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Journal articles on the topic 'Arranged Violoncello with orchestra'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

А.С., Текучева. "«Большие скрипки» в партитурах И. С. Баха: Violoncello, Violoncello piccolo, Violone". Научный вестник Московской консерватории 15, № 3(58) (2024): 418–41. https://doi.org/10.26176/mosconsv.2024.58.3.04.

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Вопреки устоявшимся представлениям, в эпоху барокко существовало множество разновидностей басовых струнных инструментов. Тенденция к стандар- тизации, наблюдавшаяся с середины XVIII столетия, привела к тому, что из большого количества равноправных вариантов выделилось два основных, которые вошли в со- став классического оркестра. Остальные, оставшись в тени, надолго ушли в историю. Тем не менее, старинные словари предлагают многочисленные, не обходящиеся без путаницы названия и описания струнных басов, которые принадлежали скрипич- ному либо виольному семейству, имели разные размеры и количест

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2

Grayson, David A. "Mozart's Haffner and Linz Symphonies Arranged for Pianoforte, Flute, Violin, and Violoncello, and: Twelve Select Overtures Arranged for Pianoforte, Flute, Violin, and Violoncello (review)." Notes 61, no. 4 (2005): 1103–6. http://dx.doi.org/10.1353/not.2005.0060.

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3

Yulfita, Ade Febri, and Asril Asril. "Hibridisasi pada Musik Keroncong dalam Lagu Bugih Lamo oleh Grup Orkes Keroncong Buana Lestari Sawahlunto." Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik 3, no. 2 (2023): 61–72. http://dx.doi.org/10.30872/mebang.v3i2.88.

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Minang pop song Bugih Lamo was composed by Syahrul Tarun Yusuf and arranged by the Buana Lestari Keroncong orchestra to become keroncong music. Bugih Lamo songs are already in the form of hybrid music between local and global cultures. The original musical arrangement uses modern musical instruments and uses diatonic tones. Keroncong music is also a hybrid music, so the two musical genres have adapted music globally following the western diatonic scale. The concept of the musical arrangement performed by the Buana Lestari Keroncong Orchestra in the Bugih Lamo song in the form of keroncong, by

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Febri Yulfita, Ade, and Asril Asril. "Hibridisasi pada Musik Keroncong dalam Lagu Bugih Lamo oleh Grup Orkes Keroncong Buana Lestari Sawahlunto." ULIL ALBAB : Jurnal Ilmiah Multidisiplin 2, no. 10 (2023): 4986–98. https://doi.org/10.56799/jim.v2i10.2274.

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Minang pop song Bugih Lamo was composed by Syahrul Tarun Yusuf and arranged by the Buana Lestari Keroncong orchestra to become keroncong music. Bugih Lamo songs are already in the form of hybrid music between local and global cultures. The original musical arrangement uses modern musical instruments and uses diatonic tones. Keroncong music is also a hybrid music, so the two musical genres have adapted music globally following the western diatonic scale. The concept of the musical arrangement performed by the Buana Lestari Keroncong Orchestra in the Bugih Lamo song in the form of keroncong, by

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5

Mary I. Arlin. "Cultivating the Seed: The Compositional History of the Solo ’Cello Part in Chou Wen-chung's Concerto for Violoncello and Orchestra." Indiana Theory Review 33, no. 1-2 (2017): 77. http://dx.doi.org/10.2979/inditheorevi.33.1-2.04.

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Ehlová, Hana. "Smetana’s Prague Carnival Arranged by Václav Talich." Musicalia 16, no. 1-2 (2024): 81–109. http://dx.doi.org/10.37520/muscz.2024.003.

