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  • Motivic Unity and Transformation in Mozart's D Minor Piano Concerto (K. 466)

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    John Mongiovi
    285 vizualizări127 pagini
    A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music, School of Music, College of Fine Arts, University of South Florida, December 1996. ABSTRACT: A significant modification in Mozart's compositional style occurs during his years in Vienna (1783-1788). This change takes place most notably in his piano concertos and is reflected in a shift from a melodic style of writing to a more motivic mode of treatment. Denis Forman, author of _Mozart's Concerto Form_, refers to this style of composition as Mozart's "symphonic form." It is the last four Symphonic piano concertos (K. 466, K. 467, K. 491, and K. 503) that depart the most from the typical forms of the composer's earlier works. This study focuses on the D minor piano concerto (K. 466), which is representative of Mozart's symphonic form. The Symphonic concertos are ordinarily regarded as being fragmented in style and filled with sharp contrast and opposition throughout. Existing discussions concerning motivic unity within these works are incomplete, primarily descriptive, and generally confined to individual movements. The analytical approaches of Rudolph Reti and Arnold Schoenberg form the basis of the analytical approach used in this study. A motivic analysis reveals that the use of repetition and transformation of short motivic patterns occurs on the surface as well as through underlying relationships of pitches and intervals. A prevailing unity is experienced and perceived when motives are transformed into modified units and connected within each theme, between the themes within each movement, and between the themes of separate movements of this concerto.

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    A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music, School of Music, College of Fine Arts, University of South Florida, December 1996. ABSTRACT: A significant modification in Mozart's compositional style occurs during his years in Vienna (1783-1788). This change takes place most notably in his piano concertos and is reflected in a shift from a melodic style of writing to a more motivic mode of treatment. Denis Forman, author of _Mozart's Concerto Form_, refers to this style of composition as Mozart's "symphonic form." It is the last four Symphonic piano concertos (K. 466, K. 467, K. 491, and K. 503) that depart the most from the typical forms of the composer's earlier works. This study focuses on the D minor piano concerto (K. 466), which is representative of Mozart's symphonic form. The Symphonic concertos are ordinarily regarded as being fragmented in style and filled with sharp contrast and opposition throughout. Existing discussions concerning motivic unity within these works are incomplete, primarily descriptive, and generally confined to individual movements. The analytical approaches of Rudolph Reti and Arnold Schoenberg form the basis of the analytical approach used in this study. A motivic analysis reveals that the use of repetition and transformation of short motivic patterns occurs on the surface as well as through underlying relationships of pitches and intervals. A prevailing unity is experienced and perceived when motives are transformed into modified units and connected within each theme, between the themes within each movement, and between the themes of separate movements of this concerto.

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    Descărcați ca PDF sau citiți online pe Scribd
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    285 vizualizări127 pagini

    Motivic Unity and Transformation in Mozart's D Minor Piano Concerto (K. 466)

    Încărcat de

    John Mongiovi
    A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music, School of Music, College of Fine Arts, University of South Florida, December 1996. ABSTRACT: A significant modification in Mozart's compositional style occurs during his years in Vienna (1783-1788). This change takes place most notably in his piano concertos and is reflected in a shift from a melodic style of writing to a more motivic mode of treatment. Denis Forman, author of _Mozart's Concerto Form_, refers to this style of composition as Mozart's "symphonic form." It is the last four Symphonic piano concertos (K. 466, K. 467, K. 491, and K. 503) that depart the most from the typical forms of the composer's earlier works. This study focuses on the D minor piano concerto (K. 466), which is representative of Mozart's symphonic form. The Symphonic concertos are ordinarily regarded as being fragmented in style and filled with sharp contrast and opposition throughout. Existing discussions concerning motivic unity within these works are incomplete, primarily descriptive, and generally confined to individual movements. The analytical approaches of Rudolph Reti and Arnold Schoenberg form the basis of the analytical approach used in this study. A motivic analysis reveals that the use of repetition and transformation of short motivic patterns occurs on the surface as well as through underlying relationships of pitches and intervals. A prevailing unity is experienced and perceived when motives are transformed into modified units and connected within each theme, between the themes within each movement, and between the themes of separate movements of this concerto.

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    MOTIVIC UNITY AND TRANSFORMATION IN MOZART'S D MINOR PIANO CONCERTO (K. 466) JOHN ALAN MONGIOVI A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music School of Music College of Fine Arts University of South Florida December 1996 Major Professor: Anne Hawkins, M.A. ACKNOWLEDGEMENTS I wish to express my deepest gratitude to Professor Anne Hawkins, whose ‘encouragement and generous advice was instrumental in the shaping of this thesis. I would also like to extend my appreciation to Dr, John Robison for his contributions to this project and to Dr. William Wiedrich for his insightful observations regarding the significance of this study TABLE OF CONTENTS LIST OF TABLES LIST OF FIGURES ABSTRACT INTRODUCTION CHAPTER | BACKGROUND ‘An Overview of Mozart's Piano Concertos The Evolution of Mozart's Compositional Style ‘An Overview of Mozart's Stylistic Periods The Evolution of Mozart's Concerto Form Characteristics of Mozart’s Symphonic Concertos ‘Changes in Mozart's Compositional Style Influences on Mozart's Style Period Dating 1781-1788 References CHAPTER 2 MOTIVIC AND THEMATIC UNITY Defining the Basic Units of Musical Structure Arnold Schoenberg's Concept of Developing Variation ‘Thematic Transformation Rudolph Reti's Concept of Thematic Variation Methods of Thematic Transformation ‘Thematic Transformation and Subconscious Acts of the ‘Composer and Listener ‘The Form-Building Functions of Thematic Transformation and Thematic Resolution Developing Variation and Thematic Transformation in Mozan'’s Works References CHAPTER 3. PIANO CONCERTO NO. 20 IN D MINOR, K. 466 Allegro Motivie Coherence Between Themes 10 18 20 2B 23 25 29 33 35 37 40

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