Solowe utwory wokalne Mozarta jako dzieła dedykowane
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Date
2017
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Mozart’s solo vocal pieces as dedicated works
Abstract
Mimo znakomitej recepcji dzieł Wolfganga Amadeusza Mozarta i wielu dzieł naukowych poświęconych jego twórczości, solowe utwory wokalne, które uważane są za marginalne, uważane są za niezbyt ciekawy przedmiot badań muzykologicznych. Grupa utworów wspomnianych w tytule składa się z dwóch zasadniczych typów utworów – pierwsza pojawia się we współczesnym piśmiennictwie jako „aria koncertowe”, druga zawiera drobne utwory wokalne opisane jako pieśni. Fenomenem analizowanej grupy utworów jest jej użytkowy charakter, który ewokuje zespół pewnych cech stylistycznych. Zawsze jednak w tym przypadku Mozart tworzył muzykę, mając na uwadze konkretnego wykonawcę. Dlatego celem tej pracy jest uzupełnienie luki w dawnym i współczesnym piśmiennictwie poświęconemu Mozartowi. Elementem, który spaja omawiane działa jest rola kompozytora – dopasowanie dzieł do możliwości wykonawcy, co było niezwykle ważne dla jakości przyszłych wykonań. Pierwszy rozdział poświęcony jest kontekstowi genologicznemu omawianych utworów. Drugi przedstawia specyfikę dedykacji w literaturze i w muzyce. Trzeci zawiera charakterystykę pieśni i arii Mozarta. Czwarty to omówienie problematyki profilu wokalnego. Ostatni rozdział zawiera przykładowe rekonstrukcje kilku profilów wokalnych śpiewaków Mozarta.
Despite the excellent reception of Wolfgang Amadeus Mozart’s output around the world and numerous scholarly works devoted to his life and his creation, solo vocal works, which occupy the marginal position of his compositional work, are often considered as not-so-attractive subject of musicological research. The group of pieces mentioned in the title consists of two types of works – the first one appears in the contemporary writing under the description “concert arias”, the second one includes a number of minor vocal pieces described as songs. The phenomenon of the analysed group of works is their practical character, which has evoked certain set of stylistic features. In all of these cases – the insert arias, occasional pieces and even the songs – Mozart created music with a concrete performer in mind. All of this was to assure a successful performance and the achievement of desirable artistic success. Therefore the aim of this dissertation is to fill the gap existing in previous and contemporary research. The factor that conglomerates appurtenant pieces is the composer’s role – customizing and matching them to the performers’ capabilities, which was very advantageous for the quality of future perfomances. The first chapter presents the genological context for discussed pieces. The second is devoted to specifics of dedication (in literature and in music). The third chapter provides characteristics an typology of Mozart’s songs and arias. The fourth chapter provides discussion about the concept of vocal profile, and this chapter is followed by presentation of Mozat’s singers’ vocal profiles.
Despite the excellent reception of Wolfgang Amadeus Mozart’s output around the world and numerous scholarly works devoted to his life and his creation, solo vocal works, which occupy the marginal position of his compositional work, are often considered as not-so-attractive subject of musicological research. The group of pieces mentioned in the title consists of two types of works – the first one appears in the contemporary writing under the description “concert arias”, the second one includes a number of minor vocal pieces described as songs. The phenomenon of the analysed group of works is their practical character, which has evoked certain set of stylistic features. In all of these cases – the insert arias, occasional pieces and even the songs – Mozart created music with a concrete performer in mind. All of this was to assure a successful performance and the achievement of desirable artistic success. Therefore the aim of this dissertation is to fill the gap existing in previous and contemporary research. The factor that conglomerates appurtenant pieces is the composer’s role – customizing and matching them to the performers’ capabilities, which was very advantageous for the quality of future perfomances. The first chapter presents the genological context for discussed pieces. The second is devoted to specifics of dedication (in literature and in music). The third chapter provides characteristics an typology of Mozart’s songs and arias. The fourth chapter provides discussion about the concept of vocal profile, and this chapter is followed by presentation of Mozat’s singers’ vocal profiles.
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Wydział Historyczny: Instytut Muzykologii
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Keywords
Mozart, pieśni, arie, songs, arias, dedykacja, dedication, profil wokalny, vocal profile