18世紀的音樂美學與17世紀發展的情感理論 (Doctrine of Affect) 具有密不可分的關聯。此理論著重於描述音樂如何產生特定的情感，從而打動聽者的感受。音樂與情感間的連結與主題 (topic) 息息相關。主題理論 (topic theory) 是由倫納德•拉特納 (Leonard Ratner, 1916-2011) 所提出，關注音樂的風格和類型，隨後由其他音樂學家持續發展。透過主題理論可以了解與舞曲風格相關的每個調性、節奏和節拍所衍生的音樂情感與背景故事。
本論文分析擇選於莫札特歌劇中的詠嘆調。莫札特晚年在一些歌劇詠嘆調中偏好使用G小調來形容離別的悲痛之情，而在他的其他作品中，也不難發現G小調的蹤跡。對這些擇選G小調詠嘆調的分析將有助於了解莫札特對於敘事的調性選擇，並更深入地洞察在不同背景和故事下每個詠嘆調的詮釋。

The aesthetics of music in the eighteenth century was related to the “Doctrine of Affects”, which had been developed earlier in the seventeenth century. It focused on how music creates specific emotions, and can eventually move the feeling of the audience. The relation between music and emotion lies in what we called ‘topic’. The very first topic theory was initiated by Leonard Ratner (1916-2011) which focus on style and types of music and was developed by some other music theorists subsequently. Based on these topic theories, the characteristics of each key, rhythm, and tempo in correlation with the dance type that supported the emotion and background story of the music can be known.
In this thesis, some selected arias from Mozart’s operas are analyzed. Mozart in his later years tends to use G minor key in some of his arias to illustrate the grief of parting. G minor key is believed to be a special key to Mozart, as it is also found in many of his works. The analysis of these selected arias in G minor will help to better understand Mozart’s preferences of key related to the story plot and provide deeper insight into the interpretation of each aria with different backgrounds and stories.

BBC Radio. “Mozart’s Mitridate, Re di Ponto”. 2017. Accessed 7 October 2022. https://www.bbc.co.uk/programmes/b08xcndt
Branscombe, Peter, and Thomas Bauman. “Singspiel”. Grove Music Online. 2001. Accessed 12 June 2022. https://doi.org/10.1093/gmo/9781561592630.article.25877
Buch, David J. “THREE POSTHUMOUS REPORTS CONCERNING MOZART IN HIS LATE VIENNESE YEARS”. Eighteenth Century Music 2, no.1 (2005): 125-29. Cambridge University Press: 2005. Accessed 12 June 2022. doi:10.1017/S147857060500028X
Concert Vienna. “The Love Story of Mozart and Constanze”. 2019. Accessed 3 November 2022. https://concert-vienna.com/blogs/viennese-things/the-love-story-of-mozart-and-constanze
Damschroder, David. Harmony in Haydn and Mozart. Cambridge University Press: 2012.
DuBois, Ted Alan. “Characterization of the Keys”. Christian Friedrich Daniel Schubart’s Ideen zu einer Ästhetik der Tonkunst: An Annotated Translation. University of Southern California: 1983.
Eisen, Cliff, and Stanley Sadie. “Mozart, (Johann Chrysostom) Wolfgang Amadeus”. Grove Music Online. Oxford University Press: 2001. Accessed 12 June 2022. https://0-doi.org.opac.lib.ntnu.edu.tw/10.1093/gmo/9781561592630.article.6002278233
Encyclopedia Britannica. “Johann Mattheson”. 2022. Accessed 21 July 2022. https://www.britannica.com/biography/Johann-Mattheson.
