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Journal articles on the topic 'Cello'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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

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

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

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

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7

Shenoy, Prashant J., and Harrick M. Vin. "Cello." ACM SIGMETRICS Performance Evaluation Review 26, no. 1 (1998): 44–55. http://dx.doi.org/10.1145/277858.277871.

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

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

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

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11

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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12

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

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13

Krüger, Michael. "Cello Suite." Grand Street, no. 71 (2003): 115. http://dx.doi.org/10.2307/25008653.

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14

Boruch, Marianne. "Bad Cello." Iowa Review 29, no. 3 (1999): 22–23. http://dx.doi.org/10.17077/0021-065x.5186.

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15

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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16

Putra, Diki Pratama, Ibnu Sina, and Febri Yulika. "INTERPRETASI REPERTOAR: SEBUAH UPAYA KONSEPTUALISASI KARAKTER SOLIS." Laga-Laga : Jurnal Seni Pertunjukan 7, no. 1 (2021): 23. http://dx.doi.org/10.26887/lg.v7i1.1536.

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The cello solis performance is an instrumental show that places great importance on the maturity of a solist in presenting the repertoires which he will present in the form of a recital examination. The cello is a stringed instrument just like the violin. The current cello is called the modern cello. The modern cello is a development of the previous Cello such as the viola da gamba, viola da spalla, viola da bracchio and bass viol. Initially, the Cello served as the bass in a musical foundation. In the 17th century, composers such as Domenico Gabrielli and Giuseppe Colombi created works for si

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17

Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of

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18

Wirayudha, Asep Hidayat. "A Solution to the Fingering Problem of Brahms Cellos Sonata No. 1 Opus 38 and Shostakovich Cello Sonata Opus 40." Resital: Jurnal Seni Pertunjukan 15, no. 1 (2014): 100–106. http://dx.doi.org/10.24821/resital.v15i1.803.

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The flexibility of fingers is one main factor of responsibility on their spread ability. Considering thecello playing, the spread ability of cellists’ fingers is very important since it has a direct correlation to theirability to play the octave interval. The short- fingers cellists would find difficulties to play the octave intervalsat the first, second, third, and fourth position. Nevertheless, short-fingers are not dead-end for cellist. Thespread ability of finger, up to some extent, might be increasing through practices and exercises. It is with thisspirit that the author proposes some str

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19

Костикова, Наталья. "Раннее фортепианное трио Златы Ткач (1961): к проблеме трактовки виолончельной партии". Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 48, № 2 (2021): 99–105. http://dx.doi.org/10.46727/jshs.2021.v48.i2.p99-105.

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The purpose of this article is to reveal the peculiarities of the cello part in the piano trio written by Moldovan composer Zlata Tkaci, created in 1961. Based on the methods of musicological and performing analysis, the author formulates the main genre and style features of this opus, as well as formulates recommendations for overcoming the performing difficulties of the cello part. The conclusions note the influence on the musical language of the Trio of European chamber music traditions of the Romanticism era, the equal role of the cello within the chamber ensemble due to the enrichment of

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20

Veneklasen, Paul S. "The monopole cello." Journal of the Acoustical Society of America 93, no. 4 (1993): 2381. http://dx.doi.org/10.1121/1.406114.

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21

Butt, John. "Bach cello suites." Early Music XXVII, no. 2 (1999): 340–42. http://dx.doi.org/10.1093/earlyj/xxvii.2.340.

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22

Johnson, David. "Bach cello suites." Early Music XXVIII, no. 4 (2000): 660–62. http://dx.doi.org/10.1093/earlyj/xxviii.4.660.

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23

Kumagai, Jean. "The illuminated cello." IEEE Spectrum 52, no. 8 (2015): 36–41. http://dx.doi.org/10.1109/mspec.2015.7164400.

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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

Shapiro, Philip E. "“Cello scrotum” questioned." Journal of the American Academy of Dermatology 24, no. 4 (1991): 665. http://dx.doi.org/10.1016/s0190-9622(08)80178-8.

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26

MA, YO-YO. "Behind The Cello." New Perspectives Quarterly 31, no. 2 (2014): 95–99. http://dx.doi.org/10.1111/npqu.11462.

