Relevant bibliographies by topics / Mozart, Wolfgang Amadeus, Music theory. Music / Journal articles
To see the other types of publications on this topic, follow the link: Mozart, Wolfgang Amadeus, Music theory. Music.

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

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Mozart, Wolfgang Amadeus, Music theory. Music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

McKee, David. "Two Don Giovannis. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 2 (1993): 191–95. http://dx.doi.org/10.1093/oq/10.2.191.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Glasow, E. Thomas. "La finta giardiniera. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 3 (1994): 188–90. http://dx.doi.org/10.1093/oq/10.3.188.

Full text
APA, Harvard, Vancouver, ISO, and other styles
13

Pines, Roger G. "Così fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 4, no. 4 (1986): 86–88. http://dx.doi.org/10.1093/oq/4.4.86.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

Jellinek, George. "Così fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 1 (1987): 134–35. http://dx.doi.org/10.1093/oq/5.1.134.

Full text
APA, Harvard, Vancouver, ISO, and other styles
15

Bomberger, E. Douglas. "Cosȶ fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 1 (1993): 131–33. http://dx.doi.org/10.1093/oq/10.1.131.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Sacau, E. "Wolfgang Amadeus Mozart: La clemenza di Tito." Opera Quarterly 22, no. 3-4 (April 7, 2008): 571–74. http://dx.doi.org/10.1093/oq/kbn014.

Full text
APA, Harvard, Vancouver, ISO, and other styles
17

Glasow, E. Thomas. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 1 (1994): 136–38. http://dx.doi.org/10.1093/oq/11.1.136.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

McKee, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 3 (1995): 151–53. http://dx.doi.org/10.1093/oq/11.3.151.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Buller, Jeffrey L. "La clemenza di Tito. Wolfgang Amadeus Mozart." Opera Quarterly 12, no. 2 (1995): 133–35. http://dx.doi.org/10.1093/oq/12.2.133.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Glasow, E. T. "Die Gartnerin aus Liebe. Wolfgang Amadeus Mozart." Opera Quarterly 17, no. 2 (January 1, 2001): 304–6. http://dx.doi.org/10.1093/oq/17.2.304.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Glasow, E. T. "Il sogno di Scipione. Wolfgang Amadeus Mozart." Opera Quarterly 17, no. 4 (January 1, 2001): 739–43. http://dx.doi.org/10.1093/oq/17.4.739.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Hamilton, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 6, no. 4 (1989): 107–11. http://dx.doi.org/10.1093/oq/6.4.107.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

Gasenzer, Elena Romana, Ayhan Kanat, and Edmund Neugebauer. "Neurosurgery and Music; Effect of Wolfgang Amadeus Mozart." World Neurosurgery 102 (June 2017): 313–19. http://dx.doi.org/10.1016/j.wneu.2017.02.081.

Full text
APA, Harvard, Vancouver, ISO, and other styles
24

Gribenski, Jean, and Gertraut Haberkamp. "Die Erstdrucke der Werke von Wolfgang Amadeus Mozart." Revue de musicologie 77, no. 2 (1991): 349. http://dx.doi.org/10.2307/947435.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Steptoe, A. "Wolfgang Amadeus Mozart: A Biography. By Piero Melograni." Music and Letters 89, no. 1 (February 1, 2008): 117–18. http://dx.doi.org/10.1093/ml/gcm074.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

Glasow, E. T. "Die Entfuhrung aus dem Serail. Wolfgang Amadeus Mozart." Opera Quarterly 18, no. 1 (January 1, 2002): 108–10. http://dx.doi.org/10.1093/oq/18.1.108.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Hunter, Mary, and Christoph-Hellmut Mahling. "Wolfgang Amadeus Mozart. Violinkonzerte und Einzelsatze." Notes 43, no. 1 (September 1986): 166. http://dx.doi.org/10.2307/897854.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Lippmann, Friedrich. "Mozart, Jommelli, Cimarosa: zu einigen Arien." Die Musikforschung 59, no. 1 (September 22, 2021): 31–48. http://dx.doi.org/10.52412/mf.2006.h1.561.

Full text
Abstract:
Vier Arien Wolfgang Amadeus Mozarts (KV 528, 578, 294, 538) werden mit textgleichen Arien Niccolò Jommellis und Domenico Cimarosas verglichen. Es wird offenbar, dass Mozart Jommellis entsprechende Arie gut kannte, als er KV 528 vertonte. Und es zeigt sich deutlich, dass etwa 1785-1790 von allen italienischen Komponisten Cimarosa dem Salzburger Meister am nächsten stand.
APA, Harvard, Vancouver, ISO, and other styles
29

Rice, John A., Baird Hastings, Peter J. Davies, Alexander Wheelock Thayer, and Theodore Albrecht. "Wolfgang Amadeus Mozart: A Guide to Research." Notes 47, no. 4 (June 1991): 1128. http://dx.doi.org/10.2307/941632.