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From the very beginning, Smetana’s last completed orchestral composition Prague Carnival was misunderstood as being evidence of the decline of the composer’s creative powers. Although this opinion was gradually changing, thanks in particular to the efforts of Josef Theurer from the end of the 1890s, the work rarely appeared on concert stages, and when it did, it was almost always in an arrangement by Karel Kovařovic. As is shown by the random discovery of a copy of the score of Prague Carnival in the archive of Czech Radio, besides Kovařovic’s revisions, there were also significant changes mad

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7

Schaarwächter, Jürgen. "Edward Elgar: Konzert in e für Violoncello und Orchester op. 85. Urtext / Edward Elgar: Concerto for Violoncello and Orchestra in E minor op. 85. Royal College of Music London MS 402. Facsimile." Die Musikforschung 62, no. 2 (2025): 201–2. https://doi.org/10.52412/mf.2009.h2.4377.

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8

Andriy, Strilets. "The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 216–38. http://dx.doi.org/10.34064/khnum1-60.12.

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Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the stu

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Cury, Maria Zilda Ferreira, and Guilherme Augusto Lopes de Souza. "Entre modulações musicais e literárias: O inverno e depois, de Luiz Antonio de Assis Brasil." Navegações 11, no. 1 (2018): 3. http://dx.doi.org/10.15448/1983-4276.2018.1.33012.

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O inverno e depois, romance de Luiz Antonio de Assis Brasil, exibe uma articulada reflexão acerca da música clássica e da vida de artista, assim como os desafios dos musicistas de traduzir, por meio de sua arte, os sentimentos que as palavras não expressam. À vista disso, pretende-se fazer uma leitura do romance a partir das teorias dos estudos músico-literários, evidenciando as influências do Concerto para violoncelo e orquestra, de Antonín Dvořák – peça chave do romance – na narrativa de Assis Brasil, tanto no plano estrutural, como no plano de seu conteúdo. *** Between literary and musical

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Prouty, Kenneth E. "An Analysis of "One Day, Forever," as Arranged by Benny Golson for Orchestra and Voice." International Jazz Archive Journal 02, no. 2 (1999): 114–32. http://dx.doi.org/10.2307/44747484.

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Rakochi, Vadym. "The instrumental concerto: classification ISSUES." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 7–35. http://dx.doi.org/10.34064/khnum1-60.01.

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Statement of the problem. The question of classification of instrumental concertos is considered in the paper. It is emphasized that the problem still remains one of the most controversial in musicology. It was noted that there were many attempts to classify the concertos but they are incomplete due to some factors. The main obstacle is a particular flexibility of the concerto resulting in many forms, structures, and forms of performance. In case when a researcher focuses on the analysis of certain characteristics of concertos (cadence, musical form, interpretation of the soloist’s part, conce

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Stepanova, Anna. "Modern brass band: its components and activities." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2022, no. 1 (138) (2022): 37–42. http://dx.doi.org/10.24195/2617-6688-2022-1-5.

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The article covers the modern composition of a brass band, the main musical instruments that make up performing groups; the features of sound, range, tessitura of traditional musical instruments. Attention is also paid to the peculiarities of brass band leadership and professional skills of the conductor. One of the main differences of a brass band is the possibility of its use outdoors. Its powerful and loud sound does not need to be amplified by various technical devices – microphones, etc. Therefore, this type of performance of wind music is used mainly to accompany the solemn processions o

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Bekenova, A. "N.Karimov's viola transcriptions in the pedagogical repertoire (on the example of the transcription of «Kuy» by M.Sagatov)." Pedagogy and Psychology 47, no. 2 (2021): 256–64. http://dx.doi.org/10.51889/2021-2.2077-6861.30.

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In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited r

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ROSMIATI, ANA, and INDY RAFIA. "BENTUK TATA RUANG PENTAS PANGGUNG PROSCENIUM DI GEDUNG WAYANG ORANG SRIWEDARI SURAKARTA." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 2 (2021): 348. http://dx.doi.org/10.26887/ekspresi.v23i2.1554.

