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Thèses sur le sujet « Mozart analysis »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 8 février 2022

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1

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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Walker, Michael Edward. « Franz Xaver Wolfgang Mozart : an analysis of selected works / ». view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3136451.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 209-211). Also available for download via the World Wide Web; free to University of Oregon users.

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3

Kim, Hak Min. « A critical analysis of Peter Sellars's three stage productions of the Mozart/da Ponte operas / ». Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004200.

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4

Marsden, Alan A. « Analysing music as listeners' cognitive activity : a study with reference to Mozart ». Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328867.

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Zemánek, Václav. « Akustická analýza Mozartova efektu a jeho působení u pacientů s epilepsii ». Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2018. http://www.nusl.cz/ntk/nusl-377329.

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The music, in generaly, can calm down a human internally. The effect of Mozart's music can even be measured. Students, who listened Mozart's music, had higher IQ result and epileptiform activity is describing on patients with epilepsy. This master's thesis is dealing with design of the evaluation system, which can determine music parameters describing epileptiform activity.

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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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Rhee, Meehyun. « A background and an analysis of Mozart's piano concerto no. 24 in C minor, K. 491 : aids towards performance / ». The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335282431.

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Magarotto, Matteo. « The Interaction of Sonata Form and Schemata Derived from Galant Practice in the First Movements of Mozart's Keyboard Sonatas ». University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470754875.

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9

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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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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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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Pickard, Jonna. « An Analysis of Pants Roles in Opera ». Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/488.

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This document assesses the introduction of pants roles in opera and includes a historical overview to understand the background of these roles. This dramatic conceit concentrates on the development of the operatic art form from the seventeenth to twentieth centuries. In Italy during the seventeenth century, the castrato voice, which had been a crucial aspect of church music, was now developing a position in opera. Within this document, the castrati’s transition from sacred music to the opera, where lies the bulk of their success, will be studied. As opera expands rapidly throughout the music scene, the demand of singers, specifically castratis, grew. The document will also deal with the introduction of castrati operatic roles. Gluck’s “Orfeo ed Euridice" is analyzed. Gluck’s opera exhausted several editions and demonstrates how the role Orfeo, as well as other castrati roles, evolved once castrato slowly went extinct. The terms referring to cross-dressing roles, and their specific repertoire, as well as the process in which women came to assume these roles will also be discussed. The shift from male to female in operatic repertoire is examined, as well as the traditional pants role for women in opera. The document will also discuss the pants role Cherubino as an example. This is the embodiment of a young boy in love, experiencing the admiration of a woman for the first time, as well as the vulnerability of his feelings for a woman. Cherubino’s arias are analyzed as well as a description and explanation of his possible intentions while singing his arias will communicate the subtext of the character. This document also discusses similar characters in Italian and French repertoire. The German repertoire for pants roles is separately presented and is based on the role of Octavian in Strauss’ Der Rosenkavalier. It is interesting that although the roles of Octavian and Cherubino were developed centuries apart, it is possible to compare similarities between the characters, from their creation, librettists’ perception and the composers’ execution in their compositions. This analysis was intended to exhibit the evolution of the pants role in opera and how writing current pieces for women in pants is an entirely different challenge as it was in previous centuries. In an attempt to expose different viewpoints on the subject, these questions will be addressed. The characters addressed so far are the pants; when a woman represents a male character. Meanwhile, there is a discussion about how a pants roles should be classified, although the pants role is the representation of a man played by a woman, she is not attempting to convince the audience that she is a man. The alteration of sex of a character when it is visible to the audience, and the conversation of categorizing a pants role; for example, the role of Leonore in Beethoven’s Fidelio, is debatable.

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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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14

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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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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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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Rego, Eusiel Silva do. « Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart : uma abordagem estético-analítica ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-06032013-160229/.

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Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente.
This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

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Schwanzer, Miroslav. « Studium vlivu akustických podnětů na člověka ». Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2012. http://www.nusl.cz/ntk/nusl-374608.