Full text
APA, Harvard, Vancouver, ISO, and other styles
30

Goves, Larry. "MICHAEL FINNISSY AND WOLFGANG AMADEUS MOZART: THE COMPOSER AS ANTHROPOLOGIST." Tempo 71, no. 280 (March 3, 2017): 47–55. http://dx.doi.org/10.1017/s0040298217000079.

Full text
Abstract:
AbstractFeatures of Michael Finnissy's music are considered through some of the ideas and writings of anthropologist Tim Ingold. Finnissy and Ingold share a preoccupation with line and, more specifically, exploring Finnissy's compositional approach as applied anthropology provides productive insights into his music and performance practice. The starting point for this investigation is a consideration of three of Finnissy's pieces connected to Wolfgang Amadeus Mozart:Completion of the Requiem KV 626 by W.A. Mozart and F.X. Süssmayr(2011);Cibavit eos(1991); andWAM(1990–91). These pieces provide a convenient set of examples with relevant features: music that connects to the past; music with elaborate line(s); music written for amateur performers; transcription; and instrumentalists that move as part of the performance. These recurring features of Finnissy's composition could be considered indicative of this anthropological approach; they are informed by an investment in people that aspires to musical and personal transformation.
APA, Harvard, Vancouver, ISO, and other styles
31

Olech-Hopcroft, Marischka. ""Wolfgang Amadeus Mozart: Music for Solo Keyboard." Trevor Stephenson, Fortepiano." Performance Practice Review 10, no. 1 (1997): 124–33. http://dx.doi.org/10.5642/perfpr.199710.01.10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
32

Maurer Zenck, Claudia. "Einige ungewohnte Bemerkungen über die "Zauberflöte" oder: Pamina walzt, Tamino sitzt im Wirtshaus." Die Musikforschung 57, no. 1 (September 22, 2021): 36–55. http://dx.doi.org/10.52412/mf.2004.h1.653.

Full text
Abstract:
Die Dramaturgie in Wolfgang Amadeus Mozarts "Zauberflöte", insbesondere das Verhalten Taminos Pamina gegenüber, ist von einer psychologischen Unlogik geprägt. Zum einen geht dies sicher auf das Libretto Emanuel Schikaneders zurück, zum anderen ging es Mozart darum, das Publikum mit Komik zu konfrontieren. bms online (Oliver Schöner)
APA, Harvard, Vancouver, ISO, and other styles
33

Hunt, Christopher. "Acis and Galatea. George Frideric Handel, arranged by Wolfgang Amadeus Mozart." Opera Quarterly 6, no. 1 (1988): 126–28. http://dx.doi.org/10.1093/oq/6.1.126.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Nägele, Reiner. "„Belmont und Constanze” in den Vertonungen von Dieter und Mozart - ein Vergleich." Die Musikforschung 50, no. 3 (September 22, 2021): 277–94. http://dx.doi.org/10.52412/mf.1997.h3.991.

Full text
Abstract:
Der Vergleich von Wolfgang Amadeus Mozarts <Die Entführung auf dem Serail>, KV.384, mit der zeitgleichen Vertonung des Librettos von Christoph Friedrich Bretzner durch den Stuttgarter Hofmusiker Christian Ludwig Dieter legt unterschiedliche Traditionsbindungen offen. Die Analyse bezieht sich auf die Tonartencharakteristik, das Exotische, die Personendarstellung und die Instrumentation.
APA, Harvard, Vancouver, ISO, and other styles
35

Hiltner-Hennenberg, Beate. "Piècen aus „La clemenza di Tito” von Wolfgang Amadé Mozart auf mechanischen Musikinstrumenten." Die Musikforschung 50, no. 3 (September 22, 2021): 319–24. http://dx.doi.org/10.52412/mf.1997.h3.993.

Full text
Abstract:
Der Aufsatz befaßt sich unter dem Aspekt der Rezeptionsgeschichte mit der letzten Opera seria Wolfgang Amadeus Mozarts, <La clemenza di Tito>. Vor allem die mechanischen Musikinstrumente, die zwischen 1750 und 1865 weit verbreitet waren, galten als Indikatoren für das Interesse des Publikums. Insbesondere der Marsch und die beiden Arien der Vitellia wurden von fast jedem mechanischen Instrument gespielt.
APA, Harvard, Vancouver, ISO, and other styles
36

Federhofer, Hellmut. "Johann Joseph Fux (1660-1741) und die Kontrapunktlehre." Die Musikforschung 46, no. 2 (September 22, 2021): 157–70. http://dx.doi.org/10.52412/mf.1993.h2.1152.

