Det råder väldigt olika åsikter när det kommer till den berömda Mozart-effekten, som kortfattat har sin basis i att du blir smartare av att lyssna på hans musik. Vissa studier vill hävda ett samband mellan Mozart och inlärning medan andra avvisar det helt. Genom att utgå från en egen studie, samt teorierna Agentiell Realism och Situerad Kunskap, så introduceras alternativa syn- och förhållningssätt, som möjliggör en inblick i den komplexa natur vi befinner oss i - som i sin tur kan försvåra ställningstagandet i att värdera information som absolut sanning. De upptäckter som gjorts i denna studie tyder på att oändliga mängder av faktorer ligger till grund för att de erhållna resultaten ser ut som den gör - vilket också belyser de möjliga utfall som hade kunnat inträffa, än de som just inträffat. Vi belyser även vikten av subjektiva upplevelser, då dessa har en stor vikt i hur resultaten färgas - då samma resultat kan utläsas annorlunda, beroende på hur man som individ och grupp väljer att tolka dessa. Datan tyder då på att vi inte kan uppnå hela sanningen - bara en del av den. / There are a lot of different opinions regarding the Mozart Effect; which is based on you getting smarter by listening to his music. Some studies claim there is a connection between Mozart and learning, while some studies claim the opposite. By conducting our own study, incoperated with the theories Agential Realism and Situated Knowledge, a new approach emerges enabling a glimpse of the complex nature we are a part of - a glimpse which can aggrevate the standpoint on determine information as an absolute truth. Our findings suggest that infinite amounts of factors are involved regarding the evaluation of your results and findings - which also illustrates the possible outcomes that could have occurred, in addition to the current one. We also illustrate the importance of subjective experiences, as they are crucial to how the results are processed - the same results can be perceived differently, depending on how you as an individual or a group choose to interpret the data. Our findings suggest that we can not achieve the complete truth - only a part of it.

In this project, frequently required double bass orchestral audition excerpts as well as their individual technical difficulties are identified. A survey of professional double bass players and teachers currently and formerly employed by major orchestras, universities, and conservatories have participated to validate the importance of four of the most frequently required orchestral excerpts: Ludwig van Beethoven’s Symphony No. 9, Mvt. 4, and Symphony No. 5, Mvt. 3; Richard Strauss’ Ein Heldenleben; and Wolfgang Amadeus Mozart’s Symphony No. 40, Mvt. 1. The survey respondents identified the primary and secondary technical concerns of each of the four excerpts. I have created technical studies, or etudes, that specifically address these difficulties and help fill a literary gap within the existing pedagogical resources for the double bass.

Illustrative matter in pocket. / Digitized by Kansas Correctional Industries

Undressing Cherubino: Reassessing Gender and Sexuality in Mozart’s Le nozze di Figaro Although Le nozze di Figaro is one of Mozart’s most celebrated operas, we have not yet understood one crucial element. On the surface of the drama, the opera seems to be about class disruption: the Count is the head of the household, but it is his servants who run it. This plot is made evident to the audience, and it is the message that most critics draw from the work. However, there may be a second meaning below the surface that is, in fact, more subversive than the overt one. While class structures are questioned in the foreground, another more hidden narrative explores alternate depictions of femininity and sexuality. This covert meaning is arguably embodied in Cherubino. This character is portrayed as an adolescent boy despite the fact that the role calls for a female singer. Cherubino is understood to be male, and functions as one in the drama, but, as I will suggest, may in fact be conceived as female. As a pagegirl raging with sexual love for all the women in the palace, Cherubino may be seen embodying a prototype of femininity that is contrary to the heterosexual norms of the overt narrative. The first chapter of this thesis examines how both Pierre-Augustin Beaumarchais’ play Le mariage de Figaro and Mozart and Da Ponte’s operatic adaptation could point towards alternate depictions of women. The following two chapters survey the various ways an alternate gender identity for Cherubino can be expressed through features of the libretto (chapter 2) and the score (chapter 3). Drawing from my experience of performing Cherubino, the fourth and final chapter assesses the findings of the previous two and shows that while elements of the text and music may have characteristics that can be assigned gender attributes, neither can intrinsically embody masculinity or femininity. With this finding comes the understanding that who and what a character is is marked not by the outlines of libretto and score but by acts of musical performance.