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The thesis deals with EEG signals, their description, methods of quantitative analysis and the processes in time-frequency domains, or power spectrums. The relationsheep between brain electrical activity and acustic stimuli (Mozart´s “Sonata K448”) was studied using EEG analysis in relation to sound impulses from replayed extracts of. The proposed experiment protocol included recording of EEG of volunteers. In order to visualize and analyze the data, the software with the graphic user interface was created, which enables topological mapping of brain activity and its vizualization in the time-frequency domain.

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Grosklos, Hollie Jo. « Form and analysis as elements of neo-romanticism in Summer music, op. 31, by Samuel Barber (1957) with three recitals of selected works by Bach, Mozart, Hindemith, Handel, Gaubert and others / ». connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/grosklos%5Fhollie/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Accompanied by 4 recitals, recorded Mar. 27, 1995, Jan. 29, 1996, June 5, 2000, and Sept. 10, 2001. Includes bibliographical references (p. 100-101).

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Jones, Margo S. « Joan Tower's Hexachords for Solo Flute : an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and Others ». Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279028/.

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This dissertation discusses two flute works by Joan Tower (born 1938). The performance medium consists of flute alone, Hexachords for Solo Flute (1972), and flute and orchestra, the Flute Concerto (1989). The discussion on Hexachords consists of a theoretical analysis; discussion on the Flute Concerto pertains to Tower's flute writing through an investigation into her musical language and specific performance techniques. Numerous examples are included to illustrate various aspects of Tower's style. Conclusions follow. The purpose of the paper is, first, to illustrate that basic knowledge of the twelve-tone method can bring a composition out of uncertainty for the performer and allow him to present what is unique within it. Secondly, it is to investigate the stylistic maturation of Joan Tower's flute works. In order to facilitate a better understanding of Tower's music and to provide commentary about the performance of each work, the writer has quoted from personal interviews with the composer and with flutists Carol Wincenc and Patricia Spencer, to whom the works are dedicated.

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Kim, Jung Won. « An analysis of J.S. Bach’s Partita in B flat major, BWV 825 ; W.A. Mozart’s Piano Sonata in D major, K.576 ; F. Chopin’s Mazurkas, Opus 17 ; A. Khachaturian’s Toccata : theoretical, stylistic, and historical background ». Kansas State University, 2015. http://hdl.handle.net/2097/20101.

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Master of Music
Music, Theatre, and Dance
Slawomir Dobrzanski
This Master’s report analyzes four piano compositions performed on April 9, 2015 at the author’s Master’s recital. The works under consideration are Johann Sebastian Bach’s Partita in B flat major, BWV 825; Wolfgang Amadeus Mozart’s Piano Sonata in D major, K.576; Fryderyk Chopin’s Four Mazurkas, Opus 17; and Aram Khachaturian’s Toccata. This analysis includes the discussion of the theoretical, stylistic, and historical background of each composition.

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Seelig, Timothy. « Six Odes by C.F. Gellert set by C.P.E. Bach and Ludwig van Beethoven : A Comparative Analysis, a Lecture Recital Together with Three Recitals of Selected Works by Monteverdi, Caldara, Mozart, Brahms, Mendelssohn, Ives, Honegger, and Others ». Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331707/.

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The lecture recital was given on July 13, 1987. The discussion of the poetry by C. F. Gellert and the musical settings by C. P. E. Bach and Ludwig van Beethoven including analyses of all the pieces was followed by their performance. In addition to the lecture recital, three other public recitals were given: three of solo literature for voice and piano and one of vocal chamber literature. These included the works of Monteverdi, Caldara, Mozart, Brahms, Strauss, Mendelssohn, Ives, Honegger, Debussy, Faure", and others. All of these recitals were recorded on magnetic tape and filed along with the written version of the lecture material as a part of the dissertation.

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Luo, Yeou-Huey. « The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos" : A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others ». Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332339/.

