在莫扎特的众多歌剧中，《魔笛》可以称作是最杰出的一部，不仅仅因为音乐动听，更因为它是这位天才音乐家的最后一部歌剧。此书意在是让我国的读者能读到一本看得懂的歌剧《魔笛》，在尊重原著的基础上，对原著中的音乐未有删节，并加入了相关解释说明。歌剧是一门综合的艺术，综合了包括舞蹈、戏剧、对白等多种表现形式。本书首先从科普的立场出发，特别插入了帮助读者理解剧情的图片，生动丰富且一目了然。又特别针对读者对歌剧理解难、阅读难的特点，加入了对应的词、句解释。莫扎特的这部《魔笛》中，道白起到至关重要的作用，把整部歌剧用对白紧密的联系在一起。大部分读者就算可以理解咏叹调的大意，也很难理解歌剧中的每一句对白，这也是歌剧之所以曲高和寡的一个重要原因。针对此问题，本书特别在尊重原著的基础上，把对白编译成中文，使读者能够更好的贯穿理解整部歌剧。又特别加入了作者对本部歌剧的演唱心得，希望能帮助正在学习歌剧的读者。

"Words About Mozart" is published as a tribute to the late Stanley Sadie, musicologist, critic and editor of "The New Grove Dictionary of Music and Musicians". Of the eleven essays presented here, three focus on compositional matters: Julian Rushton examines the dramatic meaning of a recurring motif in Idomeneo; Elaine Sisman sifts through the facts surrounding the genesis of Mozart's 'Haydn' quartets; and Simon Keefe matches up pairs of piano sonatas and concertos on the basis of their common compositional features. Cliff Eisen considers some problems of performing practice posed by the solo keyboard parts in Mozart's concertos, and Robert Philip surveys tempo fluctuations in a selection of historical recordings. Felicity Baker's detailed analysis of aspects of the Don Giovanni libretto is a welcome contribution from the field of literary criticism. Three studies offer new archival research: Neal Zaslaw uncovers the background to one of Mozart's nonsense compositions; Dorothea Link examines the Viennese Hofkapelle and creates a new context for understanding Mozart's court appointment; and Theodore Albrecht proposes a candidate for Mozart's Zauberflotist. Christina Bashford considers an aspect of Mozart reception in 19th-century England connected with John Ella, and Peter Branscombe presents a comprehensive overview of research published since the bicentenary in 1991. The volume includes a full bibliography of Stanley Sadie's publications and broadcasts. Contributors are: Theodore Albrecht, Felicity Baker, Christina Bashford, Peter Branscombe, Cliff Eisen, Simon P. Keefe, Leanne Langley, Dorothea Link, Andrew Porter, Robert Philip, Julian Rushton, Elaine Sisman, and Neal Zaslaw.

Mozart's 1787 masterpiece, Don Giovanni is considered by many to be his greatest opera. It is among the most often performed operas the world over, essential to the repertoire of every singer. This complete vocal score is ideal for rehearsals, study and concert performances. It is the lowest-priced vocal score edition now available. Features theItalian text.

Mozart’s beloved comic romp, reprinted from a late (C. F. Peters, 1941) but beautifully engraved and highly regarded edition that preserves Mozart’s autograph manuscript and early translations of the libretto, and includes passages that are often cut in other editions.

This work presents a selection of Mozart's letters, translated into English, complete with notes, linking commentary and chronology.

Since the bicentennial of Mozart's death in 1991, the principal concern of much Mozart research has been to situate the composer and his music in increasingly well informed biographical, historical, critical and analytical contexts. The contributors to Mozart Studies share this desire to paint ever-more rounded, focused and sensitive pictures of the composer by drawing upon wide-ranging historical materials and critical tools, and to project scholarly understandings considerably beyond the narrow frames of reference that traditionally characterised Mozart research. While chapters are grouped according to the principal areas and topics covered, it is intended that other thematic links between chapters will also emerge, drawing scholars' attention to areas primed for future investigation. In the best traditions of Mozart research, it is hoped that these essays will collectively affirm the vitality of Mozart scholarship and the significant role that this scholarship continues to play in defining and re-defining musicological priorities.

The stylistic evolution of Mozart's Viennese instrumental repertory as a whole (1781-1791), closely tied to historical and contextual lines of enquiry, has yet to receive systematic attention. This book fills the gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart's works and lead to stylistic re-formulation. Re-invention comprises a two-stage process: Mozart manipulates pre-existent stylistic features of his music to climactic effect, in so doing introducing a demonstrably 'new' stylistic dimension with broad aesthetic resonance; he subsequently re-appraises his style in response to the dimension in question. From close examination of a variety of Mozart's works (piano concertos, string quartets and symphonies in particular), supported by study of Mozart's other chamber and dramatic works, the author shows that stylistic re-invention is a consistent and coherent manifestation of stylistic development. Ultimately re-invention puts centre stage the interaction of intellectual and imaginative elements of Mozart's musical personality, accounting both for processes of reflection and re-appraisal and for striking conceptual leaps. SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.

Published to coincide with the 200th anniversary of Mozart's death in 1791, this book is designed to be a guide to the composer's works and is aimed at the music-lover who wishes to read something informative about any particular piece. Although there are many books which deal with the handful of famous operas, symphonies, concertos, or string quartets upon which Mozart's reputation rests, this collection contains in a single volume details about any work composed by Mozart and where, when and why he wrote it, what it is like, and what special significance it may have.

