Mehrere Aspekte des im Titel angegebenen Themas wurden noch nicht auf die Waage der Musikgeschichte gelegt. Zu viele diesbezügliche Dokumente warten noch auf eine fachgemäße Bestandsaufnahme und Veröffentlichung. Es fehlen noch unentbehrliche Vorarbeiten. Dies ist die Erklärung der Umbenennung unseres Versuches, der keineswegs das letzte Wort des Verfassers in dieser Angelegenheit bleiben will. Anstatt, wie von den Veranstaltern vorgeschlagen, \"Mozart-Rezeption in Rumänien\" zu heißen, trägt er den bescheidenen Titel \"Zur Geschichte der Mozart-Rezeption in Rumänien\".

Zu Mozarts Zeit ermöglichte die neue wirtschaftliche, politische und kulturellen Entwicklung der habsburgischen Monarchie die neuen Anfänge der nationalen Erweckung und Aufklärung. Die Reformen der Kaiserin Theresia und ihres Sohnes, Kaisers Josef H. , beeinflußten auch das Leben in den slowenischen Ländern. Es entstanden unter anderem neue kulturelle Zirkel, die von aufklärerischen Ideen geprägt waren.

Die Mozart-Rezeption in Kroatien soll auf zweierlei Weise dargestellt werden. Der erste Teil soll den Rahmen bilden anhand der Fragen: Wo und wann erklang Mozarts Musik zum ersten Mal (unter besonderer Beachtung des 19. Jahrhunderts), und wie wurden Mozart-Jubiläen begangen? Der zweite Teil dieses Beitrags enthält das spezifische Element: Wie wurde Mozart in Kroatien aufgenommen und reflektiert, wie wurde er zu einer Inspiration für neue Werke?

This study examines questions about the most effective ways how to learn an operatic role in a relatively short time. The study consists of my own experiences and observations as I was learning the stage cover role of Donna Elvira for the Finnish National Opera in March 2020.  I am reflecting my observations of the learning process towards a theoretical framework that is based on literature and interviews of the director Jussi Nikkilä and assistant director Anna Kelo.

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.

With the Digital Mozart-Edition (DME), the Salzburg Mozarteum Foundation and the Packard Humanities Institute, Los Altos (California), intend to build a bridge between music philology and informatics using the example of Wolfgang Amadé Mozart’s oeuvre. The aim of the project is to edit Mozart’s complete works as well as letters, documents and text sources according to scholarly criteria and in a fully digital format available free of charge on the internet. The core project of the DME, the Digital Interactive Mozart Edition (DIME), is conceived as a further development of the Neue Mozart-Ausgabe (NMA). Following the principle “code equals edition”, all musical texts and their critical documentation are encoded in the XML-based format by the Music Encoding Initiative (MEI). All variants and editorial interventions of the music can be made visible through The Digital Mozart Score Viewer (MoVi), a visualisation tool built around the Verovio music engraving library.

Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.

This dissertation explores the use of topics for dramatic purposes in Mozart's Così fan tutte. The five analytical chapters are organized around a central question: how do pastoral and fanfare topics shape the plot of Così fan tutte? Chapter 2 highlights the role topics and tropes play in emplacing and nuancing emergent meaning in the Così fan tutte motto. Chapter 3 examines transformative topical tropes in "Ah guarda, sorella." Chapter 4 shows how the horn fifths and fanfare topics in "Per pietà, ben mio" frame Fiordiligi's choice: the Albanian or Guglielmo. Chapter 5 illustrates the relationship between fanfare topics and galant recitative schemas to articulate formal boundaries between accompanied recitatives and arias. The expectations of closure emplaced by the examples from Così fan tutte nuance a reading of "Hai già vinta la causa!" from Le nozze di Figaro. Chapter 6 discusses the role of recitative intrusions and their articulation of the Count's unrest in "Vedrò mentre io sospiro." Detailed analyses and close readings of the topics and tropes in this dissertation drawn from throughout Così fan tutte showcase Mozart's rich deployment of topics in varied musical and dramatic roles.

Under de senaste 400 åren har röstorganet inte genomgått någon utmärkande fysiologisk förändring, men under samma tidsspann har musikaliska förgreningar lett till en ständigt ökande mängd nya genreuttryck. Som genrebred sångerska har jag ofta uppmuntrats att välja inriktning. Det har helt gått emot min nyfikenhet och intuition. Jag har bedrivit studier i populärmusikalisk sång vid Berklee College of Music i Boston, USA, och klassisk sång vid Kungl. Musikhögskolan (KMH) i Stockholm. Jag har noterat att rösten ofta blir uppdelad i antingen en klassisk röst eller en populärmusikalisk röst. Syftet med detta konstnärliga examensarbete var att undersöka genreoberoende sångteknik och därigenom skapa djupare förståelse för samverkan mellan olika genreuttryck inom instrumentet sång. Jag ville undersöka om en och samma röst kan implementera olika genrer och till och med gynnas av det. På min examenskonsert framfördes en varierad repertoar, med musik av Bernstein, Mozart och Offenbach samt sånger ur Kristina från Duvemåla och egenkomponerat material. Studien genomfördes metodiskt genom litteraturstudier samt kvalitativa intervjuer med tre sakkunniga informanter; en sångpedagog, en röstforskare och en logoped. Vidare har jag utfört undersökningar med min egen röst. Studien har resulterat i en förstärkt övertygelse om den genreoberoende sångteknikens fördelar. Sångare kan ha god nytta av den flexibilitet som en sådan teknik innebär, för att bygga en hälsosam och gedigen röst. Min utgångspunkt var att undersöka rösten som ett instrument eller ett idiom. Studiens resultat påvisar att rösten bör ses som det förstnämnda. / Throughout the last four centuries, the vocal organ has not undergone any significant physiological evolution. Yet during the same time span, the musical diaspora has led to an increasing amount of new genre expressions. As a genre-bending singer, I have often been encouraged to choose musical orientation. That has been contradictory to my curiosity and intuition. I have studied contemporary singing at the Berklee College of Music in Boston, USA, and classical singing at the Royal College of Music in Stockholm, Sweden. I have noted that contemporary singing and classical singing are often viewed as two different doctrines. The purpose of this artistic research study was to explore genre-neutral and genre-bending vocal techniques in order to enhance my understanding of the relationship between different genre expressions, within the vocal instrument. I wanted to examine if one voice could implement different genres, or even benefit from it. At my graduation concert, I performed a varied repertoire consisting of music by Bernstein, Mozart and Offenbach as well as songs from Kristina from Duvemåla and self-composed pieces. The study was conducted methodically through academic literature and qualitative interviews with three experts; a vocal coach, a voice researcher, and a speech therapist. Furthermore, I have conducted research on my own voice. This study has resulted in a reinforced belief in the benefits of the genre-neutral and genre-bending vocal technique. Singers can benefit from the flexibility that such a technique amounts to, in order to build a healthy and solid voice. My objective was to analyze the voice as an instrument or an idiom. This study concludes that it should be viewed as the former.

Master of Music / Department of Music / Jana R. Fallin / Who was Johannes Chrysostomus Wolfgangus Theophius Mozart? He was a child prodigy who dazzled Kings, Queens, Emperors and Empresses as a young boy and lead an remarkable life in his first ten years. The facts of Mozart’s childhood are known and available, however the vast majority of research is devoted to Mozart’s music, life and career during his adult years. Perhaps the time for a child to begin to realize the importance of Mozart in history would be to create a connection between young Mozart’s daily activities to a student of parallel age. The purpose of the study is to illuminate the life of the child prodigy Wolfgang Mozart using creative digital storytelling for elementary aged students. Due to the awarding of a grant from the National Endowment for the Humanities, research concerning Mozart’s rise and fall in fame was completed in Vienna, Austria, June 21 through July 16, 2010. The resulting focus of the research was to bring awareness to the minds of elementary students of Mozart’s child prodigy years. Using digital storytelling, listening maps, and composition projects, students will step into the world of Mozart as a composer and begin to relate his life to theirs. Data analysis will establish the effective use of digital storytelling to reveal the student’s ability to correlate the boyhood life of Mozart with the master composer. The study was completed in a pilot program in McPherson, Kansas in January 2011.