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One of the most important compositional theories of Alexander Tcherepnin (1899-1977), Russian-American composer and pianist, is the Eurasian ideology, which was a result of the influence of Eastern culture. Inspired by this theory, Tcherepnin not only extricated himself from his own compositional techniques, but also intensified his search for musical folklore. In April, 1934, he began a world tour which was to include China, Japan, Singapore, the Philippines, Egypt, and Palestine, to search for "musical folklore." He became so fascinated with the culture of ancient China that he cancelled the rest of his arrangements, and, except for visits to Japan, he remained in China for three years, until the outbreak of the Sino-Japanese War in July, 1937. During his three-year stay in China, Tcherepnin was greatly attracted to Chinese culture, and as a result, Chinese culture influenced his music to a significant degree. This essay examines the manner in which Tcherepnin's music was influenced by his experiences in China. In order to precisely analyze the close affiliation between Chinese musical elements and Tcherepnin's "Chinese Mikrokosmos," many original Chinese sources proved indispensable in this study. These sources include Chinese folk music, theater music, instrumental music, religious music, and Chinese periodicals and newspapers that reported Tcherepnin's activities in China (1934-7). The organization of this dissertation as follows: Chapter I provides a brief biographical sketch of Tcherepnin, traces his activities in China, and introduces one of his greatest "Chinese" compositions, "Chinese Mikrokosmos," which represents the fruits of his labors to scrutinize and absorb Chinese musical language. Chapters II and III are devoted to exploring how Chinese folk and instrumental music inspired Tcherepnin's "Chinese Mikrokosmos." Chapter IV summarizes this study.

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Stirzaker, Kim E. (Kim Elizabeth). « Structure and Form in Two Late Works for Flute and Orchestra by Ernest Bloch (1880-1959) : Suite Modale (1956) and Two Last Poems (Maybe. . .) (1958) -- a Lecture Recital, Together With Three Recitals of Selected Works of J.S. Bach, Jolivet, Mozart,and Others ». Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc278196/.

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The lecture was presented on November 18, 1991. This presentation focused on the only two compositions for solo flute and orchestra by Ernest Bloch. Written during the last three years of the composer's life, the pieces are representative of his last style period. While Suite Modale is neobaroque in style, Two Last Poems is much more subjective. Together they represent a synthesis of many of the stylistic characteristics of Ernest Bloch. The musical parameters discussed included form, melody, texture, rhythm, harmony, and expressive devices.

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Pei, Yushu. « An Analysis of the Attempted Amalgamation of Western and Chinese Musical Elements in Huang Anlun's Piano Concerto in G Minor, Opus 25b, a Lecture Recital, Together with Three Recitals of Selected Works by Bach, Beethoven, Chopin, Liszt, Mozart, Schubert, and Schumann ». Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935793/.

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While China possesses one of the world's richest musical heritages, it remained unaffected by Western music until early in this century. Subsequently, there was a movement of nationalism in music approximately three decades after the introduction of Western music. This movement, aimed at utilizing Western compositional techniques to create musical works that still would be uniquely Chinese, continues even today. Huang's piano concerto was written in 1982, just a few years after the Cultural Revolution. At the time, most Chinese composers were "handicapped" by their lack of knowledge of Western contemporary music and by their limited study of both Western and Chinese traditional forms. Huang Anlun, a composer-in-residence at the Central Opera House in Beijing, traveled to North America to study at the University of Toronto and Yale University. Subsequently his music is widely performed and well received around the world. After presenting background information on Western music in China and an introduction to basic Chinese music theory, this study has analyzed Huang's piano concerto, with a particular focus on identifying, comparing, and analyzing elements of Western and Chinese music. After a survey of the formal structure of the concerto, this study has discussed Chinese modality and Western harmony--the two most important factors in the conception of Huang's concerto. A comparative study between Chinese folk songs and the thematic materials in Huang's concerto is followed by a discussion on "imitations" of Chinese instruments. The study has also examined Western compositional techniques incorporated into this concerto, such as thematic transformation, contrapuntal writing, cyclic procedure, as well as atonal and serial techniques. Through a detailed analysis, this study attempts to demonstrate how Huang has blended Western and Chinese musical syntaxes to create an artistic work that is also uniquely Chinese.

