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Allanbrook's discussion is by no means limited to matters of rhythm; she also employs more traditional methods of harmonic, motivic, formal, and linear analysis. . . . In its flexibility of approach and its concern for ethical and spiritual matters, the book is a model of critical analysis at its most humane. It represents, in fact, a wonderful antidote to the arid, technical analytic writing that sometimes prevails in such studies. . . . As Allanbrook shows, a grasp of the topical vocabulary in this music can lead to a variety of new insights into its expressive message. -- Journal of Musicology Allanbrook's erudite study of eighteenth-century dances and their rhythms in these two operas is marvelous scholarship. -- Opera Journal Enormously stimulating. . . . Anyone working through these often multileveled interpretations will gain an enhanced sensitivity to Mozart's rhythmic techniques and an expanded comprehension of the means by which he fused drama and music. -- Journal of the American Musicological Society Novel in approach, finely organized, and beautifully written. -- Choice Rhythmic Gesture in Mozart enriches at least three fields: the history and criticism of dance, the Classic Period, and Mozart studies. . . . A splendid, self-contained achievement which, in its blend of disciplines and its creative interpretations of analytical observations, represents writing about music at its best. -- Eighteenth-Century Studies

Allanbrook's erudite study of eighteenth-century dances and their rhythms in these two operas is marvelous scholarship. --Opera Journal Novel in approach, finely organized, and beautifully written. --Choice Allanbrook's discussion is by no means limited to matters of rhythm; she also employs more traditional methods of harmonic, motivic, formal, and linear analysis. . . . In its flexibility of approach and its concern for ethical and spiritual matters, the book is a model of critical analysis at its most humane. It represents, in fact, a wonderful antidote to the arid, technical analytic writing that sometimes prevails in such studies. . . . As Allanbrook shows, a grasp of the topical vocabulary in this music can lead to a variety of new insights into its expressive message. --Journal of Musicology Enormously stimulating. . . . Anyone working through these often multileveled interpretations will gain an enhanced sensitivity to Mozart's rhythmic techniques and an expanded comprehension of the means by which he fused drama and music. --Journal of the American Musicological Society Rhythmic Gesture in Mozart enriches at least three fields: the history and criticism of dance, the Classic Period, and Mozart studies. . . . A splendid, self-contained achievement which, in its blend of disciplines and its creative interpretations of analytical observations, represents writing about music at its best. --Eighteenth-Century Studies

Novel in approach, finely organized, and beautifully written. --Choice Allanbrook's discussion is by no means limited to matters of rhythm; she also employs more traditional methods of harmonic, motivic, formal, and linear analysis. . . . In its flexibility of approach and its concern for ethical and spiritual matters, the book is a model of critical analysis at its most humane. It represents, in fact, a wonderful antidote to the arid, technical analytic writing that sometimes prevails in such studies. . . . As Allanbrook shows, a grasp of the topical vocabulary in this music can lead to a variety of new insights into its expressive message. --Journal of Musicology Enormously stimulating. . . . Anyone working through these often multileveled interpretations will gain an enhanced sensitivity to Mozart's rhythmic techniques and an expanded comprehension of the means by which he fused drama and music. --Journal of the American Musicological Society Allanbrook's erudite study of eighteenth-century dances and their rhythms in these two operas is marvelous scholarship. --Opera Journal Rhythmic Gesture in Mozart enriches at least three fields: the history and criticism of dance, the Classic Period, and Mozart studies. . . . A splendid, self-contained achievement which, in its blend of disciplines and its creative interpretations of analytical observations, represents writing about music at its best. --Eighteenth-Century Studies

Author Information

Wye Jamison Allanbrook (1943-2010) was professor of music at the University of California, Berkeley, and the author of The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music.

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