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ABSTRAKPanggung proscenium bisa juga disebut sebagai panggung bingkai karena penonton menyaksikan aksi aktor dalam lakon melalui sebuah bingkai atau lengkung Proscenium (proscenium arch). Tempat duduk penonton diatur untuk memberikan tampilan pertunjukan melalui lengkung proscenium di dinding. Penulis mengkaji bentuk bentuk tata ruang pada panggung procenium di Gedung Wayang Orang Sriwedari Surakarta. Bagian-bagian panggung yang dikaji adalah bingkai proscenium, border, backdrop, lantai panggung, wing, layar, apron, dan orchestra pit. Dalam penelitian ini ditemukan bahwa bentuk tata ruang pang

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Putri, Ana Dilla. "PENERAPAN TEMATIK NYANYIAN MANTAU KE DALAM BENTUK LAGU DUA BAGIAN “MANTAU”." Melayu Arts and Performance Journal 4, no. 1 (2021): 21. http://dx.doi.org/10.26887/mapj.v4i1.1070.

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AbstrakKesenian Mantau merupakan salah satu kesenian tradisi yang tumbuh dan berkembang di daerah Kecamatan Bangko Kabupaten Merangin Provinsi Jambi yang berbentuk nyanyian atau vokal tradisional yang dibawakan oleh satu orang penyanyi. Selain mempunyai vokal yang mempuni, penyanyi Mantau mesti memiliki kemampuan dalam menyampaikan syair-syair lagu yang tersusun dalam bentuk pantun secara spontan sesuai dengan keadaan atau kejadian setempat. Selain itu, terdapat keunikan dalam kesenian Mantau yang mana karakteristik dari melodi Mantau yang cenderung memakai material mixolidya modes dinyanyikan

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Devyataikina, Nina Ivanovna, and Svetlana Aleksandrovna Lyashova. "“Partisan requiem” by H. Sommerro: the peculiarities of interaction between liturgical and author’s verses in the context of the musical drama." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 45–60. http://dx.doi.org/10.7256/2453-613x.2020.6.33160.

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The research object is the sacred music of a well-known Norwegian composer Henning Sommerro (born 1952), one of the bright components of his multifaceted creative work. The present article is the first work within the Russian scientific literature analyzing this aspect through the prism of one of the key works of the composer. The authors are also the first to introduce the complete musical score of the composition into the scientific discourse. Along with the recordings, it helps to understand how the composer manages to successfully combine the liturgical and secular components, the poetical

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Almási, István. "Transylvanian Folk Music in Zoltán Kodály's Compositions." Studia Musicologica 59, no. 1-2 (2018): 55–60. http://dx.doi.org/10.1556/6.2018.59.1-2.4.

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Zoltán Kodály became seriously interested in Transylvanian folk music when he had learnt about the results of Béla Bartók's collecting fieldworks in Székelyföld. The wealth of old-style tunes and classical ballads, and – above all – the recognition of the importance of pentatony inspired Kodály to take part personally in the exploration of Székely folk music. Székely musical folklore obviously intrigued him both as an ethnographer and as a composer. He collected nearly 600 tunes in 15 Székely localities in the Gyergyó Basin, the valley of the Kászon stream, and Bukovina. He arranged 66 of thes

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WILSON KIMBER, MARIAN. "Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus's Advocacy for Women in American Music." Journal of the Society for American Music 12, no. 4 (2018): 477–507. http://dx.doi.org/10.1017/s1752196318000378.

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AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Mia

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Price, Emmett G. "A Brief Analysis of "Roots, Branches, Shapes, and Shades (Of Green)", as Composed and Arranged by Wendell Logan for Piano and Chamber Orchestra." International Jazz Archive Journal 02, no. 3 (2001): 180–279. http://dx.doi.org/10.2307/44758078.

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20

Bielik-Zolotarova, N. "Directions and forms of modern national choral performance." Culture of Ukraine, no. 83 (March 21, 2024): 50–57. http://dx.doi.org/10.31516/2410-5325.083.05.