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Howard, Beverly A. (Beverly Ann). « Texture in Selected Twentieth-Century Program Music for Trumpet and Organ, A Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, J.S. Bach, G. Bohm, N. Degrigny, H. Distler, M. Durufle, J. Guillou, A. Heiller, W.A. Mozart, E. Raxache, M. Reger, L. Vierne ». Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc330759/.

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This dissertation is concerned with the relationship between the trumpet and organ in twentieth-century music for this ensemble and how that relationship effects performance with regard to organ registration and synchronization. The compositions discussed include "The Other Voices of the Trumpet," by Daniel Pinkham (1971); "Jericho: Battle Music," by William Albright (1976); "Three Pictures of Satan," by Jere Hutcheson (1975); and "Okna," by Petr Eben (1980). The theoretical writings of Pierre Boulez, Robert Erickson, and Donald Cogan deal with developing a contemporary concept of texture. This dissertation applies their theory that texture exists in two dimensions: vertical and horizontal. Stratification and blending of timbres comprise the vertical dimension. The succession of textures, governed by tempo, creates the second dimension. Chapter I provides an historical setting for the genre, introduces the theory of Boulez, Erickson, and Cogan, and supplies the programmatic content of the four works chosen for analysis. In Chapter II , the vertical elements of texture in these four works are isolated and examined. Chapter III deals with Pierre Boulez's theory that the succession of textures, governed by tempo, shapes the work. Each work is examined with regard to tempo, either mobile (fluctuating) or fixed. In Chapter IV the analysis is related to performance. Stratified textures, fused ensemble timbres, and their horizontal progression present problems for the ensemble in organ registration and synchronization. There are general guidelines given for registration as well as specific registration problems encountered in stratified textures and fused ensemble timbres. Synchronization, or coordination of events is the second challenge presented by the horizontal progression of textures.

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Thompson, Phil A. « A Historical Survey of Woodwind Doubling and A Form/Style Analysis of Four Works for Doubler and Wind Ensemble, a Lecture Recital together with Three Recitals of Selected Works by W.A. Mozart. A. Glazounov. P. Tate. A. Szalowski. A. Copland and Others ». Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278544/.

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Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

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Goodall, John W. (John Williams). « A Stylistic Analysis of Charles Martin Loeffler's Deux Rapsodies for Oboe, Viola and Piano, L'étang and La cornemuse, After Poems by Maurice Rollinat : A Lecture Recital, Together with Three Recitals of Selected Works by E. Rubbra, D. Beaty, B. Britten, W.A. Mozart, and Others ». Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332159/.

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At the turn of this century, Charles Martin Loeffler (1861-1935) was considered to be among the finest of the handful of well-known American composers of the time. His music was often performed by major symphony orchestras, chamber groups and solo artists. Deux rapsodies for Oboe, Viola and Piano: L'Etang and La Cornemuse, after poems by Maurice Rollinat (1846-1903), show Loeffler's affinity for programmatic concepts. These works, completed in 1901, are revisions of settings of 1898 for low voice, clarinet, viola and piano, and are now, unfortunately, out of print; but the oboe, viola and piano setting has been published (originally as Deux rapsodies by G. Schirmer, 1905; the latest edition, Two Rhapsodies, is by McGinnis and Marx, N.Y., 1979) and recorded several times. Loeffler has reflected Rollinat's poetry in his settings by means of melodic, rhythmic and harmonic devices unique to his style. Formal and articulative devices also tend to point to his dependence on the poetry as a source of inspiration and as means for defining the final musical product. Indeed, the music seems incapable of existence independent of its source in the richly imagistic poetry of Rollinat.

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Dhani, Deepsharan Kaur. « Functional and structural analysis of MOZART1, an essential MTOC regulator ». Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/29060.

