| Papers [1-14] of 66 :: [Page 1 of 5] | | Go to page : 1 2 3 4 5 —> | Search results on "MOZART CHILD PRODIGY": |
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?The Child Prodigy?, 2005.
An analysis of the distance between persona and self-image in Thomas Mann's "The Child Prodigy".
2,230 words (approx. 8.9 pages), 0 sources, £ 48.95
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Abstract
This paper examines how Thomas Mann's "The Child Prodigy" effectively explores differences of perspective among a group of individuals, all of whom are experiencing the same phenomena. Through an analysis of the different characters, it discusses how Thomas Mann contends that a separation between persona, the person we present to others, and the genuine person who dwells within is an inescapable part of being a human being.
From the Paper
"Unlike Bibi, the reader meets the impressario "in the flesh" only once in the story, and never gets to enter his thought or hear him talk to himself. We only get to see him through the other characters' eyes. Long before we meet him, we learn he is a clever showman who knows all the tricks of the trade. Only he knows Bibi's real name, for example, and keeps it a secret because the babyish name is more profitable than an adult name, which might not attract interest so effectively. He also knows how to create the impression that the child is a great artist and writes about Bibi in the style of an objective critic who "wrested these concessions from his critical nature after a hard struggle." He presents himself as a person of wealth and culture by wearing "large gold buttons on his conspicuous cuffs." The critic notes that the affection the impressario displays for Bibi is part of the show, designed to trigger a frenzy of emotion."
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Mozart As Child Prodigy, 1987.
Discusse his childhood, family, early genius, influences, tours, social activities and first major compositions.
1,350 words (approx. 5.4 pages), 7 sources, £ 32.95
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From the Paper
"The subject, of this report is Wolfgang Amadeus Mozart as a child prodigy. The discussion will focus on Mozart's early life, up to his 18th year, including the influences exerted on Mozart by his father and others with whom he came in contact, and the young Mozart's accomplishments during this period.
Mozart was born in Salzburg, Austria on January 27, 1756, the seventh and last child of Leopold and Maria Anna Mozart. Of the seven, only he and the fourth child Maria Anna (Nannerl) survived (Sadie 1). Theirs was a very musical household, Mozart's father Leopold being an able violinist in his own right, and court and chamber composer in Salzburg. He wrote church pieces, symphonies, concertos, clavier sonatas, and also an important study of the violin (Thompson 1442). Mozart's sister Nannerl also possessed an exceptional musical ability, although(...)"
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The Romantic Prodigy, 2002.
Discusses the art and life of Mary Wollstonecraft Shelley and the impact that her life experiences had on her writings.
1,525 words (approx. 6.1 pages), 2 sources, £ 39.95
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Abstract
Mary Wollstonecraft Shelley can justifiably be thought of as one of the few child prodigies in literature, alongside Arthur Rimbaud. She produced an enduring class, "Frankenstein", at the tender age of 19, a work that continues to inform, warn and delight millions of people in the world today. The substance of Mary's eventful life was, of course, incredibly influential in shaping her writing. This paper will assess the role of Mary's life in her writing, and examine how the two interacted.
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Wolfgang Amadeus Mozart, 2002.
An overview of the extraordinary life and achievements of the musical genius, Wolfgang Amadeus Mozart.
1,400 words (approx. 5.6 pages), 5 sources, £ 36.95
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Abstract
Wolfgang Amadeus Mozart was an undeniable genius. Mozart's rejection of court musical life was transparent. Mozart's finances during the Vienna years must be counted a mystery. By the time of Mozart's final illness, he had completed only some of what has become known as "Mozart's Requiem". Considerable evidence suggests that Mozart dabbled in mathematics. In studying Mozart, we can see that his life was anything but ordinary.
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Mozart, 2006.
A discussion about the lieder (songs) which Mozart wrote and the influence these compositions had on future composers.
1,726 words (approx. 6.9 pages), 6 sources, MLA, £ 38.95
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Abstract
The paper discusses the sixteen German lieder (songs) which are largely unknown works of Mozart. The paper explains that Mozart was a forerunner for German lieder and that his influence is seen in many of Franz Shubert's early works. The writer describes some of the stories told by Mozart's songs and compares "An Chloe" to "Abendempfindung", written on the same day, yet polar opposites. The writer explains that "An Chloe" is about the love of a shepherd for a shepherdess and "Abendempfindung" is a reflection on death. The paper compares the styles of Mozart and Schubert's songs. In conclusion, the writer posits that Mozart helped build the foundation for German lieder and although his songs are not the most frequently performed in this genre, they were very important in establishing the tradition of German lieder.
