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Journal articles on the topic 'Cello and harp music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Wright, David, Nicholas Daniel, Jane Manning, Jane's Minstrels, and Roger Montgomery. "William Alwyn: Concerto for Flute and Eight Wind Instruments; Suite for Oboe and Harp; Naiades: Fantasy for Flute and Harp; Music for Three Players; Trio for Flute, Cello and Piano." Musical Times 134, no. 1807 (1993): 524. http://dx.doi.org/10.2307/1002755.

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2

Sanjaya, Singgih. "Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun." Resital: Jurnal Seni Pertunjukan 22, no. 1 (2021): 48–57. http://dx.doi.org/10.24821/resital.v22i1.4620.

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AbstractThis research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed

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3

Johnson, David. "Edinburgh: Lyell Cresswell's ‘Good angel, bad Angel’." Tempo 59, no. 234 (2005): 40–41. http://dx.doi.org/10.1017/s0040298205240305.

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Good angel, bad angel is a new 1-act opera, premièred in Edinburgh on 20 May and toured to Glasgow, Peebles and Inverness on 21, 23 and 25 May; it received four performances in all. It lasts almost exactly an hour, and is scored for the slenderest forces imaginable – three singers covering six roles, and an orchestra of four players (bass clarinet doubling B flat clarinet, violin, viola, cello). The story is nasty, centring on the pointless murder of a miserly old shopkeeper on Christmas Day; it slightly reminds one of A Christmas Carol, except that it completely lacks Dickens's optimism and h

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4

Trawick, Eleanor F., and Barbara Kolb. "Millefoglie for Instruments [Oboe, Assisting Oboe (Flute, Optional), B-Flat Clarinet, B-Flat Bass Clarinet (Doubling B-Flat Clarinet, Optional), Trombone, Perc. (2 Players-Vibraphone and Marimba), Harp, Cello] and Computer-Generated Tape (1985, Revised Sept. 1987)." Notes 48, no. 2 (1991): 690. http://dx.doi.org/10.2307/942094.

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5

Gorodecki, Michael, Jonathan Harvey, Frances-Marie Uitti, et al. "Cello Concerto; Works for Cello." Musical Times 134, no. 1805 (1993): 408. http://dx.doi.org/10.2307/1003108.

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6

Anderson, Robert. "Cello." Musical Times 128, no. 1732 (1987): 337. http://dx.doi.org/10.2307/1193748.

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7

ANDERSON, ROBERT. "Cello." Musical Times 127, no. 1715 (1986): 36. http://dx.doi.org/10.2307/965360.

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8

Anderson, Robert. "Cello." Musical Times 128, no. 1733 (1987): 391. http://dx.doi.org/10.2307/964540.

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9

Anderson, Robert. "Cello." Musical Times 128, no. 1734 (1987): 442. http://dx.doi.org/10.2307/965018.

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10

Anderson, Robert. "Cello." Musical Times 126, no. 1714 (1985): 736. http://dx.doi.org/10.2307/965208.

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11

Davis-Zlatkovsky, Saul. "Neglected Harp Music." American String Teacher 56, no. 4 (2006): 47–49. http://dx.doi.org/10.1177/000313130605600408.

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12

Barford, Imogen. "Harp." Musical Times 126, no. 1708 (1985): 353. http://dx.doi.org/10.2307/964042.

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13

Moulton-Gertig, Suzanne L., and Mark Palkovic. "Harp Music Bibliography: Compositions for Solo Harp and Harp Ensemble." Notes 53, no. 1 (1996): 58. http://dx.doi.org/10.2307/900292.

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14

Anderson, Robert. "British Cello." Musical Times 129, no. 1740 (1988): 90. http://dx.doi.org/10.2307/964438.

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15

Anderson, Robert. "Modern Cello." Musical Times 127, no. 1718 (1986): 215. http://dx.doi.org/10.2307/964725.

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16

Anderson, Robert. "Modern Cello." Musical Times 128, no. 1731 (1987): 277. http://dx.doi.org/10.2307/965127.

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17

Anderson, Robert, and Julian Lloyd Webber. "Cello Birds." Musical Times 127, no. 1718 (1986): 280. http://dx.doi.org/10.2307/965464.

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18

Anderson, Robert. "Unaccompanied Cello." Musical Times 127, no. 1718 (1986): 282. http://dx.doi.org/10.2307/965471.

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19

Murray, Alan V., and Alison Kinnaird. "The Harp Key. Music for the Scottish Harp." Jahrbuch für Volksliedforschung 35 (1990): 187. http://dx.doi.org/10.2307/848237.

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20

Wood, Graham. "Book Review: Jazzy ‘Cello, for ‘Cello and Piano." International Journal of Music Education os-26, no. 1 (1995): 91. http://dx.doi.org/10.1177/025576149502600126.