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γ-Tubulin plays a universal role in microtubule nucleation from microtubule organizing centers (MTOCs), such as the centrosome in higher eukaryotes and the spindle pole body (SPB) in fungi. The γ-Tubulin functions as part of a multiprotein complex called the γ-tubulin Ring complex (γ-TuRC), consisting of γ-tubulin complex protein (GCP) 1–6, where GCP1 is γ-tubulin. It has been shown that GCP1–3 are core components as they are essential and are absolutely required for the γ-TuRC assembly, whereas the other three GCPs are not. Recently, a novel component of the γ-TuRC, MOZART1, has been identified in humans and plants. In humans, MOZART1 plays an essential role in mitotic spindle formation as a component of the γ-TuRC. The precise functional role of MOZART1 is still yet unknown. In this thesis, I therefore aimed to reveal its mode of action at a molecular level. For this purpose, I chose to exploit a powerful model system, fission yeast, which allows us to take multidisciplinary approaches. The mzt1 (also known as tam4) gene, which encodes fission yeast MOZART1 homologue, is essential. I localised Mzt1 during mitosis and meiosis and found it at the MTOCs. It also coimmunoprecipitates with γ-tubulin from cell extracts. I also determined the starting methionine of the mzt1 gene which encodes a 64–amino acid peptide. Depletion of Mzt1 leads to aberrant microtubule structure, including malformed mitotic spindles and impaired interphase microtubule array. It also causes cytokinesis defects, suggesting a role of the γ-tubulin complex (γ-TuC) in the regulation of cytokinesis. Yeast two-hybrid analysis shows that Mzt1 interacts with GCP3Alp6, a fission yeast homologue of GCP3. Biophysical methods demonstrate that there is a direct interaction between recombinant Mzt1 and the N-terminal region of GCP3Alp6. In addition Mzt1 protein tends to oligomerize into trimer or hexamer. Collectively I propose that Mzt1 oligomer directly interacts with GCP3Alp6 and stabilizes the γ-TuC to facilitate microtubule regulation.

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Williamson, Deborah. « A performer's analysis of Lili Boulanger's Clairières dans le ciel song cycle for high voice and piano : a lecture recital together with the role of Blanche in Dialogues of the Carmelites by F. Poulenc and two recitals of selected works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W.A. Mozart, R. Schumann and G. Fauré / ». connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/williamson%5Fdeborah/index.htm.

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Williamson, Deborah. « A Performer's Analysis of Lili Boulanger's Clairières dans le ciel : Song Cycle for High Voice and Piano ; a Lecture Recital Together with the Role of Blanche in Dialogues of the Carmelites by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré ». Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3022/.

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Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this document will examine Lili Boulanger's life including her family and childhood influences, musical training, preparation for the Prix de Rome and the influence of Claude Debussy and other composers. This document will discuss her mature compositional style, specifically as it is reflected in her song cycle, Clairières dans le ciel. The text will be examined in conjunction with the literary movement of symbolism in 20th century France and the symbolist poet, Francis Jammes, with special attention to the composer's personal identification with the poetry. Considerations of the musical setting of the cycle will include the melodic style as it relates to the text, the harmonic idiom and its relation to the poetry, rhythmic and metrical devices used, formal devices and the relationship of the piano accompaniment and the voice. Performance considerations for this cycle include the recommended transpositions if performed by soprano rather than the tenor voice for which it was originally composed and the level of difficulty from an interpretative as well as technical standpoint.

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Desbordes, Bertrand. « Le langage harmonique des récitatifs simples mozartiens : une approche par les vecteurs harmoniques ». Paris 4, 2001. http://www.theses.fr/2001PA040147.

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La présente thèse réalise une étude statistique du langage harmonique des récitatifs simples des opéras de Mozart, au travers de la basse fondamentale (vecteurs harmoniques de N. Meeus), des ac cords et de la basse réelle. Le répertoire étudié, depuis 'Die Schuldigkeit des ersten Gebotes' jusqu'à 'La Clemenza di Tito' intègre plusieurs courants esthétiques (opera buffa, opera seria, dramma giocoso, azione teatrale, oratorio) et permet une approche synchronique et diachronique du langage harmonique des récitatifs simples. Le résultat obtenu témoigne d'un langage riche, varié et sans cesse renouvelé
A statistical study of harTmonic relations in Mozart's "recitativi secchi", applied to fundamental bass (using Meeus'theory of "harmony vectors") to chords and to bass. The corpus i,ncludes MozarTt's operatic works from 'Die Schuldigkeit des ersten Gebotes' to 'La Clemenza di Tito', with to@pics such as opera buffa, opera seria, dramma giocoso, azione teatrale and oratorio. The result testifies of great diversity and of perpetual renewing

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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 K
Mozart’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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Walker, James L. « Stratigraphic analysis of the unit A9 excavations at Tell Mozan, Syria / ». free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418073.

