Inaug.-diss.--Leipzig. / Vita. "Literatur": p. [71].

Inaug.-diss.--Leipzig. / Vita. "Literatur": p. [71].

Thesis (Ph. D.)--Princeton University, 1983. / Typescript. Includes bibliographical references (v. 1, leaves 395-419) and index.

Thesis (M.A.)--Ohio State University, 1986. / Includes bibliographical references (leaves 114-116). Available online via OhioLINK's ETD Center.

Thesis (M.F.A.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 53-54).

Wolfgang Amadeus Mozart föddes 1756 och skulle blir en av de allra största kompositörerna av klassisk musik i sekler framöver. Han skrev musik som har tilltalat och berört mängder av människor, allt från små sonater för piano skrivna vid 8-års ålder, till otaliga kammarmusikverk och stora, praktfulla operor. I den här arbetet redogörs för ett kammarmusikaliskt verk skrivet av Mozart år 1778: flöjtkvartett i C-dur K285b, första satsen. Arbetet fokuserar framförallt på musiken och innehåller en utförlig analys av satsen, men behandlar också Mozarts liv, tiden då han levde, flöjten som instrument på slutet av 1700-talet samt flöjtens roll i det valda stycket. Genom att lyssna på olika inspelningar av stycket, studera in det själv samt läsa om och studera tiden då denne kompositör levde, har material samlats för att kunna ge en bild av Mozart och hans relation till flöjten. I analysen finns hela första satsen redovisad med harmonisk analys, utmärkande teman och motiv och de fyra instrumentens olika stämmor och funktioner i stycket. Här är satsen beskriven utan synpunkter på möjliga musikaliska tolkningar. I sammanfattningen av resultatet diskuteras de tre använda inspelningarna och här ger jag min egen uppfattning om inspelningarna och hänvisar till dem när jag uttrycker min åsikt om interpretation. Här besvaras frågeställningarna som efterfrågas i syftet. Reflektionsdelen tar upp varför Mozarts musik tilltalar så många människor. Där står också om Quantz som i sin bok, skriven 1752, talar om för sina läsare vad som är det essentiella med musik: uttryck för känslor och beröring av sinnena. Detta kopplas till nutiden och faktumet att Quantz ståndpunkt fortfarande är gällande.

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-27T20:37:01Z (GMT). No. of bitstreams: 1 Almeida_MauricioZamith_M.pdf: 6458668 bytes, checksum: db0ce4bf46da89f78b1c2b5dc09eae20 (MD5) Previous issue date: 1999 / Resumo: Esta pesquisa tem como objeto de estudo o Chôro para piano e orquestra de Camargo Guarnieri, obra através da qual analisa a relação entre os aspectos da música brasileira e o formalismo estrutural que caracteriza a produção do compositor. Antes, a pesquisa estabelece uma contextualização da vida e da obra de Camargo Guarnieri no cenário musical brasileiro, iniciando-se com um capítulo que aborda exclusivamente os dados biográficos do compositor: sua herança cultural interiorana, seus professores e mestres mais significativos, sua afirmação artística. Em seguida a dissertação traz um capítulo que envolve a presença de Camargo Guarnieri o nacionalismo brasileiro, compreendendo as origens do movimento, a inserção natural de Camargo Guarnieri na estética nacionalista e o envolvimento do compositor, ainda muito jovem, com o mentor intelectual do nacionalismo musical brasileiro: Mário de Andrade. O terceiro capítulo contextualiza o Chôro para piano e orquestra dentro do momento histórico em que foi composto - a década de 50, período emblemático da história da música brasileira. Em função do padrão clássico de estruturação formal que caracteriza a obra, este capítulo também estuda a relação de Camargo Guarnieri - assim como da corrente nacionalista em geral -com o neo classicismo. Na seqüência é traçado um histórico contendo informações gerais da obra. O quarto capítulo traz uma análise musical do Chôro para piano e orquestra, abordando de maneira especial a construção motívica de cada movimento. O quinto e último capítulo detecta e comenta os aspectos caracteristicamente nacionais da obra, tendo à luz os conceitos presentes no Ensaio sobre a Música Brasileira de Mário de Andrade, referência máxima na consolidação do nacionalismo no Brasil / Abstract: Not informed. / Mestrado / Mestre em Artes

One who undertakes the task of completing an unfinished work must perform it with conviction and with authority. The attempt to achieve a total synthesis between the work of the original composer and that of the secondary composer demands a concentrated study on both conscious and subconscious levels. The obvious characteristics of a given style, such as lengths of phrases, voicing of chords, harmonic progressions, and treatment of sequential material can be understood by analyzing many works of the composer in question. The more elusive and intangible characteristics, such as the emotional content and the manner in which feelings are expressed are absorbed more by osmosis than formal study. To write a parody and to create a work in the style of a given composer are, respectively, the lighter and more serious methods of composition which can be utilized in order to gain familiarity with and control over any given style. This is necessary groundwork for the more serious art of reconstruction, because within the creation of such a work, one gains familiarity with stylistic idioms through blatant exaggeration. Writing a work within the style of another composer while retaining one's identity is an intermediate step between that of the parody and that of the reconstruction. Finally, to create an unquestionably convincing continuation of another person's work carries this highly specialized form of composition beyond mere imitation to a higher level of creativity. Once the reconstruction has been well achieved, the audience may never be aware of the point of transition and may not even know of the scholar's existence.

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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.