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The purpose of this paper is to examine the trends and forms of modern national choral performance. The methodology is based on the use of systematic, terminological, ethnographic and interpretive methods of analysis. The results. Choral performance is a component of choral culture, a communicative system formed in the process of building a performing interpretation and its realization. The need to comprehend the directions of modern choral performance with the identification of forms of its existence in society is an urgent task of the national choral science. As a result of the a

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Graubart, Michael. "Erwin Schulhoff, et al. - ‘Lost Generation’. ERWIN SCHULHOFF: Double Concerto for Flute, Piano and String Orchestra with Two Horns, WV 89, op. 63; Sonata for Flute and Piano, WV 86, op. 61; Three Pieces for String Orchestra, WV 5, op. 6. VIKTOR ULLMANN: Chamber Symphony, op. 46a (String Quartet No.3, op. 46) (arranged for string orchestra by Kenneth Woods). VILEM TAUSKY: Coventry – Meditation for String Orchestra. Ulrike Anton (fl), Russell Ryan (pno), English Chamber Orchestra c. David Parry. Exil.Arte Gramola 98964 – LC 20638." Tempo 67, no. 264 (2013): 105–7. http://dx.doi.org/10.1017/s0040298213000375.

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Saylor, Eric. "Edward Elgar, Concerto in E minor for Violoncello and Orchestra op. 85; Urtext edition (2 vols, full score and critical commentary), edited by Jonathan Del Mar (Kassel: Bärenreiter-Verlag, 2005). 116 and 48 pp. £78.50 both vols; £50 and £28.50 separately." Nineteenth-Century Music Review 5, no. 1 (2008): 170–74. http://dx.doi.org/10.1017/s1479409800002792.

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Lochhead, Judith Irene. "Glosse per quartetto d'archi (1997), and: Re-call per 23 strumenti (1995), and: Sequenza XIII (chanson) for accordion, and: 8 romanze per tenore e orchestra (1991), and: Sequenza IXc per clarinetto basso in si[flat], and: Brin pour guitare (1990/1994), and: Folk Songs for Voice and Orchestra (1973), and: Voci (Folk Songs II) per viola sola e due gruppi strumentali (1984), and: Ritorno degli snovidenia: per violoncello e piccola orchestra (1976), and: Psy per contrabbasso solo (1989), and: Sequenza IV for pi." Notes 57, no. 1 (2000): 215–18. http://dx.doi.org/10.1353/not.2000.0037.

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Uhde, Katherina. "Ludwig van Beethoven. Concerto in C major, for Pianoforte, Violin, Violoncello and Orchestra ‘Triple Concerto’, Op. 56. Edited by Jonathan Del Mar. Bärenreiter-Verlag Urtext. Kassel: Bärenreiter-Verlag Karl Vötterle GmbH und Co. KG, 2012. viii, 154 pp., score BA 9027, € 55,00; piano reduction and set of piano, violin, and violoncello parts, 91/44/19/19 pp., BA 9027-90, € 37,95; critical report, 51 pp., BA 9027-40, € 39,95." Nineteenth-Century Music Review 10, no. 1 (2013): 201–6. http://dx.doi.org/10.1017/s1479409813000153.

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Pinc, Zdeněk. "Fenomenologie jako inscenace." Lidé města 8, no. 2/19 (2006): 131–42. https://doi.org/10.14712/12128112.3808.

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The idea of phenomenology as a performance is taken from Bernhard Casper. It implies a strange reality that there is kind of an essential kinship between the discourse of Greek theatre, theatricality in general and philosophical discourse related to the idea of performance. In Greek theatre what is being demonstrated is not shown on the stage but rather on the PROSKÉNION. SKÉNÉ originally means the building from which actors enter the PROSKÉNION, when the roles of the first actor as opposed to the chorus were being separated away. Chorus performs in the orchestra and the entire situation prese

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Kolomiets, G. G., and D. Rasul-Kareyev. "Philosophical Conversations about Music in Simple Language. Pythagoras: the Divine Number and World Musical Harmony." Concept: philosophy, religion, culture 7, no. 2 (2023): 154–67. http://dx.doi.org/10.24833/2541-8831-2023-2-26-154-167.

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The article is written on the basis of a conversation on the philosophy of music by Professor G.G. Kolomiets, author of the book Value of music: philosophical aspect, with a musician from France, Dmitry Rasul-Kareev, Clarinet solo of Orchestra de la Suisse Romande. The dialogue gives a detailed and simple understanding of the philosophical view of music on the example of the ancient philosopher Pythagoras. His cosmological teaching saw the kinship of music, mathematics and philosophy and stated that the divine perception of the world is contained in the divine Number permeating the entire cosm

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Solohub, Victoriia, Svitlana Hrynenko, and Olena Pikhtar. "Interpretation of Gabriel Faure's Pavane: Compositional and Performing Aspects." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 44–52. https://doi.org/10.31866/2616-7581.7.1.2024.303762.

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Modern interpretations of Gabriel Fauré’s <em>Pavane </em>demonstrate the artistic potential of the work. The variety of performances (from large orchestral and choral ensembles to chamber ensembles) shows the wide possibilities of the composition. The composer’s and performer’s versions of B. McFerrin’s compositiona and performing versions reveal a tendency to preserve the author’s text, despite the performance of the main melody by voice. The version for guitar and string quartet arranged by Thomas Koenigs and performed by the Accord Quintet, de

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Conway, Paul. "Hans Gál et al. - HANS GÁL: Symphony No. 4 (Sinfonia concertante), op. 105. SCHUMANN: Symphony No. 2 in C, op.61. Orchestra of the Swan, c. Kenneth Woods. Avie AV2231. - GÁL: Cello Concerto, op. 67. ELGAR: Cello Concerto in E minor, op. 85. Antonio Meneses (vlc), Northern Sinfonia, c. Claudio Cruz. Avie AV2237. - GÁL: Serenade in D, op. 41; Trio in F sharp minor, op. 104. HANS KRÁSA: Tanec (Dance); Passacaglia and Fuga. Ensemble Epomeo. Avie AV2259. - GÁL: Music for Solo Cello – Sonata for Violoncello Solo, op. 109a; Suite for Violoncello Solo, op. 109b; Sonata for Violoncello and Pianoforte, op. 89. Alfia Nakipbekova (vlc), Jakob Fichert (pno). Toccata Classics TOCC 0043." Tempo 67, no. 265 (2013): 101–5. http://dx.doi.org/10.1017/s004029821300065x.

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Kalashnikov, Alexander V. "Stravinsky’s adaptations of the folk motifs in the ballet The Rite of Spring." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 57 (2025): 143–54. https://doi.org/10.17223/22220836/57/12.

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Stravinsky’s The Rite of Spring differs from the types of theatrical art. To some extent, the folk motifs enriched the ballet with historical authenticity. The research will show the succession in the development of Stravinsky’s Russian style period. One of the features of this ballet is the motifs of folk songs. The ballet includes the variations of the Lithuanian wedding songs You are my little sister, When I walked acro.s.s the yard, My old Father and the Russian wedding songs Come oh crony mine, The little duck was bathing in the .sea. The article argues that the adaptations of the folk so

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Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.

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As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it

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Yehorov, Yehor. "Oleksandr Mishchenko’s creative universalism." Aspects of Historical Musicology 35, no. 35 (2024): 100–117. http://dx.doi.org/10.34064/khnum2-35.06.

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Statement of the problem. Creative universalism in various structural manifestations appears as an artistic and philosophical type of thinking, characteristic of a number of prominent Ukrainian musicians of the 20th – early 21st centuries, in particular, representatives of the button accordion art. Among them there is the outstanding Ukrainian button accordionist, the Honored Artist of Ukraine, Professor Oleksandr Volodymyrovych Mishchenko (1956–2018), which realized himself as a performer, a teacher, an arranger, and a musical scientist. Objectives, methods, and novelty of the research. The o

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Milan, Kerry. "The Violinist's Collection, Books 3 & 4 selected and edited by Yfrah Neaman. Kevin Mayhew, 1993. £7.50. - Cadenzas to Mozart's Violin Concertos by Robert Levin. Universal, 1992. £9.95. - Jigs, Reels & Hornpipes selected and arranged by Edward Huws Jones. Boosey & Hawkes, 1992. Violin part, £4.95; piano part, £9.95. - Strings - Ensemble 1 (Wind and Waves, and Dorian Prelude) by Michael Radanovics. Universal, 1991. £7.50. - Quartet Club 1 & 2 by Sheila Nelson. Boosey & Hawkes, 1992. £7.95 each. - Famous Transcriptions for Cello and Piano edited by Adalbert Skocic. Universal, 1991. £7.95. - …wie ein Walzer auf Glas for violoncello solo by Roland Moser. Edition Hug, 1991. £6.20." British Journal of Music Education 10, no. 3 (1993): 281–83. http://dx.doi.org/10.1017/s026505170000190x.

