Search results for: Mozart

Authors: Parham Bakhtiari

Abstract:

Musical compositions are typically examined from various perspectives, with a focus on elements such as melody, harmony, and rhythm. This study provides a comprehensive analysis of tempo indications, segmentations, and musical ideas in Wolfgang Amadeus Mozart's piano sonatas, highlighting the intricate relationship between these elements and their contribution to the overall interpretative landscape of his works. Through a detailed examination of select sonatas, the research categorizes tempo markings and explores their implications for performance practice, emphasizing how Mozart's choices reflect his compositional intentions and the stylistic conventions of the Classical era. Additionally, the segmentation of musical phrases is analyzed to reveal patterns of thematic development and transition, demonstrating how Mozart employs structural techniques to enhance expressive depth. By synthesizing these aspects, the paper aims to offer insights into the complexities of Mozart's musical language, encouraging a deeper appreciation of his sonatas both in scholarly discourse and practical performance.

Keywords: music, Mozart, piano, tempo, sonata

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Authors: James R. Wilson

Abstract:

Music is typically defined as having the attributes of melody, harmony, and rhythm. In this paper, a fourth element is proposed -"flow". "Flow" is a new dimension in music that has always been present but only recently identified and measured. The Adagio "Flow Machine" enables us to envision this component and even suggests a new approach to music theory and analysis. The Adagio was created specifically to measure the underlying “flow” in music. The Adagio is an entirely new way to experience and visualize the music, to assist in performing music (both as a conductor and/or performer), and to provide a whole new methodology for music analysis and theory. The Adagio utilizes musical “hit points”, such as a transition from one musical section to another (for example, in a musical composition utilizing the sonata form, a transition from the exposition to the development section) to help define the compositions flow rate. Once the flow rate is established, the Adagio can be used to determine if the composer/performer/conductor has correctly maintained the proper rate of flow throughout the performance. An example is provided using Mozart’s Piano Concerto Number 21. Working with the Adagio yielded an unexpected windfall; it was determined via an empirical study conducted at Nova University’s Biofeedback Lab that watching the Adagio helped volunteers participating in a controlled experiment recover from stressors significantly faster than the control group. The Adagio can be thought of as a new arrow in the Musicologist's quiver. It provides a new, unique way of viewing the psychological impact and esthetic effectiveness of music composition. Additionally, with the current worldwide access to multi-media via the internet, flow analysis can be performed and shared with others with little time and/or expense.

Keywords: musicology, music analysis, music flow, music therapy

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Authors: Elmeida Effendy, Mustafa M. Amin, Nauli Aulia Lubis, P. J. Sirait

Abstract:

Music therapy may have an effect on mental illnesses. This is a comparative, quasi-experimental study to examine the effect of music therapy added to standard care on Positive Negative Syndrome Scale, Cognitive Function and Quality of Life in female schizophrenic patients. 50 schizophrenic participants who were diagnosed with semistructured MINI ICD-X, were assigned into two groups received pharmacotherapy. Participants were assigned into each group of therapy by using matched allocation method. Music therapy added on to the first group. They received music therapy, using Mozart Sonata four times a week, over a period of six week. Positive and negative symptoms were measured by using Positive and Negative Syndrome Scale (PANSS). Cognitive function were measured by using Mini Mental State Examination (MMSE) and Montreal Cognitive Assessment (MOCA). All rating scale were administrated by certified skill residents every week after music therapy session. The participants who were received pharmaco-and-music therapy significantly showed greater response than who received pharmacotherapy only. The mean difference of response were -6,6164 (p=0,001) for PANNS, 2,911 (p=0,004) for MMSE, 3,618 (p=0,001) for MOCA, 4,599 (p=0,001) for SF-36. Music therapy have beneficial effects on PANSS, Cognitive Function and Quality of Life in schizophrenic patients.

Keywords: music therapy, rating scale, schizophrenia, symptoms

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Authors: Sara Ramos Contioso

Abstract:

The premiere of Anton Bruckner's Requiem in Dm, in September 1849, represents a turning point in the composer's creative evolution. This Mass of the Dead, which was dedicated to the memory of his esteemed friend and mentor Franz Sailer, establishes the beginning of a new creative aesthetic in the composer´s production and links its liturgical development, which is contextualized in the monastery of St. Florian, to the use of a range of musicals possibilities that are projected by Bruckner on an orchestral texture with choir and organ. Set on a strict tridentine ritual model, this requiem exemplifies the religious aesthetics of a composer that is committed to the Catholic faith and that also links to its structure the reinterpretation of a religious model that, despite being romantic, shows a strong influence derived from the baroque or the Viennese Classicism language. Consequently, the study responds to the need to show the survival of the Requiem Mass within the romantic context of Vienna. Therefore, it draws on a detailed analysis of the score and the creative context of the composer with the intention of linking the work to the tradition of the genre and also specifying the stylistic particularities of its musical model within a variability of possibilities such as the contrasting precedents of Mozart, Haydn, Cherubini or Berlioz´s requiems. Tradition or modernity, liturgy or concert hall are aesthetic references that will condition the development of the Requiem Mass in the middle of the nineteenth century. In this context, this paper tries to recover Bruckner's Requiem in Dm as a musical model of the romantic ritual of deceased and as a stylistic reference of a creative composition that will condition the development of later liturgical works such as Liszt or DeLange (1868) ones.

Keywords: liturgy, religious symbolism, requiem, romanticism

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