Everett, Walter. “Voice Leading, Register, and Self-Discipline in ‘Die Zauberflöte’”. Theory and Practice, 1991, Vol. 16 (1991), pp.103-126. Music Theory Society of New York State: 1991. Accessed 13 June 2022. https://www.jstor.org/stable/41054248
Freyhan, Michael. “Mozart’s Text Setting in the Magic Flute”. Acta Musicologica, 2011, Vol. 83, Fasc.2. International Musicological Society: 2011. Accessed 10 May 2022. https://www.jstor.org/stable/23343869
Galand, Joel. “Topics and Tonal Processes”.  The Oxford Handbook of Topic Theory. 2014. Accessed 21 July 2022. 10.1093/oxfordhb/9780199841578.013.0017
Hatten, Robert. “The Troping of Topics in Mozart’s Instrumental Works”. The Oxford Handbook of Topic Theory (2014). Oxford University Press: 2018. Accessed 12 June 2022. DOI: 10.1093/oxfordhb/9780199841578.013.0020
Hepokoski, James, and Warren Darcy. Elements of Sonata Theory. Oxford University Press: 2006.
Jan, Steven. “The Evolution of a 'Memeplex' in Late Mozart: Replicated Structures in Pamina's 'Ach ich fühl's'”. Journal of the Royal Musical Association, 2003, Vol. 128, No. 1. Taylor & Francis: 2003. Accessed 10 May 2022. https://www.jstor.org/stable/3557464
Landon, H. C. Robbins. “Mozart and Vienna”. Schirmer Books: 1991.
Lowe, Melanie. “Amateur Topical Competencies”. The Oxford Handbook of Topic Theory. 2014. Accessed 21 July 2022. 10.1093/oxfordhb/9780199841578.013.0017
Lutz, Peter. “The online opera guide on “IDOMENEO” by Wolfgang Amadeus Mozart”. Opera Inside. Accessed 7 October 2022. https://opera-inside.com/idomeneo-by-wolfgang-amadeus-mozart-the-opera-guide-and-synopsis/
Mattheson, Johann, and Hans Lenneberg. “Johann Mattheson on Affect and Rhetoric in Music (I)”. Journal of Music Theory, Apr.,1958, Vol.2, No.1, pp.47-84. Duke University Press: 1958. Accessed 21 July 2022. https://www.jstor.org/stable/842930
Mirka, Danuta. “Introduction”. The Oxford Handbook of Topic Theory (2014). Oxford University Press: 2018. Accessed 10 May 2022. DOI: 10.1093/oxfordhb/9780199841578.013.002
Monelle, Raymond. The Musical Topic: Hunt, Military, and Pastoral. Indiana University Press: 2006.
National Public Radio. “Leopold Mozart, Father of a Prodigy”. 2006. Accessed 6 November 2022. https://www.npr.org/2006/01/13/5156496/leopold-mozart-father-of-a-prodigy#
Neilson, Alan. “Teatro alla Scala 2018-19 Review: La Finta Giardiniera”. Opera Wire. 2018. Accessed 7 October 2022. https://operawire.com/la-scala-2018-19-review-la-finta-giardiniera/
Opera-arias.com. “Padre germani addio”. Accessed 13 June 2022. https://www.opera-arias.com/mozart/idomeneo/padre-germani-addio/
–––––. “Traurigkeit ward mir zum Lose”. Accessed 13 June 2022.  https://www.opera-arias.com/mozart/die-entfuhrung-aus-dem-serail/traurigkeit-ward-mir-zum-lose/
 
–––––. “Vorrei punirti in degno”. Accessed 13 June 2022. https://www.opera-arias.com/mozart/la-finta-giardiniera/vorrei-punirti-in-degno/
Opera Online. “Mitridate, re di Ponto”. Accessed 5 October 2022. https://www.opera-online.com/en/items/works/mitridate-re-di-ponto-cigna-santi-mozart-1770
Osborne, Charles. “Mitridate, re di Ponto”. The Opera Lover’s Companion. Yale University Press: 2004.
