Original sentence: As composers, Beethoven and Mozart were not distinguished so much by altering the established modulatory and melodic vocabularies, but by molding these vocabularies into a personal signature that left the established structures largely intact.As dance, for example, became more generalized in form, improvisation lost a great deal of its individuality with respect to form, placing more of the task of differentiation on the interpreters.Beethoven played variations on this aria during one of his concerts in Prague in the late 1790s, (possibly at the famous 'Konvikt' residence which is today a bar on the ground floor).Since the 1950s, contemporary composers have placed fewer restrictions on the improvising performer, using techniques such as vague notation (for example, indicating only that a certain number of notes must sound within a defined period of time).The exhaustiveness of theory and technique in the mid-Romantic period, moreover, also gave rise to skepticism about the spirituality of music, issues faced by Wagner (see modernism and existentialism)
Edited sentence: As composers Beethoven and Mozart were not distinguished so much by altering the established modulatory and melodic vocabularies, but by molding these vocabularies into a personal signature that left the established structures largely intact.As dance, for example, became more generalized in form, improvisation lost a great deal of its individuality with respect to form, placing more of the task of differentiation on the solo interpreter himself.Beethoven played variations on this aria during one of his concerts in Prague in the late 1790's, (possibly at the famous 'Konvikt' residence which is today a bar on the ground floor).Since the 1950s, contemporary composers have placed fewer restrictions on the improvising performer,  using techniques such as vague notation (for example, indicating only that a certain number of notes must sound within a defined period of time).Such issues of musical form are dealt with at length by Adorno in his 1970 treatise, most recently translated into English by Robert Hullot-Kentor as Aesthetic Theory.The exhaustiveness of theory and technique, in the mid-Romantic period, moreover, also gave rise to skepticism about the spirituality of music, issues faced by Wagner (see modernism and existentialism).This is considered the definitive text for questions of anachronism, modernism and form in art and music