This report documents a dataset consisting of expert annotations (symbolic data) of interthematic (higher-level) cadences in the exposition sections of all of Mozart's instrumental sonata-allegro ...movements.
Arousal, Mood, and the Mozart Effect Thompson, William Forde; Schellenberg, E. Glenn; Husain, Gabriela
Psychological science,
05/2001, Letnik:
12, Številka:
3
Journal Article
Recenzirano
The "Mozart effect" refers to claims that people perform better on tests of spatial abilities after listening to music composed by Mozart. We examined whether the Mozart effect is a consequence of ...between-condition differences in arousal and mood. Participants completed a test of spatial abilities after listening to music or sitting in silence. The music was a Mozart sonata (a pleasant and energetic piece) for some participants and an Albinoni adagio (a slow, sad piece) for others. We also measured enjoyment, arousal, and mood. Performance on the spatial task was better following the music than the silence condition, but only for participants who heard Mozart. The two music selections also induced differential responding on the enjoyment, arousal, and mood measures. Moreover, when such differences were held constant by statistical means, the Mozart effect disappeared. These findings provide compelling evidence that the Mozart effect is an artifact of arousal and mood.
This essay suggests that Mozart's serious opera La clemenza di Tito encapsulates both a political philosophy and a theological anthropology, which reflect the composer's dual commitments to the late ...Enlightenment and Catholicism. I argue that the opera advocates for the rule of law and specifically for a renewed (Beccarian) understanding of clemency as general lenience in punishing rather than as the absolute ruler's extraordinary use of pardons based in his liberum arbitrium. At the same time, Mozart's Clemenza offers the audience a Christian account of the journey from concupiscence and sin to salvation, caused by mercy, love, and suffering.
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.
...moments, the rise of European fascism in the 1930s, for instance, alter the lives of individual scholars, and they lead to responses across an entire field, such as those rerouting the history of ...the International Musicological Society (IMS).1 These are the moments of conflict and violence, of the political and cultural realignments that divided the world into East and West in the twentieth century, and opened an even greater gap of inequality between North and South in the twenty-first century. Contested moments, some long silenced, are chronicled with growing frequency in the most recent Acta numbers.3 As musicology's collective voices gain in strength at the global front lines, it is also critical to take stock of the ways to consolidate their disciplinary strength. The IMS and Acta recognize the contributions of individual members, seeking new ways to nurture collective biography with new forums, among them the annual series, "Lives in Musicology" The Politics and Power of Publications: It is critical to what we accomplish as scholarship that musicologists identify the ways in which politics and power intersect at the global front lines we encounter.
Based on recently discovered correspondence of Jacques Handschin with colleagues both in Europe and in the United States, this article examines the web of interrelations between Handschin, the ...American Institute of Musicology, and the International Musicological Society during the years immediately following World War II. It introduces the circle of Handschin's American contacts and explores his collaboration with the American Institute and its founder and long-time director, Armen Carapetyan.
PDF