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Беличенко, Наталия. "Магнификат И. С. Баха BWV243a, Es-dur: диалог с традицией". Проблеми взаємодії мистецтва, педагогіки та теорії і практики освіти, № 47 (1 листопада 2017): 292–308. https://doi.org/10.5281/zenodo.2535666.

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В статье определены границы и рассмотрены принципы взаимодействия «традиционного» и «нового» на содержательном и структурно-композиционном уровнях в Магнификате И.С. Баха BWV243a. Отмечено, что баховская трактовка учитывает самые разнообразные подходы к композиционному плану цикла в целом, сформированные предшествующей генерацией немецких композиторов – И. Кунау, К. Граупнером, Г. Шютцем и др. Уточнены взаимосвязанные жанровоисторические вопросы, касающиеся как внешнего, так и внутристилевого планов произведения. Установлено, что И.С. Бах, применяя унаследованный

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Marić, Slađana. "A symphonic poem arrangement for piano and tamburitza orchestra by Ferenc Kovač." Revista Música Hodie 16, no. 2 (2017). http://dx.doi.org/10.5216/mh.v16i2.45386.

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The subject matter discussed in the text is a symphonic poem by Ferenc Kovač (KOVÁCS, 1948) titled “Ratna poema” (The War Poem) arranged for piano and tamburitza orchestra. The premiere performance of the piece by the pianist Slađana Marić and The Grand Tamburitza Orchestra of Radio-Television of Vojvodina, conducted by F. Kovač, was held on 24th of May, 2011 in Novi Sad, Serbia. The main purpose of this research was to discuss this unique music piece in contemporary piano and tamburitza orchestra repertoire. Methodology was based on soft or research interview and

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Oleksiv Halyna Vasylivna. "DISPLAYING THE POLYTEMBRALITY OF THE ORCHESTRA OF UKRAINIAN FOLK INSTRUMENTS WHEN ARRANGED FOR ACCORDION "UKRAINIAN FANTASY" YAROSLAV OLEKSIV." International Journal of Innovative Technologies in Social Science, no. 1(29) (January 15, 2021). http://dx.doi.org/10.31435/rsglobal_ijitss/30032021/7367.

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Over the past decade, the arsenal of original compositions for the accordion has considerably expanded, but a significant place among the performing repertoire is the genre of translation of works from the repertoire of other instruments, ensembles or orchestras for the accordion. Since the translation of the orchestral repertoire with account of the timbre features of the accordion, has not yet become the subject of musicology research, the task is to elucidation of the main principles of this genre. The combined analysis of translations and executive-methodical recommendations become the bas

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Arlin, Mary Arlin. "Cultivating the Seed: The Compositional History of the Solo 'Cello Part in Chou Wen-chung's Concerto for Violoncello and Orchestra." Indiana Theory Review 33, n (2018). http://dx.doi.org/10.2979/inditheorevi.33.1,2.04.

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Nikolić, Neda. "THE DIALOGUE BETWEEN SOLOIST AND ORCHESTRA WITHIN THE CONCERTO PRESENTED THROUGH PEIRCE'S “THEORY OF SIGNS”." Facta Universitatis, Series: Visual Arts and Music, August 2, 2021, 041. http://dx.doi.org/10.22190/fuvam2101041n.

