On Mozart's Rhythm

Lowinsky, Edward E.

doi:10.1093/mq/xlii.2.162

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“…3 3 Lowinsky (1956), p. 180, also remarks on the acceleration with which the four‐bar phrase ends, and finds it thematic for the movement: ‘the principle of acceleration is responsible for the rhythmic shape of every phrase’. Levin (2003), p. 333, remarks on the ‘harmonic audacity’ that has ‘no parallel in any other Mozart solo keyboard work’. …”

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AestheticallyWarrantedEmotion andComposedExpressiveTrajectories inMusic

Hatten¹

2010

Music Analysis

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Theorists of music and emotion have come to recognise a wide range of aesthetic and non‐aesthetic situations in which music serves as a vehicle, or a trigger, or a catalyst, for emotional experience. In this essay I focus on aesthetically warranted emotions (AWEs) as real, measurable emotions that are directly motivated by stylistically competent interaction with composed expressive trajectories (CETs). Through a close interpretation of the exposition of the second movement of Mozart's Piano Sonata in F, K. 533, I explore five central issues: (1) the role of marked musical gestures and stylistically unmarked alternatives in reconstructing and interpreting CETs; (2) the affordance of prior emotional experience for an individual's complete cognitive understanding of CETs; (3) whether or not one need actually experience AWEs in order to cognitively understand and appreciate CETs; (4) whether emotional engagement need always be congruent with, or isomorphically constrained by, CETs in order to qualify as AWEs; and (5) the status of AWEs, and our cognition of them, as multi‐levelled and integrative, synthetic and emergent, and varying in intensity.

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AestheticallyWarrantedEmotion andComposedExpressiveTrajectories inMusic

Hatten¹

2010

Music Analysis

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Engaging Bach

Dirst¹

2012

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More than any other part of Bach's output, his keyboard works conveyed the essence of his inimitable art to generations of admirers. The varied responses to this repertory - in scholarly and popular writing, public lectures, musical composition and transcription, performances and editions - ensured its place in the canon and broadened its creator's appeal. The early reception of Bach's keyboard music also continues to affect how we understand and value it, though we rarely recognize that historical continuity. Here, Matthew Dirst investigates how Bach's music intersects with cultural, social and music history, focusing on a repertory which is often overshadowed in scholarly and popular literature on Bach reception. Organized around the most productive ideas generated by Bach's keyboard works from his own day to the middle of the nineteenth century, this study shows how Bach's remarkable and long-lasting legacy took shape amid critical changes in European musical thought and practice.

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What Mozart learned from Bach

Dirst

2012

Engaging Bach

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On Mozart's Rhythm

Cited by 5 publications

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AestheticallyWarrantedEmotion andComposedExpressiveTrajectories inMusic

AestheticallyWarrantedEmotion andComposedExpressiveTrajectories inMusic

Engaging Bach

What Mozart learned from Bach

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