: analyses and rehearsal strategies for Sonata no. 13 by Giovanni Gabrieli, Serenade no. 12 in C minor by Wolfgang Amadeus Mozart, and Prelude, siciliano and rondo by Malcolm Arnold." Kansas State University, 2012. http://hdl.handle.net/2097/13681.

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Master of Music
Department of Music
Frank Tracz
This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master's in Music degree. It contains theoretical, historical, and rehearsal analyses for Sonata No. 13 by Giovanni Gabrieli as arranged for brass octet by Glenn Smith, movements II. Andante and III. Minuet & Trio from Serenade No. 12 in c minor by Wolfgang Amadeus Mozart as edited by Frederick Fennell, and Prelude, Siciliano and Rondo by Sir Malcolm Arnold as arranged for full symphonic band by John P. Paynter. Prelude, Siciliano and Rondo was performed by the Kansas State University Wind Ensemble on February 15, 2012 in McCain Auditorium on the Kansas State University campus. Sonata No. 13 was performed by members of the Kansas State University Brass Ensemble on April 18th, 2012 in McCain Auditorium. There was no formal performance or rehearsal for Serenade No. 12 in c minor. The analytical methods employed in this report include the Unit Study approach used in the Teaching Music Through Performance in Band book series and the Tracz method of macro-micro-macro graphical score analysis.

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18

Lochstampfor, Mark Lewis. "Stylistic comparisons of primary themes in the string quartets of Haydn, Mozart and Beethoven." Connect to this title online, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1100798307.

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19

Johnson, Christopher Scott. "An examination of major works for wind band, brass ensemble, and chamber winds: “Three songs from Sussex” by Hugh M. Stuart, “Fanfare for brass and percussion” by Karel Husa, and “Serenade no. 10 in B flat” by Wolfgang Amadeus Mozart." Kansas State University, 2015. http://hdl.handle.net/2097/19076.

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Master of Music
Department of Music, Theatre, and Dance
Frank C. Tracz
This report provides a comprehensive research and teaching guide for three works for wind ensemble, brass ensemble, and chamber winds: Three Songs from Sussex by Hugh M. Stuart, Fanfare for Brass and Percussion by Karel Husa, and Serenade No. 10 in Bb, Largo, Allegro molto by Wolfgang Amadeus Mozart. Each chapter provides information on the composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, form and structure, other listening suggestions, and seating arrangement considerations. Also included are the lesson plan outlines that were used to teach each work, and a detailed score analysis grid. The report documents the full process of selecting, researching, rehearsing, and performing the selected literature with the hope that it will aid in future performances of the works.

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20

Tackett, Joshua Lucas. "A master’s vocal recital analyzing the historical and stylistic aspects of works by George Frideric Handel, Wolfgang Amadeus Mozart, Franz Schubert, Vincenzo Bellini, Giuseppe Verdi, Gaetano Donizetti, Reynaldo Hahn, and Michael Head." Kansas State University, 2014. http://hdl.handle.net/2097/18335.

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Master of Music
Department of Music, Theatre, and Dance
Reginald L. Pittman
The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.

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21

Payne, Andrew J. "The Development of the Bassoon Idiom as Seen in Three Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1607082064118953.

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22

Perttu, Daniel Erkki Hiram. "Through nature to eternity a work for wind ensemble, and A quantitative study of chromaticism : changes observed in historical eras and individual composers /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1177965963.

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23

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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24

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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25

Furlong, Alison Marie. "Georg Wildhagen's Figaros Hochzeit: How an Italian Opera Based on a French Play Became a German Socialist Film." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269535387.

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26

Beard, R. Daniel Clendinning Jane Piper. "Contour modeling by multiple linear regression of the nineteen piano sonatas by Mozart." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-10302003-012714.

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Thesis (Ph.D.) -- Florida State University, 2003.
Advisor: Dr. Jane Piper Clendinning, Florida State University, School of Music. Title and description from dissertation home page (viewed Mar. 10, 2004) Document formatted into pages; contains 251 pages. Includes biographical sketch. Includes bibliographical references.

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27

"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.

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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

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28

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.

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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.

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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.

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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.

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30

"Mozart's Salzburg Masses and the Mass in C minor, K. 427." 2008. http://library.cuhk.edu.hk/record=b5896758.

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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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31

Bazika, Tomáš. "Formanův Amadeus a role hudby ve filmové naraci." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435223.

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Forman's Amadeus and the Role of Music in Film Narrative Vedoucí diplomové práce (supervisor): Zpracoval (author): Mgr. Tereza Havelková, Ph.D. Tomáš Bazika studijní obor (program): Praha, July 2020 Obecná teorie a dějiny umění a kultury Abstract The subject of this thesis is a study of the ways of using the music of Wolfgang Amadeus Mozart in Miloš Forman's motion picture Amadeus. In my thesis, I focus on how Amadeus employs pre-existing classical compositions to create a new, largely fictional narrative based on the life and music of Mozart. I argue that instead of applying pre-existing pieces as film music, Amadeus conceives individual scenes as well as its overall filmic structure to accommodate the music's expressive qualities and biographical associations. I engage in a conversation with relevant existing scholarship to establish a theoretical framework for a systematic interpretation of the meaning-making roles of music in Amadeus. Drawing on Claudia Gorbman's concept of diegetic, non-diegetic and metadiegetic sound categories, I apply her taxonomy to Amadeus in order to show how not only the selection and placement of music but also its relation to the diegesis determine its impact on the narrative. I propose that in its treatment of Mozart's music, Amadeus reverses the traditional hierarchy of the...

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