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Thomson, I. « Mozart's opera Die Zauberflote : an analysis of the historical and literary sources of the libretto ». Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503064.

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This dissertation contains an analysis of the libretto of Mozart's Die Zauberflote. The analysis was contemplated with apprehension, given that so much has already been written about the opera. But the work was prompted by two factors. Firstly, by a longstanding concern that the libretto contains classical, literary, historical and philosophical references which have not been referred to in previous explanations of the opera. There was a sense in which the opera may have been well documented but perhaps not well understood. Secondly, and consequentially, the study was fuelled by the magnitude of the challenge to understand how these unacknowledged references fit together to create what the librettists considered to be their "purpose". This dissertation, then, develops many new analytical themes and throws fresh light on the purpose of the opera and the methods by which it was developed. Many people have helped me in a variety of ways during this study. I am particularly grateful to my Supervisor, David Chadd, Head of the School of Music at the University of East Anglia (UEA), Norwich, for his constant support and advice, and to my two examiners Professor Julian Rushton at Leeds University and Anthony Gritten at UEA. I am also grateful to Simon Waters at UEA and Ian Biddle (formerly UEA but now at Newcastle University) for their help during an earlier M.Mus. study which unexpectedly led to the research presented here. I am particularly grateful to Edvina Franceschini for her assistance, comments, encouragement and hospitality throughout the period of this study. And I am indebted to Prebendary Michael Moreton, for reading draft text and offering helpful comments on theological and other references, and to Angela Biston for helpfully commenting on several occasions on my draft text. I also wish to acknowledge the help of a number of people on whom I have relied for specific advice on a miscellany of subjects. Their contributions may have been partial, because none were aware of the objectives of my study, but their help was nevertheless important. I am particularly grateful to Anna Plattner and Bettina Kann, Osterreichische Nationalbibliothek, Vienna; Frieder Hepp, Director, KurpJiilzisches Museum, Heidelberg; Clare Rider, The Honourable Society of the Inner Temple, London; Diana Weber, Stadtarchive, Heidelberg; Daniel Pailthorpe, Principal Flautist, English National Opera, London; Cesare Poppi, Deputy Director, The Sainsbury Centre, UEA, Norwich: Joe Taylor, Head Ranger, Sports and Parks Division, City of Coventry; Ineke Fijan, the Erasmus University, Rotterdam; Anne Mitchell, Woburn Abbey; Catherine Baron, Assistant Curator ofthe Royal Collection; Bernhard Overbeck, Bayerische Staatsbibliothek, Munich; Claire Leach, Voltaire Foundation; Sylvia Morris, Shakespeare Memorial Library, Stratford-uponAvon; Richard Palmer, Lambeth Palace Library, London; Lynda McLoed, Sotherby's, London; Mr. Ellis, Astrological Association, London; The Astrology Shop, London; Clive Wilkins-Jones, Norfolk and Norwich Millenium Library, Norwich; Ingrid Lamey, Schwetzingen Castle; Lucia Underhill, Kimbolton School; Omar Samy, Al Ahram Newspaper, Cairo; Ingrid Horning, Utrecht; Julian Roberts; and Jean Rafferty. Finally, I am grateful for the unfailing assistance of countless anonymous staff in many libraries and museums. Staff at The British Library, where necessarily most of my research was undertaken, have been exceptionally helpful. But I have also received considerable help from staff at the UEA library; the Bodleian; the House of Lords Record Office; the Egypt Exploration Society; the National Portrait Gallery Heinz Archive; German Historical Institute, London; London University Library; the Wellcome Library; the Victoria and Albert Museum; the Warburg Institute Library; Christie's Images; Coventry City Library; Warwickshire Records Office; the Ashmolean Museum; Centraalmuseum, Utrecht; the National Maritime Museum; the Historische Museum, Berne; the Offentliche Kunstammlung, Basle; the London Park Lane Mosque Library and the Vatican State Library.

