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Essay / Research Paper Abstract
A 5 page research paper on Wolfgang Amadeus Mozart's Piano Concerto in A Major, No. 23, K. 448. The writer offers analysis of all three movements, quoting experts on the musical form, harmony, themes, etc. Bibliography lists 7 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khmoz488.rtf
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Unformatted sample text from the term paper:
Beethovens symphonies -- that it influences everything that comes afterward (Zaslaw, 1999). The concertos of Wolfgang Amadeus Mozart (1756-1791) belong in this category (Zaslaw, 1999). One of the most
outstanding pianists of his era, Mozart wrote a great deal of music for his favorite instrument. The following analysis will look at this Piano Concerto in A Major, K.488 (The
K followed by a number refers to the catalogue of Mozarts work compiled by Ludwig Koechel, who numbered all of Mozarts work according to what he perceived to be the
order of composition) (Machlis,1970, p. 208). Mozarts unassailable supremacy in the concerto is due to a number of reasons (Landon, 1956).. First
of all, in his mature work, with only a few exceptions, the concerto is not primarily a vehicle for a virtuoso, but is rather a "miraculous fusion of the symphonic
and concerto forms" (Landon, 1956, p. 257). Another reason, at least in part, comes from the symphonic nature of the Mozarts work, which, at the time of its composition, constituted
a new form of orchestration that Mozart created, in which the orchestras role is not one of just mere accompaniment, but rather, the orchestra becomes a vitally significant element that
provides color, form and melody throughout the work (Landon, 1956). In general, Mozart employed two types of punctuation tools that consist of two types of basic cadence (full and
half cadence), as well as various "forms of the extension (appendix, internal extension, and parenthesis) and contraction (link and elision)" (Berger, 1999, p. 247). These features allowed him to project
a clear hierarchy of punctuation points, as well as establish a hierarchy of temporal phrases closed by these points (Berger, 1999). The basic concerto allegro form can be seen can
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