W. A. Mozart first movement piano sonata kv 310 in a minor
DOI:
https://doi.org/10.17230/ricercare.2014.2.3Keywords:
18th century, Rhetoric, Piano Sonata KV 310 in A minor.Abstract
A comprehensive approximation from the standpoint of rhetorical figures Abstract: The purpose of this work is to establish an approximation from the standpoint of rhetoric and its figures to the piano sonata KV 310 in A minor, which offers an amount of expressive resources comprehensible from the oratory, that makes it feasible the musical understanding with a more intimate and personal perspective. Rhetoric, as the art of persuasion, accomplishes a connection between written music and affectivity, as well as in the musician performer and the listener.
Downloads
References
Bartel, D. (1997). Musica poetica: musical rhetorical figures in German baroque music. Lincoln, Nebraska: University of Nebraska Press.
Beghin, T., y Goldberg, S. M. (2007). Haydn and the performance of rhetoric. Chicago: The University of Chicago Press.
Downs, P. G. (1992). Classical music: the era of Haydn, Mozart and Beethoven. Nueva York: W. W. Norton and Company.
Hazelton Haight, E. (1952). Horace on art: ut pictura poesis. The Classical Journal, 47(5), 157-162 y 201-202. Recuperado el 6 de julio del año 2012, de: http://www.jstor.org/stable/3293313
Herrick, J. A. (2008). The history and theory of rhetoric: an introduction. Boston, Massachusetts: Pearson / Allyn & Bacon.
Irving, J. (1997). Mozart’s piano sonatas – Contexts, sources and style. Cambridge, Massachusetts: Cambridge University Press.
Israel, J. (2006). Enlightenment, which enlightenment?. Journal of the History of Ideas, 67(3), 523-545. Recuperado el 20 de junio del año 2012, de: http://www.jstor.org/stable/30141040
Kamien, R. (1976). Music and appreciation, 2ª ed. Nueva York: McGraw-Hill.
Richards, J. (2008). Rhetoric – The new critical idiom. London and New York: Routledge.
Rosemblum, S. P. (1989). Performance practices in classic piano music. Bloomington, Indiana: Indiana University Press.
Rosen, C. (1972). The classical style: Haydn, Mozart and Beethoven. Nueva York: W. W. Norton and Company.
Sheldon, D. A. (1979), The Kantian synthesis and sonata form. The Journal of Aesthetics and Art Criticism, 37(4), 455-465. Recuperado el 15 de junio del año 2012, de: http://www.jstor.org/stable/430689
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
