張璿 Hsuan Chang Kitano
Indiana University Jacobs School of Music, Lecturer

題目：Improvisation of Mozart’s Keyboard Music

 

The written-out improvisatory gestures (which suggest written-out Eingänge) in Mozart’s piano sonatas—where the retransition and connective elaboration lead from the end of the development section in sonata form, or before the last theme returns in a rondo to a dominant preparation that sets up the reappearance of the tonic refrain—provide perfect evidence of the stylish grace, emphasis, and persuasiveness that these gestures can impart. This article explores spontaneously connective figurations in retransition of Mozart’s piano sonatas, which serve as a guide to his improvisatory style in his Eingänge and cadenzas. 

The topical of description stemming from the work of Rosen’s and analysis style is based on Hepokoski and Darcy’s definition in their Sonata Theory. Supported by expression from the art and description of act-plan from drama, the resulting schematic plans are: basic energy-gained and loss two-part plan, a three-section plan which contains middle development, and a five-act structure/fantasia plan.

My principal goal is to give readers the tools to understand the characteristic figurations and elements that are featured in his written-out music examples and developing schematic formula for a desired to be improviser to comprehend and practice; at the same time provides an imagination to stimulate all sorts of inadvertent and control grabs for each performer who is eager to improvise to find a way creating their own silos.

Aspects including figured bass exercise, eighteenth-century decorative art, and artists’ reactions to the social milieu, philosophies, and expressions popular in that time will be address.

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