Diss. : Saarbrücken--Univ. des Saarlandes--Phil. Fak., 1978. / 1. Textband. 326 p. : musique. 2. Satzschemata und Notenbeispiele zur grafischen Analyse der Gloria- und Credo-Sätze. XXXI-157 p. : musique.

Thesis (doctoral)--Göteborgs universitet, 1988. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 225-239).

Thesis (D. Mus. Arts)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 100-107).

Thesis (doctoral)--Friedrich-Alexander-Universität Erlangen-Nürnberg, 1984. / "W.A. Mozart, der Weg in die Individualisierung": p. 105-161. Vita. Bibliography: p. 165-170.

Inaugural-Dissertation - Leipzig. / "Vita": p. [89]. "Bibliographischer Überblick": p. 3-7.

Diss.--Philosophie--München--Ludwig-Maximilians-Univ., 1997. / Bibliogr. p. 188-201.

Thesis (D. Mus. Arts)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 101-104).

This study has two divisions: Part I, an historical and analytical summary of the emergence and development of the divertimento and the serenade in the eighteenth century, and Part II, the culmination of these structures in the works of W. A. Mozart. Two primary purposes are envisioned: 1) to further our knowledge of how German Gesellshafts-musik evolved toward its peak in the second half of the eighteenth century, and 2) to furnish a useful analytical handbook of Mozart's works in these genres.

This paper will examine one area of Mozart's work, the Singspiele. This study is an analysis of the principal tenor roles of Mozart's Singspiele. The organization for analyzing these works conforms to three periods in Mozart's life. (1) Childhood and Early Youth, to 1774; (2) The Period of the First Masterworks, 1774-1781; and (3) The Years in Vienna, 1781-1791. Related biographical data and historical background have been utilized in discussing each work. Because the Singspiele is a musical composition, analyses will consider music as the major source of development, using plot and character wholly as supporting features.

Wolfgang Amadeus Mozart composed Die Zauberflöte in the last year of his life. It was intended in part to glorify Freemasonry as a new Emperor, more hostile to the Masons, took his office. After a brief survey of his life and works, this paper shows how Mozart used number symbolism in the opera, and will equip the reader with an understanding of this as practiced by the Freemasons. Further, it will show how Mozart associated the characters of the opera with specific musical tones. It will expose a deeper understanding of the question of meaning in word and text in his opera. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection