The plan was to rapidly go through her discography. Well, that got derailed by the second album. In particular, the tracks Emotions and You're So Cold. Somewhere in that group of songwriters, is one who had some exposure to the likes of music from the times of Mozart and Beethoven because two of the songs certainly have the "flow" of music not quite in the then-present.
I only just re-listened to the first album in full. Really striking how a different collaborating songwriter can change "cadence" of the songs.
You're So Cold develops no different than the opening of many Adagio-Allegros present in the music of the 18th century. Just that the stylistic signature differs due to the upbringing and environment of the songwriters. Rather than pleasing the ears of learned nobles, the style of gospel is featured in the slow opening. But flow of notes is akin to the masters of the past. Then, as the end of the slow opening ends and the fast movement begins, there are a eight measures to acclimate to the faster pace before the melody proper begins. Mozart's Linz Symphony takes 10 measures of a fast introduction, for reference.
Use of the rhythm eighth rest-eighth note-eighth note- eighth note/note on the beat is a prominent feature in the song. And 3:58 ends a section with a long note similar to a trill.
Emotions too, draws loose parallels with the music of the past.
One, it's partially "borrowed" from two sources. "The Best of Love". Just like The Magic Flute overture uses a theme (without permission) from Clementi's Sonata in B-flat, Op. 24 No. 2.
Two, the borrowers songwriting talent shows that even with derivative themes, there are seemingly insignificiant ways to "glue the bars together" so the song flows far better, including a simple rising scale before the "recapitulation.
Three, there is loose semblance in how it initially develops and the final movement of Mozart's K. 333. The main theme, followed by a choppy second transition, then a "moving theme", then back to the main theme.
Four, as master, most others will find the song impossible to perform with their own voice.
I call the "The Confluence" because it is evident many styles were internalized by her and she knows how to implment the notes into her song. Emotions is not just a reach back to disco, it's also a reach into opera and subtle lyrical techniques.
I don't sing; I only played piano, so I am quite blind to the difficulty of singer doing what they do. But the little bit of learning on the piano and listening to one too many Mozart recordings has made sensitized to all his tricks of his.