No description available.

Diss.--Philo.--Cologne--Philosophische Fakultät, 1995. / Bibliogr., 17 p.

Zugl.: Tübingen, Univ., Diss., 1966.

No description available.

English Abstract Magic Flute is Mozart¡¦s last work of opera, and also the peak of Singspiel. This opera integrates the composing styles of German, French, and Italian operas and demonstrates the roundedness and refinement characteristic of Mozart¡¦s later works. The original libretto of Magic Flute, written by Schikaneder, has a lot to share with the ideology of Freemasonry. Therefore, besides the entertaining effects common in Singspiel , this opera is ethically instructive. Papageno is the comic character in Magic Flute and the soul of it, too. He functions to carry on the plot and takes on the task of amusing the audience. His performance, including the musical essence, the singing skills, and the action, holds the key to the success of the opera. This research is divided into seven sections: 1. Mozart¡¦s life and his creation of operas 2. The creation process of Magic Flute 3. Introduction to the roles in Magic Flute 4. The characteristics of the role of Papageno 5. Discussion about the singing of Papageno 6. Some suggestions about the action of Papageno 7. Conclusion

Wolfgang Amadeus Mozart (1756~1791) is one of the most important composers in the Classic period. In his early age, he used to be a virtuoso, played across Europe such as England, France, and Italy, etc. Therefore Mozart was influenced by different styles of music. He then took these different music styles into a refined and harmonious integration. Mozart not only had great dedication in operas, but also in the sonata form with ¡§double exposition¡¨ which he used in the concertos. We can see this progressing from the piano concertos that Mozart composed through his whole life. Although Mozart¡¦s violin concertos belong to his early work, they are the bridge between the concertos with ritornello form in the Baroque period and the sonata form with double exposition in the Classic period. In addition to the preface, this thesis consists of three chapters. The First Chapter mainly summarizes the life of Mozart, dividing into three periods¡Xthe early period (1756~1779), Salzburg period (1773~1782), and Vienna period (1782~1791). The Second Chapter discusses the background of the Mozart¡¦s Violin Concerto No. 4, including the Mozart as a violinist, the interaction between Mozart and other violinists in his time , and the differences between the form of this violin concerto, ritornello form and the sonata form with ¡¨double exposition¡¨. The Third Chapter concentrates on the analysis of the concerto, and the tempo, dynamics, fingerings, and bowings, and the way of playing the decorative notes. In this article, the cadenza written by Joachim was adopted. The writer of this thesis sincerely hopes this article can make some attribution to the persons who are interested in Mozart¡¦s music and play the Mozart¡¦s violin concertos.

Wolfgang Amadeus Mozart¡¦s Bassoon Concerto in B-flat major K. 191 was composed in 1774, in Mozart¡¦s early life period. This thesis starts from the introduction of the composing background of Bassoon Concerto in B-flat major K. 191. Then discusses the structures of the concerto, the differences between the orchestral and the piano edition, and the interpretation of the performance. The third part of this thesis is to discuss the differences between Mozart's original version and the two piano versions arranged by Ivan Kostlan in 1961 and Arthur Weisberg in 1964. The first piano verstion which published by Musica Rara in 1961 was arranged by Ivan Kostlan. The second piano version which published by International Music Company in 1964 was arranged by Arthur Weisberg. The final part of this thesis is to discuss the musical phrases, cadenzas and special fingering.

Diss.--Bamberg, 1999/2000--Otto-Friedrich_Univ. / Exemples musicaux en fin de volume. Sources et bibliogr. p. 329-356.

Dissertation--Music--Berkeley, Calif.--University of California, 1997. / Bibliogr. p. 259-262.

Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 193-200).