Full text
Abstract:
Der strenge Satz wurde als Voraussetzung für einen geregelten Kompositionsunterricht betrachtet und diente als Grundlage für den freien Satz - zum Beispiel bei Wolfgang Amadeus Mozart, Ludwig van Beethoven, Joseph Haydn. Die Verleugnung der Einheit von strengem und freiem Satz führte seit dem Ende des 18. Jahrhunderts zu einer zunehmenden Entfremdung von Theorie und Praxis. Heinrich Schenkers Bemühung, dem Zusammenschluß von Kontrapunkt und Harmonielehre eine theoretische Begründung zu geben, führte wieder zu Fux "Gradus ad Parnassum" zurück. (Autor)
APA, Harvard, Vancouver, ISO, and other styles
37

Irving, John. ""Er hat geschmack, und über das die größte Compositionswissenschaft"." Die Musikforschung 57, no. 1 (September 22, 2021): 2–17. http://dx.doi.org/10.52412/mf.2004.h1.651.

Full text
Abstract:
Leopold Mozart's letter to his daughter of 16 February 1785, describing a performance of Wolfgang Amadeus Mozart's latest string quartets in the presence of Joseph Haydn claims that Haydn considered Mozart to have taste, and also a profound knowledge of composition. Contrasting interpretations of this statement are considered, including the relationship between taste and compositional technique, involving discussion of some sketches for Mozart's quartets and investigation of Haydn's statement against the background of 18th-century aesthetics.
APA, Harvard, Vancouver, ISO, and other styles
38

VAN BOER, BERTIL. "THE CASE OF THE CIRCUMSTANTIAL MEETING: WOLFGANG AMADEUS MOZART AND JOSEPH MARTIN KRAUS IN VIENNA." Eighteenth Century Music 1, no. 1 (March 2004): 85–90. http://dx.doi.org/10.1017/s1478570604000065.

Full text
Abstract:
One of the joys of compiling a thematic catalogue is that a number of small mysteries crop up as one evaluates biographical and source material for the composer concerned. The journey often requires delving into the private life and works in intimate detail, and brings to light important information that in turn raises questions about the various influences or connections affecting the composer or style. But when this information is lacunar or based primarily upon circumstantial evidence, it provides only plausible suppositions that, while not entirely provable as incontrovertible fact, nonetheless dare the scholar to prove otherwise. Such is the circumstantial case for the meeting of two of the more remarkable composers of the second half of the eighteenth century, Wolfgang Amadeus Mozart and Joseph Martin Kraus, who share nearly identical life spans and dates.
APA, Harvard, Vancouver, ISO, and other styles
39

Hoffmann, Wolfgang. "Terz-Sext-Klangreihen bei Wolfgang Amadeus Mozart. Zur Behandlung eines mittelalterlichen Klangverfahrens im Tonsatz Mozarts." Archiv für Musikwissenschaft 53, no. 2 (1996): 105. http://dx.doi.org/10.2307/930948.

Full text
APA, Harvard, Vancouver, ISO, and other styles
40

Glasow, E. T. "From "Idomeneo" to "Die Zauberflote": A Conductor's Commentary on the Operas of Wolfgang Amadeus Mozart." Opera Quarterly 19, no. 2 (April 1, 2003): 280–84. http://dx.doi.org/10.1093/oq/19.2.280.

Full text
APA, Harvard, Vancouver, ISO, and other styles
41

Mitchell, Nathaniel. "The Volta: A Galant Gesture of Culmination." Music Theory Spectrum 42, no. 2 (2020): 280–304. http://dx.doi.org/10.1093/mts/mtaa006.

Full text
Abstract:
Abstract This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4^–5^ melodic string, while stage two releases to the tonic using a ♮4^–3^ string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central features of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential function reveals the intimate communion between surface schemas and the harmonic patterns inscribed within the style’s formal scripts, and, finally, its use as a climactic gesture in opera seria calls attention to the semantic possibilities of schemas beyond their role in defining musical topics. These and other aspects of the Volta are illustrated using representative excerpts from eighteenth-century masters like Leonardo Vinci, Giovanni Battista Pergolesi, Johann Adolf Hasse, Baldassare Galuppi, Joseph Haydn, and Wolfgang Amadeus Mozart.
APA, Harvard, Vancouver, ISO, and other styles
42

Lösel, Steffen. "In Need of God: Mozart, Faith, and Così fan tutte." Theology Today 74, no. 2 (July 2017): 112–37. http://dx.doi.org/10.1177/0040573617716616.

