Date of Graduation


Document Type


Degree Type



College of Creative Arts


School of Music

Committee Chair

Peter Amstutz

Committee Co-Chair

Cynthia Anderson

Committee Member

John Goldwasser

Committee Member

James Miltenberger

Committee Member

Travis Stimeling


The purpose of this paper is to examine the history and background of several keyboard works by Wolfgang Amadeus Mozart (1756--1791) and to consider how that research influences interpretation and shapes performance practice, with special attention to the composition of stylistically appropriate and historically informed cadenzas.;First in the paper, I talk about some aspects of performance practice including tempo, pedaling, articulation, and differences between Mozart's piano and modern pianos. Next, I discuss the importance of theoretical analysis and researching biographical events in a composer's life to know historical context of a piece. Ultimately, opportunities that are not notated in the score for improvisation and ornamentation, specifically in the concertos, are discussed. This includes an examination of cadenzas written not only by Mozart, but also by other composers, and consummately, a submission of two original cadenzas as well as lead-ins for the C Major concerto, K. 467.;Mozart's music demands careful consideration and sufficient research in order to understand the intricacies and nuances that are so characteristic to his pieces. The performance of his works for keyboard requires thorough assessment of technical demands, theoretical concepts, historical context, and aesthetic quality, to determine the most historically appropriate approach to performance practice. Many pieces are explored, with special attention to the following four pieces: Sonata in A minor, K. 310; Rondo in A minor, K. 511; Concerto in C major, K. 467; and Concerto in E-flat major, K. 482.