Key-Specific Structure in Mozart's Music: A Peek into his Creative Process?

Theories of tonal music take for granted that all keys of the same mode (i.e., all major and all minor keys) are employed by composers in essentially the same way; however, newer analytical and cognitive research challenges this view by pointing to aspects of transpositional nonequivalence among the keys. The present study offers possibly the first systematic, data-driven investigation of correlations between the choice of absolute key and structure across a composer's body of works. By performing an extensive corpus-based analysis of music by Wolfgang Amadé Mozart (1756–91), we derive 55 prototypes, subsuming phenomena from three independent domains: dynamic-rhetoric gestures that launch orchestral works, digressions to the parallel minor in sonata-allegro movements, and the occurrences of a particular six-note motive across Mozart's complete oeuvre. Ten prototypes display a significant association with a specific key after correction for multiple comparisons, amounting to a statistically significant total. Investigation of key-related musical structure offers fresh insight into Mozart's compositional decisions and the relation between schemata and their instantiations in his works, at the same time suggesting a revised perspective on traditional key characteristics. Mozart's perfect pitch offers one possible explanation for the role of key-related structure in his works; however, we also contemplate other possible explanations

Key-Specific Structure in Mozart's Music: A Peek into his Creative Process?

Theories of tonal music take for granted that all keys of the same mode (i.e., all major and all minor keys) are employed by composers in essentially the same way; however, newer analytical and cognitive research challenges this view by pointing to aspects of transpositional nonequivalence among the keys. The present study offers possibly the first systematic, data-driven investigation of correlations between the choice of absolute key and structure across a composer's body of works. By performing an extensive corpus-based analysis of music by Wolfgang Amadé Mozart (1756–91), we derive 55 prototypes, subsuming phenomena from three independent domains: dynamic-rhetoric gestures that launch orchestral works, digressions to the parallel minor in sonata-allegro movements, and the occurrences of a particular six-note motive across Mozart's complete oeuvre. Ten prototypes display a significant association with a specific key after correction for multiple comparisons, amounting to a statistically significant total. Investigation of key-related musical structure offers fresh insight into Mozart's compositional decisions and the relation between schemata and their instantiations in his works, at the same time suggesting a revised perspective on traditional key characteristics. Mozart's perfect pitch offers one possible explanation for the role of key-related structure in his works; however, we also contemplate other possible explanations

International Consensus Statement on Rhinology and Allergy: Rhinosinusitis

Background: The 5 years since the publication of the first International Consensus Statement on Allergy and Rhinology: Rhinosinusitis (ICAR‐RS) has witnessed foundational progress in our understanding and treatment of rhinologic disease. These advances are reflected within the more than 40 new topics covered within the ICAR‐RS‐2021 as well as updates to the original 140 topics. This executive summary consolidates the evidence‐based findings of the document. Methods: ICAR‐RS presents over 180 topics in the forms of evidence‐based reviews with recommendations (EBRRs), evidence‐based reviews, and literature reviews. The highest grade structured recommendations of the EBRR sections are summarized in this executive summary. Results: ICAR‐RS‐2021 covers 22 topics regarding the medical management of RS, which are grade A/B and are presented in the executive summary. Additionally, 4 topics regarding the surgical management of RS are grade A/B and are presented in the executive summary. Finally, a comprehensive evidence‐based management algorithm is provided. Conclusion: This ICAR‐RS‐2021 executive summary provides a compilation of the evidence‐based recommendations for medical and surgical treatment of the most common forms of RS

Supplementary Materials for "Key-Specific Structure in Mozart's Music: A Peek into his Creative Process?"

Theories of tonal music take for granted that all keys of the same mode (i.e., all major and all minor keys) are employed by composers in essentially the same way; however, newer analytical and cognitive research challenges this view by pointing to aspects of transpositional nonequivalence among the keys. The present study offers possibly the first systematic, data-driven investigation of correlations between the choice of absolute key and structure across a composer's body of works. By performing an extensive corpus-based analysis of music by Wolfgang Amadé Mozart (1756–91), we derive 55 prototypes, subsuming phenomena from three independent domains: dynamic-rhetoric gestures that launch orchestral works, digressions to the parallel minor in sonata-allegro movements, and the occurrences of a particular six-note motive across Mozart's complete oeuvre. Ten prototypes display a significant association with a specific key after correction for multiple comparisons, amounting to a statistically significant total. Investigation of key-related musical structure offers fresh insight into Mozart's compositional decisions and the relation between schemata and their instantiations in his works, at the same time suggesting a revised perspective on traditional key characteristics. Mozart's perfect pitch offers one possible explanation for the role of key-related structure in his works; however, we also contemplate other possible explanations

The Mozart Expositional Punctuation Corpus: A Dataset of Interthematic Cadences in Mozart's Sonata-Allegro Exposition

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