Relevant bibliographies by topics / Bassoons (2) with orchestra

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Bassoons (2) with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Bassoons (2) with orchestra"

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Weait, Christopher, Andrzej Panufnik, and Daniel Dorff. "Concerto for Bassoon and Small Orchestra [Flute, 2 Clarinets in B-Flat, Strings]." Notes 51, no. 3 (March 1995): 1141. http://dx.doi.org/10.2307/899346.

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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.

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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
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TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (August 30, 2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.

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ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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K.F. "String Orchestra: Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3)Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3). Jamey Aebersold/Peter Blair. Heritage Music Press, 2003. Student book $6.95, Conductor Score/Teacher's Guide (including CD) $19.95." American String Teacher 53, no. 3 (August 2003): 116. http://dx.doi.org/10.1177/000313130305300330.

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Swift, Richard, Arthur Bird, and Gunther Schuller. "Nonet for Woodwinds (Marche miniature); For Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets and 2 Bassoons." Notes 42, no. 2 (December 1985): 403. http://dx.doi.org/10.2307/897456.

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Swift, Richard, and Gunther Schuller. "Concerto No. 2 for Orchestra." Notes 44, no. 1 (September 1987): 153. http://dx.doi.org/10.2307/941002.

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Marsden, Hannah. "Symphonies, Status and Soft Power: The Symphony Orchestra of India." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 19–36. http://dx.doi.org/10.30819/aemr.7-2.

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The Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai, positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local values and ideologies surrounding professional musicianship compromise attempts to embed orchestral musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the role of the orchestra as a marker of national development. I suggest that Mumbai's transnational middle class and elite communities, as well as the SOI's multinational corporate donors, consider investment in an orchestra a part of India's wider political and economic development. I point to tensions that are created as India's local and national government resist the notion of the orchestra as a marker of modernity and instead champion Indian arts and cultures as foundational to India's nationhood. Finally, I explore the SOI's transnational networks, looking at its role within cultural diplomacy and soft power. I show that, whilst the SOI has made significant steps in 'reaching out' and finding a place within transnational cultural networks, its efforts are hampered by its failure to 'stand out'; to forge its own national identity as an Indian symphony orchestra.
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Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (July 2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).
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Stein, Robert. "CORIGLIANO ROUSE HIGDON." Tempo 58, no. 230 (October 2004): 87–88. http://dx.doi.org/10.1017/s0040298204300331.

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CORIGLIANO: Symphony No. 2; The Mannheim Rocket. Helsinki Philharmonic Orchestra c. John Storgårds. Ondine ODE10392ROUSE: Violin Concerto1; Rapture; Der gerettete Alberich2. 1Cho-Liang Lin (vln), 2Evelyn Glennie (perc), Helsinki Philharmonic Orchestra c. Leif Segerstam. Ondine ODE10162HIGDON: Concerto for Orchestra; City Scape. Atlanta Symphony Orchestra c. Robert Spano. Telarc. CD80620 (Super Audio version SACD60620)
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Dissertations / Theses on the topic "Bassoons (2) with orchestra"

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Yun, Seunghyun. "Wings-2 for orchestra." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/178.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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LaFollett, Alexander. "The Elements: Period 2, for Large Orchestra." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13251.

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The Elements: Period 2, for Large Orchestra is a 44-minute-long cycle of eight orchestral "tone images", each one based upon an individual element from the second period of the Periodic Table of Elements: Lithium, Beryllium, Boron, Carbon, Nitrogen, Oxygen, Fluorine, and Neon. These tone images are inspired by the physical and chemical properties, uses, etymologies, interactions with biologic systems, and cultural associations of each element. They are intended for performance either individually or together as a set, possibly in combination with the Hydrogen and Helium pieces composed for my master's thesis (Central Washington University, 2006). Rather than taking a serialized approach, where various musical parameters are predetermined by raw data about each element, I sought to use the elements' properties and associations mostly as creative inspiration, more in line with traditional notions of programmatic orchestral music, such as tone poems and programmatic symphonies. Paralleling the fact that my dissertation is inspired by the building blocks of all chemical matter, I have used my personal musical building blocks--my system of over 400 heptatonic modes--in composing these pieces.
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Lee, Mei-ling. "Symphony for orchestra /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343171&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Spasov, Miroslav. "Metaanthropos/Evolutio 2 for chamber orchestra and electronics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ47985.pdf.

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Thorvaldsdottir, Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. "Music and ideas." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453657.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc contains sound files of recordings of the musical compositions. The 1st work for 13 instruments; 2nd for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns; 3rd for voice, 6 stethoscopes, and computer which manipulates sounds picked up by the stethoscopes. Title from first page of PDF file (viewed July 11, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 137.
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Kwak, Anna. "A performer's analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966575.

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Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.

