Mozarts musikaliska retorik: en studie av musikaliskt avbildande element i Mozarts operor

Authors

  • Marianne Tråvén Uppsala universitet

DOI:

https://doi.org/10.7557/4.2399

Keywords:

W. A. Mozart, opera, musical rhetoric

Abstract

This article investigates and describes the components of Wolfgang Amadeus Mozart's musical rhetoric as they are visible in his operas from Zaide (1780) to Die Zauberflöte (1791). The relationship between verbal text and musical text is in these operas especially intimate, and Mozart used the musical text to illustrate, paint and comment the verbal text. Mozart's views on the compositional process, visible in his letters, rested on the notion that music should portray the characters, emotional content and action of the play, all within the harmonic laws of the time. To achieve that he used a combination of traditional musical rhetoric figures, conventions understood by his contemporaries, paralinguistic elements such as emotional prosody, and extralinguistic elements such as musical gesture, to portray actions and objects as well as concepts.

Author Biography

Marianne Tråvén, Uppsala universitet

MARIANNE TRÅVÉN (f. 1962) är lektor och studierektor vid Institutionen för musikvetenskap vid Uppsala universitet. Hon disputerade i musikvetenskap 1999 på en avhandling om librettoöversättningens problematik där relationen mellan text och tonsättning i Mozarts Da Ponte-opera Don Giovanni stod i centrum. Marianne är även utbildad sångpedagog och körledare från Universität Mozarteum i Salzburg där hon tog sin Magister der Künste-examen 1997. I sin forskning har hon koncentrerat sig på 1700-talets vokala uttryck och praxis, Mozarts musikaliska tonspråk, den musikaliska retoriken, kastraternas vokala teknik och sociala kontext.

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Published

2011-10-01

Issue

Vol 8 (2011): Tema: Upplysningens scener: Tillägnad Marie-Christine Skuncke

Section

Articles

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