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21

Barford, Imogen. "Harp Chamber." Musical Times 129, no. 1741 (1988): 138. http://dx.doi.org/10.2307/965287.

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22

Barford, Imogen. "Solo Harp." Musical Times 128, no. 1737 (1987): 634. http://dx.doi.org/10.2307/965532.

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23

Sukmawati, Dian, Hermanto Tri Juwono, and Widjiati Widjiati. "Mozart Memberikan Hasil Indeks Apoptosis Lebih Rendah daripada Musik Pop, Religi dan Tanpa Pemberian Musik." Jurnal Penelitian Kesehatan "SUARA FORIKES" (Journal of Health Research "Forikes Voice") 11, no. 1 (2019): 28. http://dx.doi.org/10.33846/sf11106.

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Background: Brain growth requires genetic potential for a conducive environment, low stress levels, stimulation and nutrition. Brain development during the fetal period in the two years of life firstly requires proper stimulation to increase intelligence. Classical music stimulation has been proven to be able to optimally improve brain function and human intellect. Other music that Indonesian people like is pop and religion. Maybe it is possible to pop and religious music can affect the development and growth of the fetal brain. Objective: Analyze the differences of the index of apoptosis Cere

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24

Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.

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URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).

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25

Frey, Elinor. "On Commissioning New Music for Baroque Cello." Circuit 28, no. 2 (2018): 11–23. http://dx.doi.org/10.7202/1051289ar.

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In 2014, cellist Elinor Frey began commissioning new music for the five-string Baroque cello as a way to contribute to and expand the repertoire for the instrument. Her project grew to three new works for five-string cello, two works for the four-string cello, and one for cello and harpsichord. This article documents Frey’s close collaborations with six composers—Scott Godin, Isaiah Ceccarelli, Linda Catlin Smith, Maxime McKinley, Ken Ueno, and Lisa Streich—and reflects upon the ways in which her approaches to style and performance practice played a role in interpreting the new works. Frey als

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26

Anderson, Robert, Donald Tovey, Rebecca Rust, David Apter, and Frank Bridge. "Cello Sonata; Elegiac Variations." Musical Times 136, no. 1832 (1995): 554. http://dx.doi.org/10.2307/1003624.

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27

Kory, Agnes. "Boccherini and the cello." Early Music 33, no. 4 (2005): 749–51. http://dx.doi.org/10.1093/em/cah182.

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28

Pen, Ron, B. F. White, and Buell E. Cobb Jr. "The Sacred Harp." American Music 12, no. 1 (1994): 93. http://dx.doi.org/10.2307/3052494.

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29

OLIVIERI, GUIDO. "THE EARLY HISTORY OF THE CELLO IN NAPLES: GIOVANNI BONONCINI, ROCCO GRECO AND GAETANO FRANCONE IN A FORGOTTEN MANUSCRIPT COLLECTION." Eighteenth Century Music 18, no. 1 (2021): 65–97. http://dx.doi.org/10.1017/s1478570620000457.

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ABSTRACTThe analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practi

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30

Miller, Malcolm. "Recent Cello Music by Graham Whettam." Tempo, no. 216 (April 2001): 31–36. http://dx.doi.org/10.1017/s0040298200008470.

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The recent spate of world premières, concerts and several newly-released and imminent CD recordings have indicated a renewed interest in the music of the British composer Graham Whettam, who celebrated his 70th birthday with a concert in 1998 (see review in Tempo 206) and is still busy producing new works. As recently as February he completed his Fifth Symphony, for chamber orchestra (a Sixth is in progress) and his String Quartet No.4 is scheduled for a première later this year.

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31

Brumbeloe, Joe, and Edward T. Cone. "Duo for Violin and 'Cello." American Music 18, no. 1 (2000): 115. http://dx.doi.org/10.2307/3052396.

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32

Steel, David Warren. "The Colored Sacred Harp." American Music 14, no. 1 (1996): 127. http://dx.doi.org/10.2307/3052468.

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33

Chadwick, S. "The early Irish harp." Early Music 36, no. 4 (2008): 521–32. http://dx.doi.org/10.1093/em/can122.

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34

Oakes, Jason, and Alan Lomax. "Harp of a Thousand Strings, All Day Singing from the Sacred Harp." Yearbook for Traditional Music 31 (1999): 187. http://dx.doi.org/10.2307/768023.

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35

Holman, Peter. "The harp in Stuart England: New light on William Lawes's Harp Consorts." Early Music XV, no. 2 (1987): 188–204. http://dx.doi.org/10.1093/earlyj/xv.2.188.

