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dc.contributor.advisorKolosick, J. Timothyen_US
dc.contributor.authorCotner, John Sidney, 1963-
dc.creatorCotner, John Sidney, 1963-en_US
dc.date.accessioned2013-04-03T13:19:31Z
dc.date.available2013-04-03T13:19:31Z
dc.date.issued1993en_US
dc.identifier.urihttp://hdl.handle.net/10150/278291
dc.description.abstractThe research for this study entails a systematic classification of all significant instances of the 6-6 pattern in Mozart's symphonies. This data is further categorized according to embellishment types, and discussed with respect to Mozart's application of the model in his complete symphonies. Comparing Mozart's usage with that of Haydn's Paris and London symphonies, one finds that both composers often implemented the model as a means of developing material. Although Mozart and Haydn used the pattern in a variety of conventional ways in thematic and transition sections, there are some striking differences of treatment between the two composers. Haydn applied the pattern as retransitional material to a return of the opening theme. Likewise, his usage is predominantly diatonic. On the other hand, Mozart treated the 6-6 pattern with a high degree of stylization. As his symphonic technique became more distinctive, we find increasingly complex chromatic embellishments of the model. This study reveals that the 6-6 pattern is an important aspect of Mozart's symphonic technique throughout his career as symphonist.
dc.language.isoen_USen_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.subjectMusic.en_US
dc.subjectEducation, Music.en_US
dc.titleThe 6-6 linear intervallic pattern as a style feature in the symphonies of W. A. Mozarten_US
dc.typetexten_US
dc.typeThesis-Reproduction (electronic)en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.levelmastersen_US
dc.identifier.proquest1352346en_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.nameM.M.en_US
dc.identifier.bibrecord.b27051225en_US
refterms.dateFOA2018-08-27T13:45:19Z
html.description.abstractThe research for this study entails a systematic classification of all significant instances of the 6-6 pattern in Mozart's symphonies. This data is further categorized according to embellishment types, and discussed with respect to Mozart's application of the model in his complete symphonies. Comparing Mozart's usage with that of Haydn's Paris and London symphonies, one finds that both composers often implemented the model as a means of developing material. Although Mozart and Haydn used the pattern in a variety of conventional ways in thematic and transition sections, there are some striking differences of treatment between the two composers. Haydn applied the pattern as retransitional material to a return of the opening theme. Likewise, his usage is predominantly diatonic. On the other hand, Mozart treated the 6-6 pattern with a high degree of stylization. As his symphonic technique became more distinctive, we find increasingly complex chromatic embellishments of the model. This study reveals that the 6-6 pattern is an important aspect of Mozart's symphonic technique throughout his career as symphonist.


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