...Edward Laufer 2001 © Yale University, New Haven, Connecticut 06520 2001 APPENDIX Edward Laufer REVISED SKETCH OF MOZART, K. 545/I AND COMMENTARY This movement presents many unusual features, which perhaps arise out of Mozart s wish to make the movement very compact and psychologi- cally short...

...David Temperley is associate professor of Music Theory at Eastman School of Music. His book Music and Probability was published in 2007 by MIT Press. Danuta Mirka Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 Oxford University Press, 2009: 332 pp...

...Danuta Mirka Danuta Mirka is reader in music at the University of Southampton and the editor of The Oxford Handbook of Topic Theory (forthcoming). Her book Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791 (2009) won the 2011 Wallace Berry Award from...

...Lauri Suurpää This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently...

... Late Quartets .” Musical Quarterly 93 / 3 : 450 – 513 . Lerdahl Fred Jackendoff Ray . 1983 . A Generative Theory of Tonal Music . Cambridge, MA : MIT Press . Mirka Danuta . 2009 . Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 . New York...

... toward a position Rothstein comes close to articulating, which is that Schenker does indeed “work” best for Bach. 5. Schenker uses the actual term (Ruckschritt) in the opening paragraphs of “Mozart: Sinfonie G-Moll,” from Das Meisterwerk in der Musik (1926), Vol. 2, 107. He works out...

...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...

...Lawrence Kramer Stanley Cavell's 1967 essay “Music Discomposed” claims that twentieth-century musical modernism incorporates the constant possibility of “fraudulence,” thus provoking the Philistine objection: why can't we write like Mozart any more? For Cavell the question is preeminently a matter...

... on connections between schematic skeletons and statistical learning research. Finally, it offers an analytical application to the opening phrase of Mozart’s aria “Dies Bildnis ist bezaubernd schön,” which is briefly compared to Niccolò Piccinni’s “Una povera ragazza.” Works Cited Aerts Hans . 2017...

..., some schemas have focused semantic connotations and are used to mark such utterance types as questions and witticisms. The article concludes with an analysis of scenes from act 1 of Mozart’s Così fan tutte , which shows how sensitivity to manipulations of galant recitative schemas can reveal subtle...

... of generated heptachords leading to an attractive scalar model. The theoretical model is illustrated by analyses of chromatic passages from music by Mozart, Chopin, and Debussy. A preliminary version of this article was presented at the Clough Memorial Conference, New Haven, Connecticut, June 13, 2012. I...

...Joel Galand 2000 © Yale University, New Haven, Connecticut 06520 2000 Allanbrook, Wye J. 1994 . “Mozart's Tunes and the Comedy of Closure.” In On Mozart , ed. James M. Morris, 169 –86. New York: Woodrow Wilson Center and Cambridge University Press. Badura-Skoda, Eva. 1972 . Mozart...

... of structure (syntax or grammar) and meaning (semantics) to music has proved more problematic.4 2  Only three articles concerning tonal structure focus on the 3  For a cursory overview, see Sloboda 1990, which sketches cadenza: Swain 1988, which treats Mozart’s techniques for out music’s...

... , 27 – 54 . Lincoln : University of Nebraska Press . ———. 1998 . Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Beethoven and Mozart . Oxford : Oxford University Press . Caplin William E. Hepokoski James Webster James . 2009 . Musical Form...

... approach sets itself apart from those mentioned above in two important ways. First, whereas most study of late-eighteenth-century music—particularly in music theory—has focused on just two composers, Mozart and Haydn, Gjerdingen’s focus is much broader...

... . Mozart’s Music of Friends: Social Interplay in the Chamber Works . Cambridge : Cambridge University Press . Mitchell William . 1973 . “ Beethoven’s La Malinconia from the String Quartet, opus 18, no. 6: Techniques and Structure .” In vol. 3 of Music Forum , ed. Mitchell William...

.... 1993 . “Conflicting Metrical Patterns in Accompaniment and Melody in Works by Mozart and Beethoven: A Preliminary Study.” Journal of Music Theory 37 : 311 -50. Keller, Hans. 1960 . “Principles of Composition (II).” The Score 27 : 9 -21. Komar, Arthur. 1971 . Theory of Suspensions...

... Voice Exchange in Mozart Expositions.” Music Theory Spectrum 19 : 1 –12. Kresky, Jeffrey. 1994 . A Reader's Guide to the Chopin Preludes . Westport, CT: Greenwood Press. Neumeyer, David and Susan Tepping. 1992 . A Guide to Schenkerian Analysis . Englewood Cliffs, NJ: Prentice-Hall...