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The dichotomy between individualism and collectivism, deeply rooted in the development of social life, reflects an anthropological aspect that is also reflected in the art of music. This opposition, which is manifested through the relationship between the soloist and the orchestra within the concerto, is one of its main genre features. It survives despite all the changes that have taken place throughout history, but it is still subject to modifications. However, the role of these entities, apart from the style of the epoch, was also influenced by the composer`s personal style which must also b

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Siswanto, Silo. "BENTUK LAGU MARS FKIP UNIVERSITAS PGRI PALEMBANG IRINGAN MUSIK FORMAT ORKESTRA." Besaung : Jurnal Seni Desain dan Budaya 5, no. 2 (2021). http://dx.doi.org/10.36982/jsdb.v5i2.1858.

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<p>The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program named Silo Siswanto, M.Sn. Then the Mars song was finished on July 23, 2018 and was launched on July 31, 2

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Anne-Linde Visser. "Seventeenth-century cello playing, focussing mainly on bow technique." Royal Conservatoire Research Portal, no. 1 (September 11, 2017). http://dx.doi.org/10.22501/koncon.345237.

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Name: Anne-Linde Visser Main Subject: Baroque Cello Research Supervisor: Johannes Boer Title of Research: Seventeenth century (Italian) cello playing, focusing mainly on bow technique Research Question: How can we regain seventeenth century bow-technique for cello repertoire? Summary of Results: My aim for this research was to find out more about 17th century cello playing, with the focus on bow technique. The first cello treatise was not written until 1741 (Corette) and therefore most cellists will play this repertoire with a late 18th century (bow) technique. Repertoire which is written espe

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Hall, Patricia. "Giving Voice to a Foxtrot from Auschwitz-Birkenau." Music Theory Online 27, no. 3 (2021). http://dx.doi.org/10.30535/mto.27.3.9.

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The Collections Department of the Auschwitz-Birkenau State Museum preserves a number of manuscripts of popular songs arranged by members of the Auschwitz I Men’s Orchestra. These songs, written with great care in black ink on Beethoven Papier brand music paper, often bear highly ironic, but also tragically relevant titles, such as “Letters That Never Arrived,” “Hours That One Can Never Forget,” “Sing a Song When You’re Sad.” In this article I describe the complex process of realizing a 2018 concert performance and recording of one of these songs, “Die schönste Zeit des Lebens” (The Most Beauti

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"Performance and Reception of Bartók’s Violin Music during His First Concert Tour of the United States (1927–1928)." Studia Musicologica 62, no. 1-2 (2021): 105–16. http://dx.doi.org/10.1556/6.2021.00007.

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Abstract During his first concert tour of the United States (1927–1928) Bartók played primarily his own music in lecture-recitals, orchestra performances, and chamber music concerts in fifteen American cities. Over the course of the tour, he collaborated with violinists Jelly d’Arányi and Joseph Szigeti to present a few of his works for violin and piano to members of musical clubs in New York City and Philadelphia, and before dignitaries at the Hungarian Embassy in Washington, D.C. – namely his Sonata for Violin and Piano no. 2 (1922), Hungarian Folk Tunes, for violin and piano (arranged by Jo

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Nilsson, Ann-Marie. "Bleckblåsinstrument i svensk kavallerimusik under 1800-talets början – en omvälvande period." Svensk tidskrift för musikforskning / Swedish Journal of Music Research, January 13, 2023, 179–220. http://dx.doi.org/10.58698/stm-sjm.v104.13675.

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Brass instruments in Swedish cavalry music in the early nineteenth century – a period of transition This article makes use of archival material – early brass scores and financial accounts – in Swedish cavalry regimental archives, providing information about the use of natural horns and trumpets and keyed instruments (keyed bugles, ophicleïdes) and about the introduction of valve brass instruments – French horns, (Swedish) cornets, horns, trombones and bass tubas – in Sweden during the first half of the nineteenth century. Preserved Swedish cavalry scores from the early nineteenth c

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Jaakkola, Inkeri. "Klassisia muotoja persoonallisin kääntein: Erik Tulindbergin jousikvartetot op. 1 ja op. 2." Musiikki 54, no. 3 (2024). http://dx.doi.org/10.51816/musiikki.148477.