Thesis--Philosophie--London--Royal Holloway, 1999. / Bibliogr. f. 279-290.

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Mar. 01, 2010). Creative project (M.M.), 3 hrs. Includes bibliographical references (p. 23).

Thesis (doctoral)--University of London King's College, 1996. / BLDSC reference no.: DX197075.

Wolfgang Amadeus Mozart, underbarnet från Salzburg, levde under andra halvan av 1700-talet och anses av många som världens genom tiderna mest framstående kompositör. Under sina 35 levnadsår hann han tonsätta över 600 verk. Han skrev inte minst operor, symfonier, konserter, kör- och kammarmusik. Mozart komponerade fyra flöjtkvartetter för besättningen flöjt, violin, viola, och cello (K. 285, 285a, 285b, och 298). I den här uppsatsen har jag fördjupat mig i ett av dessa verk – Flöjtkvartett i C-dur K. 285b.          I arbetet har jag studerat flöjtens historia, Mozarts liv, med en närgående blick över den period då han komponerade flöjtkvartetterna, och till sist gjort en analys av kvartetten. I analysdelen har jag i styckets båda satser gått in på form, harmonik, och melodik i ett kronologiskt skeende.          Syftet med studien är att djupare förstå Mozarts komposition och uppbyggnad då jag själv ska spela kvartetten.          Ur analysen framgår det att Mozarts fabulösa kompositionsförmåga ger liv åt alla instrumenten i stycket. Melodierna och variationerna vittnar om en genial lätthet och formbarhet men lämnar samtidigt utrymme för utövarnas musikalitet. Det framgår också att flöjten har genomgått en stor utveckling sedan 1700-talet. Instrumentets dåvarande skick kan ha bidragit till eventuella dåliga anseenden och därmed att Mozart skrev så få verk för flöjt.          Jag har använt mig av diverse litteratur för att få en bättre förståelse av omständigheterna runt Mozarts verk. Jag har även använt mig av noter för att kunna analysera kvartetten. / <p>Examenskonsert</p><p>A. Vivaldi (N. Chédeville) - Sonat i g-moll ur "Il Pastor Fido"</p><p>P. Gaubert - Ballade</p><p>O. Messiaen - Le merle noir</p><p>W. A. Mozart - Flöjtkvartett i C-dur K.285b</p><p>Josefine Ansved, flöjt</p><p>Olivia Lundberg, violin</p><p>Sophie Bretschneider, viola</p><p>Ruben Friedman, cello</p><p>Georg Öquist, piano</p>

Undressing Cherubino: Reassessing Gender and Sexuality in Mozart’s Le nozze di Figaro Although Le nozze di Figaro is one of Mozart’s most celebrated operas, we have not yet understood one crucial element. On the surface of the drama, the opera seems to be about class disruption: the Count is the head of the household, but it is his servants who run it. This plot is made evident to the audience, and it is the message that most critics draw from the work. However, there may be a second meaning below the surface that is, in fact, more subversive than the overt one. While class structures are questioned in the foreground, another more hidden narrative explores alternate depictions of femininity and sexuality. This covert meaning is arguably embodied in Cherubino. This character is portrayed as an adolescent boy despite the fact that the role calls for a female singer. Cherubino is understood to be male, and functions as one in the drama, but, as I will suggest, may in fact be conceived as female. As a pagegirl raging with sexual love for all the women in the palace, Cherubino may be seen embodying a prototype of femininity that is contrary to the heterosexual norms of the overt narrative. The first chapter of this thesis examines how both Pierre-Augustin Beaumarchais’ play Le mariage de Figaro and Mozart and Da Ponte’s operatic adaptation could point towards alternate depictions of women. The following two chapters survey the various ways an alternate gender identity for Cherubino can be expressed through features of the libretto (chapter 2) and the score (chapter 3). Drawing from my experience of performing Cherubino, the fourth and final chapter assesses the findings of the previous two and shows that while elements of the text and music may have characteristics that can be assigned gender attributes, neither can intrinsically embody masculinity or femininity. With this finding comes the understanding that who and what a character is is marked not by the outlines of libretto and score but by acts of musical performance.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Includes tables. Sponsor: Ernest E. Harris, . Dissertation Committee: Robert Pace. Includes bibliographical references.