Oxford Lieder. “Ach ich fühl’s (1791) K620”. 2019. Accessed 10 May 2022. https://www.oxfordlieder.co.uk/song/4764
Oxford Reference. "Siciliano". Accessed 13 June 2022. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100504457
Ratner, Leonard G. “Eighteenth-Century Theories of Musical Period Structure”. The Musical Quarterly, Oct.,1956, Vol.42 no.4, pp.439-454. 1956. Accessed 19 October 2022. https://www.jstor.org/stable/740254
Ratner, Leonard G. “Topics”. Classic Music: Expression, Form, and Style. Schirmer Books: 1980.
Rice, John. “Mozart’s Vienna”. Music in The Eighteenth Century. W.W.Norton & Company: 2013.
Riley, Matthew. “Mozart and the Minor-Key Symphony”. The Viennese Minor-Key Symphony in the Age of Haydn and Mozart. Oxford University Press: 2014.
Rosen, Charles. “Mozart and Idomeneo”. The Classical Style: Haydn, Mozart, Beethoven. W.W.Norton&Company: 1998.
Rushton, Julian. “Entführung aus dem Serail, Die (‘The Abduction from the Seraglio’)”. Grove Music Online. Oxford University Press: 1992. Accessed 21 July 2022. https://doi.org/10.1093/gmo/9781561592630.article.O006411
_____. “Idomeneo, re di Creta (‘Idomeneus, King of Crete’)”. Grove Music Online. Oxford University Press: 1992. Accessed 21 July 2022. https://doi.org/10.1093/gmo/9781561592630.article.O902313
_____. “Mitridate, re di Ponto (‘Mithridates, King of Pontus’)”. Grove Music Online. Oxford University Press: 1992. Accessed 21 July 2022. https://0-doi.org.opac.lib.ntnu.edu.tw/10.1093/gmo/9781561592630.article.6002278233
_____. “Schauspieldirektor, Der (‘The Impresario’)”. Grove Music Online. Oxford University Press: 1992. Accessed 21 July 2022. https://doi.org/10.1093/gmo/9781561592630.article.O005236
_____. “Zaide (Das Serail)”. Grove Music Online. Oxford University Press: 1992. Accessed 6 September 2022. https://doi.org/10.1093/gmo/9781561592630.article.O907801
Schneider, Andrew. “My heart palpitates and grieves”. The LiederNet Archive. 2019. Accessed 13 June 2022. https://www.lieder.net/lieder/get_text.html?TextId=948198
Steblin, Rita. “Johann Mattheson and the Early Eighteenth-Century German Approach to Key Characteristics”. A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. The University of Rochester Press: 2002.
Taruskin, Richard. "Chapter 9 Enlightenment and Reform." Music In The Seventeenth And Eighteenth Centuries. Oxford University Press: 2010. Accessed 30 April 2022. https://0-www.oxfordwesternmusic.com.opac.lib.ntnu.edu.tw/view/Volume2/actrade-9780195384826-div1-09005.xml
Teatro Colon. “La Finta Giardiniera”. 2021. Accessed 7 October 2022. https://teatrocolon.org.ar/en/season-2021/opera/produccion/la-finta-giardiniera#:~:text=La%20Finta%20Giardiniera%20presents%20the,the%20order%20of%20the%20day.
The Aria Database. “O zitt're nicht...Zum Leiden bin ich auserkoren”. Accessed 13 June 2022. http://www.aria-database.com/search.php?individualAria=193
–––––. “Padre, germani, addio”. Accessed 13 June 2022. http://www.aria-database.com/search.php?individualAria=131
–––––. “Welcher Wechsel herrscht...Traurigkeit ward mir zum Loose”. Accessed 13 June 2022. http://www.aria-database.com/search.php?individualAria=280
Tyler, Linda. “’Zaide’ in the Development of Mozart’s Operatic Language”. Music & Letters, May 1991, Vol.72 no.2 pp.214-235. Oxford University Press: 1991. Accessed 6 September 2022. https://www.jstor.org/stable/735704