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This article concerns the String Quartets of Erik Tulindberg (1761–1814), who was the first known Finnish composer. Tulindberg was musically active primarily in the late 1770s and early 1780s, when he was studying at the Royal Academy of Turku (Kunglika Akademien i Åbo). He was respected as a skilful violinist and a chamber musician, playing in the Academy’s orchestra on ceremonial occasions and giving public concerts. Tulindberg’s compositional oeuvre comprises two Violin Concertos, six String Quartets and a few works for solo violin. The corpus of Tulindberg’s String Quartets is approached f

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Roseth, Nicholas. "Immediacy, ensemble setup, and classroom space: A quasi-experimental study among secondary instrumental teachers and students." Psychology of Music, December 1, 2023. http://dx.doi.org/10.1177/03057356231212350.

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The purpose of this study was to examine the effect of closed and opened setup conditions on students’ and teachers’ reported immediacy, affect, motivation, and group cohesion in band and orchestra classrooms. A secondary purpose was to explore relationships among students’ and teachers’ reported immediacy, affect, motivation, and group cohesion. Six teachers and 379 of their students participated in the study. In this within-subjects experiment, teachers were asked to teach with their classrooms arranged in closed and opened setup conditions. In the closed condition, teachers used a tradition

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Siswanto, Silo. "Bentuk Lagu Mars FKIP Universitas PGRI Palembang Iringan Musik Format Orkestra." Besaung : Jurnal Seni Desain dan Budaya 5, no. 2 (2020). http://dx.doi.org/10.36982/jsdb.v5i2.998.

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<p class="SammaryHeader" align="center"><strong>Abstract</strong></p><p><em>The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program nam

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Mako Kodama. "Between Performance and Notation: How did Carl Reinecke understand Mozart’s piano concerto No.26 K.537?" Royal Conservatoire Research Portal, no. 1 (May 27, 2024). http://dx.doi.org/10.22501/koncon.2388267.

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Carl Reinecke (1824-1910) was a German composer, pianist, conductor of the Leipzig Gewandhaus Orchestra, and professor at the Leipzig Conservatory. His piano performances were admired by Felix Mendelssohn, Robert Schumann and Franz Liszt, and he was reputed as "the greatest and most sincere Mozart player of his time."However, you may be surprised on listening for the first time to his performances preserved on piano rolls, since there is noticeable use of expressive practices such as manual asynchrony, unnotated arpeggiation, and rubato (flexibility of rhythm and tempo), which is quite far fro

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Reimann, Heli. "Privaatse ja avaliku dünaamikast hilisstalinismiaegses Eesti džässikultuuris / The dynamics of the private and the public in Estonian jazz culture of the late Stalinist era." Methis. Studia humaniora Estonica 16, no. 20 (2017). http://dx.doi.org/10.7592/methis.v16i20.13889.

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Käesolev Eesti hilisstalinismiaegset džässi käsitlev artikkel väidab, et dualistlik mudel avalik/privaatne on ebapiisav džässi kui kultuurilise praktika mõistmiseks nõukogude ühiskonnas ning vaatleb kultuuri toimivana kolmes sotsiaalses ruumis – avalikus, mitteformaalses avalikus ja privaatses. Avalikus riigipoolse kontrolli all olevas sfääris eksisteeris džässikultuur avalikus meedias ja riiklike džässorkestrite tegevuses. Mitteformaalses avalikus kultuuriruumis tegutsesid džässmuusika huvilistest koosnevad amatöörorkestrid. Kõige privaatsemana, avalikkuse eest suhteliselt varjatud kujul aren

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Sholes, Jacquelyn. "Joseph Joachim. Fantasy on Hungarian Themes (1850), Fantasy on Irish [Scottish] Themes (1852) for Violin and Orchestra. Piano Reduction. Edited by Katharina Uhde, arranged by Martin Schelhaas. Urtext ed. Kassel: Bärenreiter, 2018. BA 7898–90. ISMN: 9790006566020. 26.95 Euros. $36.75 USD." Nineteenth-Century Music Review, November 27, 2019, 1–4. http://dx.doi.org/10.1017/s1479409819000326.

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