Spelling suggestions: "subject:"wolfgang amadeus mozart"" "subject:"wolfgang amadeus cozart""
41 |
A Musical and Dramatic Analysis of the Principal Tenor Roles in Mozart's SingspieleAlexander, Ronald C. (Ronald Curby) 12 1900 (has links)
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.
|
42 |
Conducting from the Piano? A Tradition Worth Reviving?Marshall, Eldred 05 1900 (has links)
Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.
|
43 |
Die Mozart-Rezeption in BulgarienGentscheff, Welisar January 1997 (has links)
Die Geschichte der Mozart-Rezeption in Bulgarien ist untrennbar mit dem Entstehen einer professionellen Musikkultur europäischer Prägung verbunden. Dabei muß man sich vergegenwärtigen, daß Bulgarien bis 1878 unter türkischer Herrschaft wirtschaftlich und politisch auf feudalem Niveau existierte. Es lohnt sich, den Versuch zu unternehmen, ein Bild der damaligen gesellschaftspolitischen und kulturellen Prozesse zu entwerfen, um zu verstehen, wie die \"Europäisierung\" der Musizierpraxis in Bulgarien vonstatten ging.
|
44 |
Musiktheorie ist Musiktheorie ist MusiktheorieKühn, Clemens 17 April 2023 (has links)
Music theory has acquired a unique position in between many fields, most notably composition, historical and systematic musicology and music pedagogy. Motivated by the topic »music theory and interdisciplinarity«, this essay explores the fields spanned by today’s music theory in seven short chapters. The first chapter describes changes of the discipline in German-speaking countries since the 1960s and its development from a simple synonym of practical harmony and a propedeutic means for music analysis to a postmodern, rich and scholarly ambitous field that can hardly be reduced to a common denominator. In the second chapter the author, drawing on Fritjof Capra’s The Tao of Physics, argues that music theory should not limit itself to purely »technical« issues, but must also address emotional or expectational realms of musical meaning. The third chapter further explores this point by discussing the opposition between musical theory and practice, suggesting that music theory indeed has the potential to let these two poles stimulate one another. The same is true for the often debated divide between »artistic« and »scholarly« aspects of music theory,
explored in the fourth chapter: They are not mutually exclusive, but rather always have influenced each other, as evidenced by eighteenth-century treatises. Exchange with related disciplines such as music psychology has increased since the 1960s, as chapter five summarizes, although the relationship between music theory and musicology sometimes remains problematic. In the sixth chapter, a short analytical approach to four examples from the standard repertoire (Schubert, Bach, Brahms,
Mozart) attempt to demonstrate the potential of specifically music-theoretical viewpoints. The final section advocates the strengthening of a specific profile for music theory: The liberation from dogmatic thought and systematic rigour should not lead us to overstretch music-theoretical questions.
|
45 |
An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von WeberChen, Wen-Mi 27 September 2012 (has links)
No description available.
|
46 |
Dimensionen des Denkens : der raumzeitliche Kollaps des Gegenwärtigen : geistes- und naturwissenschaftliche Entwürfe - verifiziert an Martin Kusejs "Don Giovanni"Weber, Franziska January 2008 (has links)
Zugl.: München, Univ., Diss., 2007
|
47 |
Musiktheater als inszenierte Zeit: Zum Zusammenhang von dramatischer und harmonisch-kontrapunktischer Zeitgestaltung in Mozarts BühnenwerkenReichel, Elke 23 October 2023 (has links)
No description available.
|
48 |
Georg Wildhagen's <i>Figaros Hochzeit:</i> How an Italian Opera Based on a French Play Became a German Socialist FilmFurlong, Alison Marie 25 August 2010 (has links)
No description available.
|
49 |
Stylistic Comparisons and Innovations in Mozart's E-Flat Major Piano Concertos, K. 271 and K. 482Blocker, Robert L. (Robert Lewis), 1946- 01 1900 (has links)
It is obvious that the Mozart Eb Major Concertos for Piano, K. 271 and K. 482, bear certain resemblances to each other. The primary conclusion of this study is that Mozart consciously looks to K. 271 as a guide for his later composition. Consider the fact that the "Jeunehomme" concerto establishes Mozart as a mature musician and wins him public acclaim. He seeks to regain public favor with the later work.
|
50 |
The Development of the Bassoon Idiom as Seen in Three Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus MozartPayne, Andrew J. January 2020 (has links)
No description available.
|
Page generated in 0.0416 seconds