It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buoyant and ever-renewable effects? In "Mozart's Grace", Scott Burnham probes a treasury of passages from many different genres of Mozart's music, listening always for the qualities of Mozartean beauty: beauty held in suspension; beauty placed in motion; beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent; and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart's music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart's music, presented in a way that will speak to musicians and music lovers alike.

Mozart's enduring popularity, among music lovers as a composer and among music historians as a subject for continued study, lies at the heart of The Cambridge Mozart Encyclopedia. This reference book functions both as a starting point for information on specific works, people, places and concepts as well as a summation of current thinking about Mozart. The extended articles on genres reflect the latest in scholarship and new ways of thinking about the works while the articles on people and places provide historical framework, as well as interpretation.

Mozart's piano sonatas form a richly diverse and significant part of his instrumental output, and span much of his mature composing career, thereby representing a microcosm of the composer's changing style. Part I examines the contexts in which the sonatas were composed and performed, and reviews likely sources of influence. Part II concentrates on the genesis of the sonatas and the surviving autographs, which reveal important information about Mozart's compositional process. In Part III the music is studied from the standpoint of rhetoric - a discipline featured in numerous contemporary aesthetic and theoretical textbooks on music - and proceeds through an investigation of the nature of the musical ideas, followed by a discussion of formal design and finally a consideration of the style. The resulting picture affords a cross-section of Mozart's compositional strategies.

Beethoven biographer Solomon here presents a revisionist biography of Mozart, which his publisher claims is the first full-scale biography in nearly 40 years. Certainly it is a major work in terms of heft and range. Solomon will have none of the "divine child" approach, limning instead a man growing up under the shadow of an impossibly demanding father who was at once overprotective and jealous of his son's vast gifts. There is a great deal of psychological probing into the agonies of their relationship, much of it sensible; and Solomon paints an indelible portrait of Mozart's last years, begging for money, guilty about his deprived wife Constanze, resentful of being virtually cut out of his father's will, yet still heroically forging a new musical aesthetic. He also clears up much of the mystery about the bizarre Requiem commission, and the burial in the "pauper's grave." He is convinced that Mozart and his cousin "the Basle," recipient of many of the infamous smutty letters, were lovers for a time; and the portrait of the composer that emerges is of an extraordinarily sensitive, liberal-minded (the Masonic material is superb), extravagant but responsible person who has been much belittled by biographers beginning almost immediately after his death. Solomon also writes acutely about what was daringly new, and wonderfully enduring, about Mozart's music. Only a certain lack of flow between the chapters suggests the origin of much of this material in lectures. Illustrations. BOMC selection.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

This is a comprehensive overview of current research and music therapy practice for young children with autism spectrum disorders (ASD) and their families. Music therapy interventions based on ASD-specific treatment approaches including Applied Behavior Analysis (ABA), Social Stories[trademark], Nordoff-Robbins Music Therapy and DIR[registered]/Floortime[trademark] Model are introduced, along with instructional strategies and techniques. The book discusses collaboration and consultation with interdisciplinary team members, including early childhood educators, speech-language pathologists and occupational therapists. There is an evaluation of family-centered practice, how to integrate music into home routines and insights from music therapists who are parents of children with ASD. Case scenarios, examples, checklists, charts, tip sheets, music scores and further resources are included. Throughout the book's sixteen chapters, renowned experts share knowledge and practical applications that will enable music therapists, students, professionals, educators, families and anyone interested in working with young children with ASD, to implement effective music therapy practices.

Extending the inquiry of his early groundbreaking books, Christopher Small strikes at the heart of traditional studies of Western music by asserting that music is not a thing, but rather an activity. In this new book, Small outlines a theory of what he terms "musicking," a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower. Using Gregory Bateson's philosophy of mind and a Geertzian thick description of a typical concert in a typical symphony hall, Small demonstrates how musicking forms a ritual through which all the participants explore and celebrate the relationships that constitute their social identity. This engaging and deftly written trip through the concert hall will have readers rethinking every aspect of their musical worlds.

Why do human beings make music? No human society has ever existed without music, and people all around the world commit considerable resources, including time, effort, and ingenuity, to musical participation and consumption. Yet until recently archaeology has had little to say about the possible role of music in human evolution. This book examines the potential role of musicality in human evolution and its consequences for human culture. Drawing on a growing body of research in archaeology, anthropology, psychology, and musicology, it illustrates the inter-disciplinary necessity of accounting for the phenomenon of human music-making. Through twelve articles, the contributors to his volume build on Charles Darwin's speculation that human language may have had its origins in forms of vocal communication closer to the condition of music. Music and language are both acquired by individuals, and thus transmitted over the generations as a consequence of an evolved biology specially adapted for these purposes. The authors of this book seek to illuminate the debate surrounding the precedence of musicality over language in research influenced by Darwin's proposal, critically examining the controversial philosophical, developmental, and inter-cultural issues implied. The accompanying CD provides some glimpses of the practice of music in a variety of cultures and illustrates ways of listening to the human voice that reveal its intrinsic musicality.

The social contexts in which people create, perform, perceive, understand and react to music have been neglected by psychologists. This book provides an authoritative, up to date and comprehensive guide to the social psychology of music. It represents the first attempt to define the field since Farnsworth's book of the same title published in 1969, including the new areas of medicine, marketing, and education in which the social psychology of music has direct applications in the real world. After an opening review chapter, the remaining 14 chapters are divided into six sections; individual differences; social groups and situations; social and cultural influences; developmental issues; musicianship; real world applications. Several of these chapters are ground-breaking reviews published for the first time. Aside form psychologists and music educators, The social psychology of music will appeal to musicians, communications researchers, broadcasters, and commercial companies.