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Fateeva, Anna A. « Three Arias From Mozart’s Don Giovanni : a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective ». Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

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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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Borchi, François. « Discrimination des masses d'air au niveau de la tropopause extratropicale par analyses multidimensionnelles à partir des données mozaic : application aux échanges entre la stratosphère et la tropospère ». Toulouse 3, 2001. http://www.theses.fr/2001TOU30171.

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Woodmansee, J. Andrew. « A study in seduction an analysis of what the concept of encompasses and a discussion of it in the context of enlightenment thought as seen in Mozart's opera "Don Giovanni" / ». Connect to resource, 2006. http://hdl.handle.net/1811/24206.

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Thesis (Honors)--Ohio State University, 2006.
Title from first page of PDF file. Document formatted into pages: contains 39 p. Includes bibliographical references (p. 37-39). Available online via Ohio State University's Knowledge Bank.

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Chang, Hsin-Hsin, et 張馨心. « Research and Analysis of Mozart ConcertoFor Horn No.3 k.447 ». Thesis, 2006. http://ndltd.ncl.edu.tw/handle/r2c886.

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Ke, Tien-En, et 葛恬恩. « The Musical Analysis and Interpretation of Motet《Exsultate, jubilate》by Wolfgang Amadeus Mozart ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/zn6hkc.

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Wang, Ying-siou, et 王盈琇. « The analysis and the influence of Mozart''s Clarinet Quintet K. V. 581 ». Thesis, 2006. http://ndltd.ncl.edu.tw/handle/64338399079036196626.

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碩士
國立中山大學
音樂學系研究所
94
W. A. Mozart‘s compositions for clarinet played a significant role in the music history. Many scholars took their attention to Concerto in A major for Clarinet and Orchestra. However, the importance of Clarinet Quintet for Clarinet and String Quartet is unneglectable. According to the literature, the development of clarinet in the musical history is no earlier than the seventeenth century. Clarinet had a variety of sizes and tonalities in the beginning of development. Mozart composed lots of brilliant compositions for the combination with the clarinet in A. A. Stadler, a clarinetist, had excellent skill in playing clarinet. He cooperated with T. Lotz, an instrumental maker, extended the compass of basset clarinet lower to C. Inspired by Stadler and the invented instrument, Mozart wrote Clarinet Quintet, K. V. 581 and Clarinet Concerto, K. V. 622 for the basset clarinet. Mozart’s Clarinet Quintet, K. V. 581 is undeniably important to the history of chamber music. Clarinet Quintet, K. V. 581 is composed in four movements. Harmony, form, texture, idiom and expression in every movement were discussed in Chapter3. The setting of clarinet and string quartet was also an innovation for the chamber music in his time. This setting of Clarinet Quintet became one of the standard settings which several composers tried to compose music for. Among the works, J. Brahms’ Clarinet Quintet, op. 115 and M. Reger’s Clarinet Quintet, op. 146 have gained the same respect as Mozart’s Clarinet Quintet, K. V. 581. These works have several similarities. For example, they were all created in one or two years before the composers’ death, and the inspiration for creating the music all came from the cooperation with the outstanding performers …etc. To sum up, Mozart’s Clarinet Quintet, K. V. 581 is important and influential to the history of chamber music.

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Lin, Hsin-Ping, et 林心平. « An Analysis and Performing Interpretation of Mozart Sonata for Piano and Violin K. 301 ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/87nwxj.

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Yeh, Chia-Chun, et 葉家君. « The Analysis and Interpretation of "Concerto for flute No.2" K.314 by Mozart ». Thesis, 2012. http://ndltd.ncl.edu.tw/handle/65753218650298446408.

