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1	Reason and Desire, Education and Regression: Aspects of Rousseauist Gender Roles in Così fan tutte January 1999 (has links) Mozart's opera Così fan tutte encapsulates various theories of Enlightenment sexual expression and presents a didactic program aiming at appropriate male comportment in a love situation. Through various musical devices, Mozart establishes ideal Rousseauist gender characteristics and their debased forms, and applies them to the respective sexes as evidence of weakened or enlightened states. Mozart also provides an educative voice in the character of Don Alfonso, whose musical lines are appropriately instructive. An exploration of sexual ideals in the Enlightenment as expressed in contemporary texts and civil documents will provide a framework for Rousseau's theories of education and gender formation as postulated in Emile, ou de l'education and Sophie, ou la Nouvelle Héloïse. A musical analysis of several numbers in Cosi demonstrates the unfolding weaknesses of the characters. While the men progress towards an enlightened education in the natures of the sexes, the women undergo a regression of character. Sex differences in education Rousseau Jean-Jacques Mozart Wolfgang Amadeus 1756-1791. Così fan tutte.
2	Fanfare and Pastoral Topics in Mozart's Così fan tutte Vagts, Andrew 08 1900 (has links) This dissertation explores the use of topics for dramatic purposes in Mozart's Così fan tutte. The five analytical chapters are organized around a central question: how do pastoral and fanfare topics shape the plot of Così fan tutte? Chapter 2 highlights the role topics and tropes play in emplacing and nuancing emergent meaning in the Così fan tutte motto. Chapter 3 examines transformative topical tropes in "Ah guarda, sorella." Chapter 4 shows how the horn fifths and fanfare topics in "Per pietà, ben mio" frame Fiordiligi's choice: the Albanian or Guglielmo. Chapter 5 illustrates the relationship between fanfare topics and galant recitative schemas to articulate formal boundaries between accompanied recitatives and arias. The expectations of closure emplaced by the examples from Così fan tutte nuance a reading of "Hai già vinta la causa!" from Le nozze di Figaro. Chapter 6 discusses the role of recitative intrusions and their articulation of the Count's unrest in "Vedrò mentre io sospiro." Detailed analyses and close readings of the topics and tropes in this dissertation drawn from throughout Così fan tutte showcase Mozart's rich deployment of topics in varied musical and dramatic roles. Mozart opera musical topic trope fanfare pastoral theme Operas -- Literary themes, motives. Styles, Musical. Academic theses
3	Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian Operas Tsai, Meng-Jung 08 1900 (has links) This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas. key tonality Mozart opera Da Ponte Johann Mattheson C.F.D. Schubart G.J. Vogler prima donna prima donna Le nozze di Figaro Don Giovanni Così fan tutte La clemenza di Tito characters Mozart, Wolfgang Amadeus, 1756-1791. Tonality. Characters and characteristics in opera. Operas -- Analysis, appreciation. Academic theses

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