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Aspects of Mozart's music in G minor : towards the identification of common structural and compositional features

By Steven Bradley Jan

Abstract

The critical literature on composers and their work is often\ud distinguished by as much unsupported speculation as fact - Mozart is no exception to this and it is particularly in the realm of the significance and influence of key in his work that such a tradition of writing has evolved. The key of G minor has received most attention in this respect.\ud \ud However interesting, subjective interpretation ultimately\ud reveals more about the speculator than the object of speculation; and although usually ventured sincerely it is, in terms of the music itself, of little value from an epistemological standpoint.\ud \ud This study attempts to consider musical aspects of Mozart's\ud G minor, and aims to counter, or at least balance, the subjective interpretations which have obscured this repertory by adopting a more objective and empirical viewpoint. To this end, the G minor music will be studied in terms of several structural and compositional features common to a representative number of pieces - These include the Piano Quartet K. 478, the String Quintet K. 516 and the Symphony K-550, a number of operatic arias, and lesser-known works and movements in G minor. The inquiry is conducted within the general theoretical framework of Schenker's analytical methods.\ud \ud With respect to certain of these characteristics, a provisional evaluation of their predominance or exclusivity is attempted on the basis of comparisons with a representative group of movements in other minor keys.\ud \ud It is concluded that in his last decade Mozart was moving\ud toward a limited, although increasing, stylistic definition of G minor

Publisher: School of Music (Leeds)
Year: 1990
OAI identifier: oai:etheses.whiterose.ac.uk:279

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