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碩士
東吳大學
音樂學系
100
Wolfgang Amadeus Mozart (1756-1791) was one of the most influential composers of the Classical era. His Flute Concerto No.1 (K.313) and Flute Concerto No.2 (K.314), composed more than two centuries ago, play an important role in the rich repertoire of the flute. Among all the other compositions in the flute repertoire of the Classical era, Flute Concerto No.2 could be considered as one of the most mentioned and discussed pieces. With the focus of my thesis centered on Mozart's Flute Concerto No.2, I hope I would be able to provide thorough research on the piece through the study of related documents and biography, compositional style, compositional technique of the composer, and the application of materials and harmonic language in application to performance execution. This thesis will be divided into 4 chapters: Chapter 1 outlines the purpose, motivation, subject, scope, method and related documents; chapter 2 presents the biography, compositional style and background; chapter 3 begins with an introduction of the Classical concertos as a genre, followed by the formal structure of the three movements, along with discussing the compositional technique, application of the materials, harmonic language, and the connection between movements; chapter 4, based on the analysis provided in chapter 3, further discusses the interpretation of the music.

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Pan, Shiu-Chen, et 潘秀琛. « The Analysis and Interpretation of Susanna Arias from Opera“Le nozze di Figaro”by Mozart ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/57458209392757487681.

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碩士
台南應用科技大學
音樂研究所
100
This interpretation of the repoet explores Mozart''s comic opera ‘Le Nozze di Figaro’, in addition to broadly trace the achievements of the Italian comic opera out of Mozart''s comic opera, should permit Mozart opera in the form of performance statement of the reality of life. In two arias “Venite inginocchiatevi” and “Giunse alfin il momento” from the music segment, time signature, tempo, tonality to distinguish her different moods. And music design, see their views on human nature and clever the way into the music. Mozart selects Beaumarchais’s drama, the challenge was the scale of society, trying to help him avoid hindered by the dramatist da Ponte, see their no afraid of hard dauntless spirit, to see Mozart as his ideal courage to face challenges.

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Chun, Kuo Yi, et 郭怡君. « The Analysis and Performance of Wolfgang Amadeus Mozart : Concerto Rondo in Eb Major(K. 371) ». Thesis, 2006. http://ndltd.ncl.edu.tw/handle/64615057986841426703.

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Liao, Pin-Fen, et 廖品棻. « The Analysis and Interpretation ofWolfgang Amadeus Mozart’ s《Fantasy》K.396、K.397 and K.475 ». Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3x9sda.

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碩士
國立臺北教育大學
音樂學系碩士班
104
Fantasy can be traced back to the manuscript of lute from Italy. It has same function as prelude and ricercare, which represents imitation. In music dictionary, fantasy implies a freely structure and full of fantasy form. As time goes by, it becomes an independent music form allowed composers display their ability of improvisation. In this article, I will discuss three piano fantasy from Mozart: c minor, K.396, d minor, K.397 and c minor, K.479. This article will divided into six chapter. First, I will explain my research motivation, purpose and methods, also, introduce the history and development of Fantasy. In second chapter, I will study the history and musical style of Mozart, especially in Piano pieces. From chapter three to five, I will analyse Piano Fantasy in c minor (K.396), d minor (K.397) and c minor (K.475) separately by their texture, such as their background, form, materials, harmony, rhythm, dynamic and the way of interpretation. In sixth chapter, I will conclude a comparison of these three pieces and finally make my conclusion.

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Sweeny, Ryan Michael. « Making sense of the Mozart effect correcting the problems created by null hypothesis significance testing / ». 2006. http://etd.nd.edu/ETD-db/theses/available/etd-12082006-122440/.

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Hsiao, Ssu-Yun, et 蕭絲云. « An Analysis and Interpretation of Mozart''s Sonata for Piano and Violin in B flat Major, KV454 ». Thesis, 2013. http://ndltd.ncl.edu.tw/handle/7mw3ac.

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meng-rong, Cai, et 蔡孟蓉. « THE Analysis and Interpretation of Wolfgang Amadeus Mozart : Flute Concerto No. 2 in D Major, K. 314 ». Thesis, 2008. http://ndltd.ncl.edu.tw/handle/45501353111310130217.

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