From the Paper
"In "An Chloe", Mozart once again crafts the music exquisitely around the poetry. "An Chloe" is a pastoral poem. Damon, a shepherd, is in love with Chloe, a shepherdess. This song has a six-measure introduction closing with a cadence and is primarily in the tonic. There is a measure of dominant in the third system and the first phrase ends in a cadence. The second phrase moves to the dominant and chromatic elements are presented with the introduction of "und ich halte dich... (and I hold you and kiss...)." This is the beginning of the real passion of the song and it is fitting that the chromaticism begins here. The beginning of the song is repeated in measure 28, but begins to be varied chromatically in measure 35 as the shepherd talks about holding Chloe tightly to his breast. The broken rhythms in measures 41-43 show the breathlessness of anticipation before the soaring vocal line for "eine dustre Wolke mir (a gloomy cloud to me)." The same idea of breathlessness is repeated in measures 49-51 and 56-59 before the climax of the song in measures 62-66. This climax has the most operatic vocal lines so far. The shepherd is saying "aber selig neben dir (but blissful beside you)". The song ends with a final cadence."
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Mozart, 2004.
Argues that Wolfgang Amadeus Mozart's fame is based largely on the man as a stereotype of a great romantic figure.
1,350 words (approx. 5.4 pages), 5 sources, MLA, £ 31.95
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Abstract
This paper argues that Mozart does not deserve to be considered as one of history's most influential people. It argues that, while he was an immensely talented and prolific composer, Mozart's lasting fame seems to be based largely on the ideal of him as a romantic artist, rather than on the body of his work. In addition, Mozart's fame can be attributed also to his family's great influence. The paper states that Mozart's work can be argued to be lacking in many areas, including the lack of depth in his church music, the lack of nature or a sense of fun and whimsy in his work, and flaws within his early work. In addition, Mozart's work fails to show any real innovation in genre or theme, which can be said to be the mark of a truly great or influential musician.
From the Paper
"For instance, Mozart's depiction as sensitive, mercurial, arrogant, and his early death has grabbed the public's imagination much more than the descriptions of the equally talented Hayden, who is often described as calm, kingly, and deliberate, and who lived a longer life (Oldman). Further, Mozart's family was influential and driven, likely playing a large part in Mozart's success, while Hyden's family was much less influential and had meager means, thus likely limiting Hyden's success. Despite these differences in opportunity, Hyden produced material that many consider to be the equal or superior of Mozart's works, and possessing a uniqueness that indicates great artistic maturity (Oldman)."
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Two Mozart Minuets, 2002.
This paper compares Wolfgang Amadeus Mozart's ?Minuet for String? from his ?Quintet in D Major? to his ?Minuet No. 6? and gives background information.
1,145 words (approx. 4.6 pages), 2 sources, MLA, £ 27.95
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Abstract
The author states many music historians believe that Mozart attained his greatest heights as a composer with his string quintets. The paper analyzes the minuet as a musical translation of popular musical dances of the era and compares the two minuets. The paper continues that it is important to recognize that listeners of Mozart today are different from listeners in Mozart?s day. The author concludes that, to understand Mozart?s Minuets, the listener must explore the roots of the form of the piece and the piece?s history.
From the Paper
"Before analyzing the pieces themselves, one must first consider exactly what a minuet is. A minuet is dance in a moderate triple time. It has a light texture. ?Some minuets have a cross-rhythm that makes two bars of 3/4 sound like one bar of 3/2 (as in courante). Unlike other dances, it is often in ternary form. It is one of the only Baroque dance forms that survived into the late symphony of the Classical era, besides the trio.? From a listener?s point of view, this ?light? or ?sprightly? texture translates into an almost humorous, dancing quality to the music."
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Wolfgang Amadeus Mozart, 2004.
Biographical account of the life and works of Wolfgang Amadeus Mozart.
1,147 words (approx. 4.6 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper first talks about Mozart's childhood and adolescent years as a composer and then talks about his compositions during his adult years. The paper discusses Mozart's influence, his technique, his style, and his genius. Several of Mozart's works are cited and described, and the qualities that make them masterpieces are explained.
From the Paper
"Born in Salzburg, Austria, on January 27, 1756, Wolfgang Amadeus Mozart was the son of Leopold Mozart, the second Kapellmeister at the court of the Archbishop. From his earliest childhood, Mozart revealed the most extraordinary musical powers and for a number of years, beginning when he was six years old, Mozart appeared throughout Europe, inspiring awe and adoration wherever he went. His first four violin sonatas were published in Paris when he was eight; his first symphonies were performed in London when he was nine; his first two comic operas were completed when he was twelve, and at the age of fourteen, Mozart wrote on commission his first opera seria, produced in Milan in 1770 during his first tour of Italy."
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Wolfgang Amadeus Mozart, 2002.
The life and works of Mozart.
1,150 words (approx. 4.6 pages), 6 sources, £ 30.95
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Abstract
A biography of the Austrian musical genius from his early childhood as a prodigy in Salzburg to his early death at age 34 an unrecognized genius.
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Mozart's "Magic Flute", 2005.
This paper analyzes "The Magic Flute" by Mozart, highlighting the importance of the story's premise.