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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to evaluate his essential self-characterization shift in his compositional style, the so-called "five lines."
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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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Dondero, Paul Stephen Sheba Mechthild Hildegard. "Rebeka and the matriarchs /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=765991401&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (D. M. A.)--University of Oregon, 2003.
Sacred oratorio for female narrator, 4 solo female voices, SA chorus, and chamber orchestra. Libretto compiled from biblical sources and the writings of Makeda, Queen of Sheba, Mechthild of Magdeburg, and Hildegard of Bingen. Includes libretto, p. 309-313. Includes vita and abstract. Also available for download via the World Wide Web; free to University of Oregon users.
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Kim, Youngkyong Kim Youngkyong. "Volume I. Reconciliation a study of words and music in Schoenberg's Pierrot lunaire, Stravinsky's Symphony of psalms and Requiem canticles, and Britten's War requiem ; Volume II. Eo-meo-ni = (Mother) (o̳-mo̳-ni) : for medium voice and string orchestra /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512491&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Bassoons (2) with orchestra"

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Vivaldi, Antonio. Concerto. Saint-Romuald, QC: Productions d'Oz, 2004.

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Ruf, Hugo, Joseph Bodin de Boismortier, Holger Best, and Michel Corrette. Rokoko-Sonaten: For 2 violoncellos (2 bassoons) = für 2 Violoncelli (2 Fagotte). Mainz: Schott, 2000.

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Schneider, Georg Abraham. Three duos for two bassoons. New York: International Music, 1987.

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Denisov, Ėdison Vasilʹevich. Oktett für 2 Oboen, 2 Klarinetten, 2 Fagotte und 2 Hörner. Hamburg: H. Sikorski, 1991.

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Charles, Ives. Symphony no. 2, for large orchestra. New York: Peer International Corp., 1988.

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Zwilich, Ellen Taaffe. Symphony no. 2 for orchestra: 'Cello symphony. Bryn Mawr, Pa: Merion Music, 1987.

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Perle, George. Concerto no. 2 for piano and orchestra. Boston, Mass: ECS Pub., 1996.

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Samuel, Adler. Concerto no. 2 for piano and orchestra. Bryn Mawr, Pa: T. Presser, 1996.

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Bazelon, Irwin. Symphony no. 8 1/2 for orchestra. Bryn Mawr, Pa: T. Presser, 1996.

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Cowell, Henry. Concerto No. 2: For Koto And Orchestra. S.I: C. F. Peters - EP6975, 2008.

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Book chapters on the topic "Bassoons (2) with orchestra"

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Grabowski, Amy Yandel. "The Conductor and the Orchestra." In An Internal Family Systems Guide to Recovery from Eating Disorders, 11–20. First edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315180694-2.

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Holoman, D. Kern. "2. Musicians." In The Orchestra, 18–29. Oxford University Press, 2012. http://dx.doi.org/10.1093/actrade/9780199760282.003.0002.

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Chinitz, David. "A Jazz-Banjorine, Not a Lute." In T. S. Eliot’s Orchestra, 3–24. Routledge, 2020. http://dx.doi.org/10.4324/9780203054949-2.

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Hispalensis], Isidore of Seville [Isidorus. "XLIV De orchestra." In Oxford Classical Texts: Isidori Hispalensis Episcopi Etymologiarvm Sive Originvm, Vol. 2: Libros XI–XX. Oxford University Press, 1985. http://dx.doi.org/10.1093/oseo/instance.00127523.

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Gopinath, Sumanth, Jason Stanyek, Ge Wang, Georg Essl, and Henri Penttinen. "The Mobile Phone Orchestra." In The Oxford Handbook of Mobile Music Studies, Volume 2. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199913657.013.018.

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Tunley, David. "'Alfredo Campoli and his Salon Orchestra'." In The Bel Canto Violin, 20–36. Routledge, 2018. http://dx.doi.org/10.4324/9780429425707-2.

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"Orchestra Suite No. 2 《乐队组曲二》." In The TENG Guide to the Chinese Orchestra, 539–62. WORLD SCIENTIFIC, 2019. http://dx.doi.org/10.1142/9789813233652_0031.

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"Barry Guy/London Jazz Composers Orchestra: LJCO 2 U." In Extended Play, 141–43. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822379430-016.

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"100. INTERACTION AND DECODING OF VERBAL AND NONVERBAL SIGNS: ORCHESTRA CONDUCTING." In Semiotic Theory and Practice, Volume 1+2, 993–1004. De Gruyter Mouton, 1988. http://dx.doi.org/10.1515/9783110868883-100.

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Butz, Karel. "Intermediate-Advanced Level—Part 2." In Achieving Musical Success in the String Classroom, 203–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190602888.003.0008.

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The chapter provides several rehearsal concepts that develop stronger rhythmic precision and phrasing concepts within the intermediate-advanced orchestra. Rhythmic precision depends the students’ ability to cognitively interpret and intrinsically feel the rhythmic notation correctly, as well as the students’ ability to maneuver the bow in such a way that the articulation is rhythmically precise. The author discusses ensemble development activities designed to promote better intrinsic pulse, hand-eye coordination with the bow, leadership, listening, and left- and right-hand coordination. In addition, the chapter discusses how beautiful phrasing is developed by listening, singing, using imagery, identifying harmonic structure, and incorporating body movement.
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