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・ Georg Løkkeberg
・ Georg M. Grossman
・ Georg Mader
・ Georg Magnus Sprengtporten
・ Georg Major
・ Georg Malmstén
・ Georg Marcgrave
・ Georg Marchl
・ Georg Marco
・ Georg Margreitter
・ Georg Maria Stenz
・ Georg Marischka
・ Georg Marschalk von Ebnet
・ Georg Martin Preisler
・ Georg Martin Schädlich
Georg Matthias Monn
・ Georg Matthias von Martens
・ Georg Matthäus Vischer
・ Georg Mattli
・ Georg Maurer
・ Georg Mayer-Marton
・ Georg Mayr
・ Georg Mehlis
・ Georg Meier
・ Georg Meier (chess player)
・ Georg Meiring
・ Georg Meissner
・ Georg Meistermann
・ Georg Melchior Kraus
・ Georg Mengel


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Georg Matthias Monn : ウィキペディア英語版
Georg Matthias Monn
Georg Matthias Monn (born ''Johann Georg Mann'' April 9, 1717, Vienna – October 3, 1750, Vienna) was an Austrian composer, organist and music teacher whose works were fashioned in the transition from the Baroque to Classical period in music.
Together with Georg Christoph Wagenseil and Josef Starzer, Monn formed the Viennese Pre-Classical movement (''Wiener Vorklassik''), whose composers are nowadays mostly known only by their names. However, his successful introduction of the secondary theme in the symphony was an important condition for the First Viennese School that would come some fifty years later.
==Life==
We know much less about Monn's life than about his musical ideas. Only his appointments as an organist are known, at first in Klosterneuburg near Vienna. Afterwards, he was appointed in the same position at Melk in Lower Austria and at the Karlskirche in Vienna's Wieden district. He died of tuberculosis aged 33.
His brother, Johann Christoph Mann (never ''Monn'', 1726?-82), was also a composer whose works have sometimes been confused with Monns'. The reason for this is that most of Monn's compositions only survive in copies from the 1780s and could therefore also be the works of his younger brother. There is no absolute proof that the Johann Georg Mann is the same person as the ''Georg Matthias Monn'' who died in 1750. His role as pioneer of the symphony is a scholarly image, coined in the early 20th century, and could need some basic musicological reevaluation.

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