1,125 words (approx. 4.5 pages), 5 sources, £ 30.95
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Abstract
The paper evaluates the significance of one of Mozart's most stunning operatic pieces, "The Magic Flute." The paper illustrates how this opera presents a number of controversial issues regarding the persecution of females and the Medieval code in historical times. The paper explains how this was supported by a hauntingly beautiful score by Mozart which was composed shortly before his death.
From the Paper
"One of the most famous composers of all time, Wolfgang Amadeus Mozart, created one of the most beloved operas that have ever existed with his masterpiece "The Magic Flute." This work of art has increased in popularity over the past two centuries and for opera lovers the world over, there is much significance and symbolism present in this work. It is evident that "The Magic Flute" signifies different meanings to different people, although the basic premise of the work rings true, regardless of the meanings that are interpreted. The story itself is very complex to understand, yet it provides a magnificent glimpse into the genius of Mozart. The following discussion will evaluate "The Magic Flute" in greater detail, emphasizing the importance of the story's premise and the accompanying music as a means of promoting the story's themes and beauty."
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Mozart's Operas, 2002.
Discusses the history and significance of four of Mozart's most famous operas.
1,150 words (approx. 4.6 pages), 4 sources, £ 30.95
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Abstract
This essay discusses four of Mozart's operas: Le nozze di Figaro (1786), Cosi fan tutte (1790) and The Magic Flute (1791). It describes each of the operas in detail with some historical context, before outlining their significance. The introduction provides some material on Mozart's background and comments on his operatic style as a whole.
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Wolfgang Amadeus Mozart, 2006.
A review of the life and accomplishments of Wolfgang Amadeus Mozart.
1,125 words (approx. 4.5 pages), 5 sources, £ 30.95
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Abstract
This paper considers the life and works of Wolfgang Amadeus Mozart and how they fit with his era, showing the nature of the time in which he lived and how he affected music in that period. The paper notes how Mozart was always dependent on the largesse of patrons meaning political and social leaders of the era who funded artists and musicians and who often demanded certain types of art or music from their artists and composers.
From the Paper
"Wolfgang Amadeus Mozart left behind a large body of work in spite of his death at a relatively young age. He stands with Bach and Beethoven as one of the giants of music, in his case from the Classical era in the eighteenth century, an era marking a change from the earlier Baroque era and leading later to the beginning of the Romantic era. Mozart's work demonstrates many of the intellectual forces of his time and also shows the political influences on music and on the artist in that era. Mozart was always dependent on the largesse of patrons, meaning political and social leaders of the era who funded artists and musicians and who often demanded certain types of art or music from their artists and composers."
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Wolfgang Amadeus Mozart, 2005.
A brief examination of the life and works of composer Wolfgang Amadeus Mozart.
1,212 words (approx. 4.8 pages), 3 sources, MLA, £ 28.95
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Abstract
This paper looks at the short but brilliant life of the famous composer, Mozart. It discusses how his family upbringing impacted his talent and looks at some of his many musical achievements. The writer concludes by examining the impact of Mozart's music today.
From the Paper
"Mozart composed every sort of work presented in his day: symphonies, operas, chamber music, minuets, sacred music. Despite that, and the lasting value, Mozart was given only a cheap funeral when he died, and was buried in an unmarked pauper's grave; his body has never been located (Krantz, undated). But his contributions to music are gargantuan, and still vibrant. Today, his work is also regarded as a catalyst to intellectual pursuits, with albums of his works issued specifically to be played to enhance brain function; a quick tour of any large music store will probably reveal 'brain enhancing' collections of Mozart. But his major contribution to music itself is this: Mozart was, by many, considered to be "the central pivotal point in the music of Europe," a man who created "the bridge...between the old world of music and the modern world of music" (Ardoin, 1989)."
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Mozart, 2005.
A look at the life and works of composer Wolfgang Amadeus Mozart.
1,101 words (approx. 4.4 pages), 5 sources, MLA, £ 26.95
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Abstract
The paper discusses Mozart's life, his compositions, and his importance to the world and the world of music. It explains how Mozart's music is still some of the most popular classical music played today, and his life is still studied because his music is so well-known and liked.
From the Paper
"Most experts, musicians, and biographers agree that Wolfgang Amadeus Mozart was a true genius. He was born in 1756, his father taught him to play the harpsichord, organ, and violin at a very young age, and he was composing his first music before he was five. When he was six, his father sent him on a musical tour of European cities with his older sister. He was extremely prolific in music at a very young age. This article notes, "His progress as a composer was amazing; by the age of 13 he had written concertos, sonatas, symphonies, a German operetta, Bastien und Bastienne, and an Italian opera buffa, La finta semplice" ("Mozart, Wolfgang Amadeus"). This is one of the things that has added to his fame and popularity, and has made him such a legend. He was a great composer, and began at a very young age."
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