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36

Hewett, Ivan, Ligeti, Ensemble Modern, Peter Eotvos Miklos Perenyi, and Ueli Wiget. "Cello Concerto; Chamber Concerto; Piano Concerto." Musical Times 135, no. 1818 (1994): 515. http://dx.doi.org/10.2307/1003340.

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37

Fallowfield, Ellen. "CELLO MULTIPHONICS: TECHNICAL AND MUSICAL PARAMETERS." Tempo 74, no. 291 (2019): 51–69. http://dx.doi.org/10.1017/s0040298219000974.

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AbstractThis article presents selected results from a research project on cello multiphonics at the Hochschule für Musik Basel within which I am producing updated fingering charts in a smartphone application and affiliated online repository. The article details work that has informed this resource and illustrates results that reveal critical questions and point to future areas of interest. I begin by introducing cello multiphonics and contextualising my previous findings, then discuss pitch content, ‘chain’ multiphonics and the balance and intonation of multiphonic components.

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38

Ward, Matthew J. C. "Perspectives on the early cello repertory." Early Music 48, no. 1 (2020): 127–29. http://dx.doi.org/10.1093/em/caz090.

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39

Schwartz, Manuela, and Mary Whittall. "Review: French Cello Sonatas 1871–1939." Music and Letters 83, no. 4 (2002): 641–44. http://dx.doi.org/10.1093/ml/83.4.641.

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40

Fokkens, Robert. "Tracing Lines for violin and cello." Journal of Musical Arts in Africa 6, no. 1 (2009): 59–60. http://dx.doi.org/10.2989/jmaa.2009.6.1.3.1055.

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41

Wilkinson, Carlton. "Robert Moevs's "Heptáchronon" for Solo Cello." Perspectives of New Music 35, no. 1 (1997): 231. http://dx.doi.org/10.2307/833686.

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42

Nelson, Mac. "The Cello Music Cataloger as Program Builder." Cataloging & Classification Quarterly 48, no. 6-7 (2010): 634–44. http://dx.doi.org/10.1080/01639374.2010.496310.

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43

Parker, Robert L. "Carlos Chavez's Phantom Harp Concerto." American Music 10, no. 2 (1992): 203. http://dx.doi.org/10.2307/3051725.

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44

RING, LAYTON. "CORRESPONDENCE: The harp for Lawes." Early Music XV, no. 4 (1987): 589–91. http://dx.doi.org/10.1093/earlyj/xv.4.589.

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45

Robertson, Ailie. "The Twenty-First-Century Harp." Contemporary Music Review 38, no. 6 (2019): 549–52. http://dx.doi.org/10.1080/07494467.2019.1706339.

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46

Bendix, John, Mark Brice, and Chris Petry. "Sacred Harp Singers." Ethnomusicology 31, no. 3 (1987): 525. http://dx.doi.org/10.2307/851675.

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47

Wallace, Helen, Roger Sessions, Curtis Macomber, Joel Krosnick, and Barry David Salwen. "Duo for Violin and Cello; Six Pieces for Cello; Duo for Violin and Piano; Sonata for Violin." Musical Times 136, no. 1824 (1995): 107. http://dx.doi.org/10.2307/1193644.

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48

Miller, Malcolm. "Jerusalem, Music Centre: Andre Hajdu." Tempo 67, no. 264 (2013): 78. http://dx.doi.org/10.1017/s004029821300017x.

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An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (

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49

Rehding, Alexander. "Music Theory's Other Nature: Reflections on Gaia, Humans, and Music in the Anthropocene." 19th-Century Music 45, no. 1 (2021): 7–22. http://dx.doi.org/10.1525/ncm.2021.45.1.7.

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The new historical paradigm ushered in by the Anthropocene offers a timely and urgent opportunity to rethink the relationship of humans and nature. Bruno Latour's take on the Gaia hypothesis, which rejects the traditional subject/object divide, shows how the human can be inscribed into the work of music theory. This turn toward Latour's Actor-Network Theory, which erases the categorical difference between human and nonhuman agents, now dressed up in cosmic garb under the banner of the Gaia hypothesis, appears to be distant from traditional music-theoretical concerns, but the connection is in f

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50

Einarsdóttir, Gunnhildur. "MULTIPHONICS ON THE HARP: INITIAL OBSERVATIONS." Tempo 74, no. 291 (2019): 71–75. http://dx.doi.org/10.1017/s0040298219000986.

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AbstractEarlier this year I was contacted by Ellen Fallowfield who asked me to look into multiphonics on the harp. I was curious but also rather sceptical: although I could immediately find multiphonics in several places on the string, I worried that their use would be impractical. This article takes a practical look at multiphonics on the harp from a performer's point of view. I share my initial observations about their production, sound and predictability as well as their relationship to other harmonics on the harp. It is my hope that the article will lead to further investigation of this fa

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