{"id":{"repo_id":"whiterose","oai_identifier":"oai:etheses.whiterose.ac.uk:279"},"canonical_url":"https://search.dev.ndltd.org/etd/whiterose/oai:etheses.whiterose.ac.uk:279","repository":{"repo_id":"whiterose","name":"White Rose University Consortium","base_url":"https://etheses.whiterose.ac.uk/cgi/oai2"},"display":{"title":"Aspects of Mozart's music in G minor : towards the identification of common structural and compositional features","abstract":"The critical literature on composers and their work is often distinguished by as much unsupported speculation as fact - Mozart is no exception to this and it is particularly in the realm of the significance and influence of key in his work that such a tradition of writing has evolved. The key of G minor has received most attention in this respect. However interesting, subjective interpretation ultimately reveals more about the speculator than the object of speculation; and although usually ventured sincerely it is, in terms of the music itself, of little value from an epistemological standpoint. This study attempts to consider musical aspects of Mozart's G minor, and aims to counter, or at least balance, the subjective interpretations which have obscured this repertory by adopting a more objective and empirical viewpoint. To this end, the G minor music will be studied in terms of several structural and compositional features common to a representative number of pieces - These include the Piano Quartet K. 478, the String Quintet K. 516 and the Symphony K-550, a number of operatic arias, and lesser-known works and movements in G minor. The inquiry is conducted within the general theoretical framework of Schenker's analytical methods. With respect to certain of these characteristics, a provisional evaluation of their predominance or exclusivity is attempted on the basis of comparisons with a representative group of movements in other minor keys. It is concluded that in his last decade Mozart was moving toward a limited, although increasing, stylistic definition of G minor.","abstract_html":"The critical literature on composers and their work is often distinguished by as much unsupported speculation as fact - Mozart is no exception to this and it is particularly in the realm of the significance and influence of key in his work that such a tradition of writing has evolved. The key of G minor has received most attention in this respect. However interesting, subjective interpretation ultimately reveals more about the speculator than the object of speculation; and although usually ventured sincerely it is, in terms of the music itself, of little value from an epistemological standpoint. This study attempts to consider musical aspects of Mozart's G minor, and aims to counter, or at least balance, the subjective interpretations which have obscured this repertory by adopting a more objective and empirical viewpoint. To this end, the G minor music will be studied in terms of several structural and compositional features common to a representative number of pieces - These include the Piano Quartet K. 478, the String Quintet K. 516 and the Symphony K-550, a number of operatic arias, and lesser-known works and movements in G minor. The inquiry is conducted within the general theoretical framework of Schenker's analytical methods. With respect to certain of these characteristics, a provisional evaluation of their predominance or exclusivity is attempted on the basis of comparisons with a representative group of movements in other minor keys. It is concluded that in his last decade Mozart was moving toward a limited, although increasing, stylistic definition of G minor.","abstract_has_math":false,"creators":["Jan, Steven Bradley"],"institution":"University of Leeds","degree_name":"Ph.D","degree_level":"doctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1990,"date_issued":"1990","date_published":"1990","updated_at":"2026-07-24T06:02:39Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["uk.bl.ethos.513950"],"render_values":[{"text":"uk.bl.ethos.513950","href":null,"code":true}]}]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Jan, Steven Bradley"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["1990"]},{"key":"dc:date.issued","label":"Date","values":["1990"]},{"key":"dc:publisher.commercial","label":"Dc Publisher Commercial","values":["University of Leeds"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["School of Music (Leeds)"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Leeds"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://etheses.whiterose.ac.uk/id/eprint/279/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["Ph.D"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["uk.bl.ethos.513950"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://etheses.whiterose.ac.uk/id/eprint/279/1/uk_bl_ethos_254655.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The critical literature on composers and their work is often distinguished by as much unsupported speculation as fact - Mozart is no exception to this and it is particularly in the realm of the significance and influence of key in his work that such a tradition of writing has evolved. The key of G minor has received most attention in this respect. However interesting, subjective interpretation ultimately reveals more about the speculator than the object of speculation; and although usually ventured sincerely it is, in terms of the music itself, of little value from an epistemological standpoint. This study attempts to consider musical aspects of Mozart's G minor, and aims to counter, or at least balance, the subjective interpretations which have obscured this repertory by adopting a more objective and empirical viewpoint. To this end, the G minor music will be studied in terms of several structural and compositional features common to a representative number of pieces - These include the Piano Quartet K. 478, the String Quintet K. 516 and the Symphony K-550, a number of operatic arias, and lesser-known works and movements in G minor. The inquiry is conducted within the general theoretical framework of Schenker's analytical methods. With respect to certain of these characteristics, a provisional evaluation of their predominance or exclusivity is attempted on the basis of comparisons with a representative group of movements in other minor keys. It is concluded that in his last decade Mozart was moving toward a limited, although increasing, stylistic definition of G minor."]},{"key":"dc:format","label":"Dc Format","values":["text"]},{"key":"dc:title","label":"Title","values":["Aspects of Mozart's music in G minor : towards the identification of common structural and compositional features"]}]}],"canonical_facts":{"dc:creator":["Jan, Steven Bradley"],"dc:date":["1990"],"dc:date.issued":["1990"],"dc:description.abstract":["The critical literature on composers and their work is often distinguished by as much unsupported speculation as fact - Mozart is no exception to this and it is particularly in the realm of the significance and influence of key in his work that such a tradition of writing has evolved. The key of G minor has received most attention in this respect. However interesting, subjective interpretation ultimately reveals more about the speculator than the object of speculation; and although usually ventured sincerely it is, in terms of the music itself, of little value from an epistemological standpoint. This study attempts to consider musical aspects of Mozart's G minor, and aims to counter, or at least balance, the subjective interpretations which have obscured this repertory by adopting a more objective and empirical viewpoint. To this end, the G minor music will be studied in terms of several structural and compositional features common to a representative number of pieces - These include the Piano Quartet K. 478, the String Quintet K. 516 and the Symphony K-550, a number of operatic arias, and lesser-known works and movements in G minor. The inquiry is conducted within the general theoretical framework of Schenker's analytical methods. With respect to certain of these characteristics, a provisional evaluation of their predominance or exclusivity is attempted on the basis of comparisons with a representative group of movements in other minor keys. It is concluded that in his last decade Mozart was moving toward a limited, although increasing, stylistic definition of G minor."],"dc:format":["text"],"dc:identifier":["uk.bl.ethos.513950"],"dc:identifier.uri":["https://etheses.whiterose.ac.uk/id/eprint/279/1/uk_bl_ethos_254655.pdf"],"dc:publisher.commercial":["University of Leeds"],"dc:publisher.department":["School of Music (Leeds)"],"dc:publisher.institution":["University of Leeds"],"dc:relation.isreferencedby":["https://etheses.whiterose.ac.uk/id/eprint/279/"],"dc:title":["Aspects of Mozart's music in G minor : towards the identification of common structural and compositional features"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["doctoral"],"dc:type.qualificationname":["Ph.D"]},"updated_at":"2026-07-24T06:02:39Z"}