Full text
Abstract:
This article offers readers a theological entrée to Wolfgang Amadeus Mozart’s comic opera, Così fan tutte, written in collaboration with Lorenzo da Ponte in 1789. It engages the opera as a means of social and theological criticism. The opera presents Mozart’s understanding of love through a critical engagement with the late Enlightenment and French materialism. While da Ponte’s libretto may well endorse materialism’s attack on the church and on Christian anthropology, Mozart’s music is more ambiguous: on the one hand, it demonstrates the weakness of Baroque Catholicism to withstand the rationalist criticism of the Enlightenment; on the other hand, it exposes the sobering reality which such rationalist materialism itself produces—a reality marked by strained and ultimately impoverished human relationships.
APA, Harvard, Vancouver, ISO, and other styles
43

Rushton, Julian. "Review: W. A. Mozart by Hermann Abert. Translated by Stewart Spencer. Edited by Cliff Eisen; Wolfgang Amadeus Mozart: A Biography by Piero Melograni. Translated by Lydia G. Cochrane." Journal of the American Musicological Society 61, no. 3 (2008): 625–32. http://dx.doi.org/10.1525/jm.2008.61.3.625.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Mieder, Wolfgang. "?Now I Sit Like a Rabbit in the Pepper?: Proverbial Language in the Letters of Wolfgang Amadeus Mozart." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 40, no. 1 (January 2003): 33–70. http://dx.doi.org/10.2979/jfr.2003.40.1.33.

Full text
APA, Harvard, Vancouver, ISO, and other styles
45

Kuzmin, Vsevolod E. "“Il Mio Tesoro” by Wolfgang Amadeus Mozart: The Individual Features of Breath Control by Tenor Singers upon Performance of Vocalizations." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2020): 241–49. http://dx.doi.org/10.33779/2587-6341.2020.4.241-249.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Sallis, Friedemann. "Deconstructing the Local: The Aesthetic Space and Geographic Place of Oskar Morawetz's String Quartet no. 5 "A Tribute to Wolfgang Amadeus Mozart" (1991)." Canadian University Music Review 24, no. 1 (March 8, 2013): 7–29. http://dx.doi.org/10.7202/1014669ar.

Full text
Abstract:
The oppositional notions of centre and periphery, mainstream and margin, and universal and local have long been important criteria for the scholarly study of Western music. Indeed they are often taken for granted. This paper will take a critical look at the relationship obtaining between art music the notion of a national music. The object of study is taken from among the works of the Canadian composer (of Czech origin) Oskar Morawetz. The point is not to deny that music can be legitimately associated with a given place but rather to examine how these complex, problematic relationships are created and how they evolve and/or dissolve over time.
APA, Harvard, Vancouver, ISO, and other styles
47

Mieder, Wolfgang. ""Now I Sit Like a Rabbit in the Pepper": Proverbial Language in the Letters of Wolfgang Amadeus Mozart." Journal of Folklore Research 40, no. 1 (2003): 33–70. http://dx.doi.org/10.1353/jfr.2003.0007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
49

Bergomi, Piera, Michele Chieppi, Antonella Maini, Tiziana Mugnos, Debora Spotti, Chrisoulle Tzialla, and Luigia Scudeller. "Nonpharmacological Techniques to Reduce Pain in Preterm Infants Who Receive Heel-Lance Procedure: A Randomized Controlled Trial." Research and Theory for Nursing Practice 28, no. 4 (2014): 335–48. http://dx.doi.org/10.1891/1541-6577.28.4.335.

Full text
Abstract:
Introduction: The heel-lance (HL) method for blood collection from the newborn is controversial for the pain it causes. This is the first randomized controlled trial on the management and reduction of pain using the music of Wolfgang Amadeus Mozart (“Sonata K. 448”) in premature infants hospitalized in a neonatal intensive care unit (NICU). This study has compared nonpharmacological techniques with standard procedure for reducing pain during HL procedure. Methods: Thirty-five premature infants were enrolled, each for 3 HL procedures, of which each was randomized to 1 of the 3 study arms. Arms were then compared in terms of the Premature Infant Pain Profile (PIPP) changes by analysis of variance (ANOVA). Results: One hundred five HL procedures were available for analysis (35 standard procedure, 35 music, 35 glucose). Median baseline PIPP was 3, and median PIPP after the HL procedure was 5. PIPP scale change was +3 in the control arm, +1 in the glucose arm, +2 in the music arm (p = .008). Discussion: Both glucose and music were safe and effective in limiting pain increase when compared to standard procedure in HL procedures in preterm infants.
APA, Harvard, Vancouver, ISO, and other styles
50

Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

Full text
Abstract:
In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Mozart, Wolfgang Amadeus, Music theory. Music' for other source types:
Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography