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THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN./
作者:	OHLSSON, ERIC PAUL.
面頁冊數:	1 online resource (130 pages)
附註:	Source: Dissertation Abstracts International, Volume: 41-07, Section: A, page: 2823.
標題:	Music. -
電子資源:	click for full text (PQDT)

THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN.
OHLSSON, ERIC PAUL.

THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN. - 1 online resource (130 pages)

Source: Dissertation Abstracts International, Volume: 41-07, Section: A, page: 2823.

Thesis (D.M.A.)--The Ohio State University, 1980.

Includes bibliographical references

This document presents a historical study of the Mozart Quintet in E flat, K. 452, and the Beethoven Quintet in E flat, Op. 16. Included as appendices to this document are a complete discography and harmonic analyses of the two piano quintets.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN.
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100 1 $a OHLSSON, ERIC PAUL. $3 1184537
245 1 4 $a THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN.
264 0 $c 1980
300 $a 1 online resource (130 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 41-07, Section: A, page: 2823.
502 $a Thesis (D.M.A.)--The Ohio State University, 1980.
504 $a Includes bibliographical references
520 $a This document presents a historical study of the Mozart Quintet in E flat, K. 452, and the Beethoven Quintet in E flat, Op. 16. Included as appendices to this document are a complete discography and harmonic analyses of the two piano quintets.
520 $a These works have in common an infrequently used instrumental combination, namely piano, oboe, clarinet, horn, and bassoon. It is the author's intent to provide the reader with a concise resource for the study of these invaluable works through an accumulation and synthesis of information.
520 $a The first area of consideration is the origin and history of this uncommon instrumental combination and its influence on the evolution on other chamber music combinations. In the course of the examination of each piano quintet, certain information comes to light, such as how the instrumentation was derived; and the details of their earliest performances. Some comparisons are drawn between the two works, but of more importance is the consideration of each quintet as it relates to other works by its respective composer.
520 $a In this study of the quintets in E flat by Mozart and Beethoven, the similarities of key and general structure (as a result of Beethoven's 'imitation' of Mozart) are shown. The contrasts are more striking--such as the prevalence in the Beethoven Op. 16 of longer themes, the greater use of the minor mode, and slower harmonic rhythm.
520 $a There are obvious differences between the works as to the respective roles of the piano and the wind group. In Op. 16, the piano is truly the leader of the group, but in K. 452, Mozart develops a very symmetrical balance between all the instruments.
520 $a In summary, the differences of the quintets are very telling with regard to the development of the musical language of the eighteenth century. With respect to the total musical output of each composer, we are dealing with the mature style of Mozart, as opposed to a somewhat early, 'imitative' style of Beethoven.
520 $a One should realize that with each of these works one is dealing with a completely different set of circumstances; Mozart is the inventor who is one of the personifications of classical style, and Beethoven is the 'imitator', the young composer who was still learning his craft. The individuality of Beethoven, brief flashes of which are seen in Op. 16, is the basis for his style breaks into a newer, more expansive and more powerful harmonic and structural style while still modeled on only the broad formal outlines of the classical period of composition.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Music. $3 649088
655 7 $a Electronic books. $2 local $3 554714
690 $a 0413
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a The Ohio State University. $3 1184483
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8100098 $z click for full text (PQDT)