In this groundbreaking, historically-informed semiotic study of late eighteenth-century music, Stephen Rumph focuses on Mozart to explore musical meaning within the context of Enlightenment sign and ...language theory. Illuminating his discussion with French, British, German, and Italian writings on signs and language, Rumph analyzes movements from Mozart's symphonies, concertos, operas, and church music. He argues that Mozartian semiosis is best understood within the empiricist tradition of Condillac, Vico, Herder, or Adam Smith, which emphasized the constitutive role of signs within human cognition. Recognizing that the rationalist model of neoclassical rhetoric has guided much recent work on Mozart and his contemporaries, Rumph demonstrates how the dialogic tension between opposing paradigms enabled the composer to negotiate contradictions within Enlightenment thought.
Mozart's enduring popularity, among music lovers as a composer and among music historians as a subject for continued study, lies at the heart of The Cambridge Mozart Encyclopedia. This reference book ...functions both as a starting point for information on specific works, people, places and concepts as well as a summation of current thinking about Mozart. The extended articles on genres reflect the latest in scholarship and new ways of thinking about the works while the articles on people and places provide historical framework, as well as interpretation. It also includes a series of thematic articles that cast a wide net over the eighteenth century and Mozart's relationship to it: these include Austria, Germany, aesthetics, travel, Enlightenment, Mozart as a reader and contemporaneous medicine, among others. The worklist provides the most up-to-date account in English of the authenticity and chronology of Mozart's compositions.
'Che soave zeffiretto', the letter duettino sung by the Countess and Susanna in Le nozze di Figaro, has achieved iconic status as a perfect example of the transcendental beauty of Mozart's music. An ...examination of the extant sources suggests that the composer and his librettist regarded it as a key moment in the opera: the crux of a developing relationship between the two women. A late change of plan over its location led to a reconfiguration of Act 3, resulting in the minor inconsistencies that Robert Moberly and Christopher Raeburn sought to explain in their celebrated double-casting hypothesis. The various versions of the text and a complete continuity draft of the score reveal the meticulous craftsmanship that went into its creation, in particular the development of its comedic potential as a vaudeville.
Mary Ducrow Ducrow, Mary
BMJ,
03/2012, Letnik:
344, Številka:
mar23 1
Journal Article
Recenzirano
After two years I got the urge to train as a nurse and did my training at Birmingham General Hospital, qualifying in 1954 as a gold medallist for the year. Abbeyfield was the other organisation I was ...involved with, on the house committee and then as chairman for a short time. ...last of all, I should like you to listen to one of my favourite pieces of music by one of my favourite composers, Laudate Dominum by Wolfgang Amadeus Mozart.
Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Recognition — or anagnôrisis, Aristotle's term in the Poetics — is a moment of new awareness that ...brings about a crucial reversal in the action. Employing both literary and musical analysis, and drawing on critical thought from Aristotle to Terence Cave, this book explores the ways in which the themes of Mozart's operas — clemency, constancy, forgiveness, and other ideals cherished by late 18th-century culture — depend for their dramatization on recognition. Several of the operas culminate in a moment of climactic recognition, many involve the use of disguise, and all include scenes in which characters make significant realizations of identity, feeling, or purpose. Many turn explicitly on themes of knowledge, themes that possess a special resonance in an age that named itself the Enlightenment. A critical understanding of recognition in Mozart's operas reveals the late 18th-century culture of sensibility as an influential but uneasy presence in the age of enlightenment. At the same time, it opens up new ways of thinking about questions of cultural identity, conventions of ending, and the representation of cultural values in these works. Theoretical chapters are devoted to the concepts of recognition and plot; analytical chapters are devoted to Die Zauberflöte, La finta giardiniera, Don Giovanni, Così fan tutte, and La clemenza di Tito. Idomeneo, Die Entführung aus dem Serail, Le nozze di Figaro, and other works of Mozart and his contemporaries are also considered.
Este artigo pretende fazer uma autoetnografia cultural negativa de uma ida ao cinema para assistir à ópera Cosi fan tutte (1789), de Wolfgang Amadeus Mozart, no Shopping Galleria, em Campinas. A ...produção foi realizada musicalmente por Philippe Jordan e coreograficamente por Anne Teresa De Keersmaeker para a orquestra da Opéra National de Paris, lançada na Europa em 2017 e que chega ao Brasil no primeiro semestre de 2018, graças ao Festival Ópera na Tela. Tendo em vista as contradições da relação entre ópera e cinema e como essas tensões se intensificam quando transferidas do eixo Europa e EUA para países de modernização tardia, este estudo autoetnográfico da ida à ópera pretende fazer uma crítica à ideia de uma noção de tempo como progressão abstrata e homogênea.
The choruses from the eighteenth century opere serie of Wolfgang Amadeus Mozart represent a body of literature that is relatively unknown. While the majority of Italian opere serie exclude the ...chorus, most of Mozarts works in this genre contain significant choral scenes. The existence of opera seria as popular musical theater was short-lived, yet the choruses from Mozarts opere serie are worthy examples of secular choral literature. The study includes a scholarly examination of the opera seria as a genre, as well as the historical role of the opera chorus. Of particular importance is the operatic reform movement in France.
Entre octubre del 2019 y enero del 2020, el "Requiem" de Mozart se interpretó en el espacio público en once conciertos autogestionados, dedicados a las víctimas de la violencia estatal durante el ...estallido social chileno. Partiendo de la premisa de que el canon musical europeo ha sido objeto de múltiples transformaciones simbólicas en la América Latina, este artículo contribuye a la exploración en profundidad de tales resignificaciones a fin de comprender los usos y funciones locales de este repertorio, ahondando en las posibles relecturas que los músicos hacen del "Requiem" de Mozart en el intenso clima de las movilizaciones sociales recientes en Chile y preguntándose de qué manera esta experiencia ha llevado a un sector de los músicos académicos chilenos a explorar nuevas formas de acción social.
La importancia de recuperar las contribuciones de Norbert Elias, no solo esta en reconocer su valor como sociólogo clásico, también ayuda para mostrar a las nuevas generaciones de sociólogos, su ...método de análisis, y su importancia del dialogo entre la historia y la sociología como fuentes para comprender los problemas sociales. En este sentido, el artículo tiene como objetivo, hacer un abordaje sociológico de un periodo social así como cultural desde la música y la vida de un músico, poniendo atención a los procesos sociales y culturales que contextualizan la vida y obra de Wolfgang Amadeus Mozart. En ese sentido, el método de trabajo se encuentra en el marco de los estudios descriptivos documentales, y desde este método, se recuperan categorías ancladas a la teoría de Norbert Elias. Finalmente, se puede concluir que la vida de Mozart no solo se caracterizó por el remolino de un proceso social que lo sacudió en su obra, también fue el resultado de una vida marcada por el autoritarismo de un padre que desde temprana edad le impuso un camino, que lo condujo no solo a ser un hijo prodigio y brillante para su época, sino que también fue un hombre insatisfecho consigo mismo.
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