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MA, YO‐YO. "Behind The Cello." New Perspectives Quarterly 36, no. 4 (2019): 60–65. http://dx.doi.org/10.1111/npqu.12232.

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28

Fu, Yu. "A Constructivist-based Study of Introductory Cello Instruction." Journal of Education, Humanities and Social Sciences 51 (May 8, 2025): 218–23. https://doi.org/10.54097/1tsshe15.

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China's cello education stays in the spoon-fed education concept, with excessive pursuit of examination or competition results, thus ignoring the student's subjective initiative and the cultivation of comprehensive quality. This paper will combine the "constructivism" theory, constructivism, teaching methods, and cello teaching to stimulate children to learn cello subjective initiative and develop children's active thinking and problem-solving abilities. This paper will use the theory of "constructivism," constructivism teaching methods, and cello teaching to stimulate the children's subjectiv

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29

Kenneson, Claude, David Littrell, Mary Mayhew, and William Skidmore. "Cello Forum: Feats, Fetes and Feast—The Third American Cello Congress." American String Teacher 36, no. 4 (1986): 64–68. http://dx.doi.org/10.1177/000313138603600431.

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Even one glance at the program for the Third American Cello Congress held on the Indiana University campus at Bloomington June 3-7 instantly reveals what an exciting attraction it proved to be. Headed by Congress President Janos Starker and sponsored by the American Cello Council, the Congress days were jampacked with master classes, performances, seminars, panel discussions, exhibits, ensembles, and competitions. * The following reports are intended to offer our readers a small sampling of this great cello feast.[P.Y.]

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30

Nugraha, Didi Krisna, Tutut Pristiati, and Yurina Gusanti. "Pola Teknik Permainan Alat Musik Cello Lagu Suling Bambu oleh Grup Musik Keroncong Maheswara di Kota Kediri." Journal of Language Literature and Arts 5, no. 1 (2024): 108–22. https://doi.org/10.17977/um064v5i12025p108-122.

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Keroncong Maheswara merupakan grup musik keroncong dengan ciri khas yang menonjol, khususnya pada permainan instrumen cellonya. Pola teknik permainan cello yang bervariasi, seperti irama bimbo, engkel, dobel, langgam Jawa, dan jaipong, menciptakan karakteristik unik yang membuat permainan cello ini tidak monoton. Penelitian ini bertujuan menganalisis pola teknik permainan cello pada lagu "Seruling Bambu" karya Hetty Koes Endang yang diaransemen oleh grup Maheswara dengan berbagai pola irama keroncong pada tiap bagian lagu. Penelitian ini menggunakan metode kualitatif deskriptif, dengan teknik

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31

Kościukiewicz, Jakub. "Cello in the Baroque, part 2: Cello literature in the 17th century." Notes Muzyczny 2, no. 10 (2018): 9–23. http://dx.doi.org/10.5604/01.3001.0012.9810.

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The present text is the second instalment of the cycle of articles based on its author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, prac-tice, and selected literature examples (Academy of Music in Łódź, 2017). It is an at-tempt to systematise the knowledge about the first cello literature creators and their compositions. The text includes descriptions (characterisations) of the first pieces writ-ten for the cello as early as in the 17th century along with short biographical sketches of their composers. The article characterises the main centres of dev

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32

Bernstein, Matthew N., Zhongjie Ma, Michael Gleicher, and Colin N. Dewey. "CellO: comprehensive and hierarchical cell type classification of human cells with the Cell Ontology." iScience 24, no. 1 (2021): 101913. http://dx.doi.org/10.1016/j.isci.2020.101913.

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33

Bhat, K. M., A. J. Hay, M. Claeyssens та T. M. Wood. "Study of the mode of action and site-specificity of the endo-(1→4)-β-d-glucanases of the fungus Penicillium pinophilum with normal, 1-3H-labelled, reduced and chromogenic cello-oligosaccharides". Biochemical Journal 266, № 2 (1990): 371–78. http://dx.doi.org/10.1042/bj2660371.

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The modes of action of the five major endo-(1→4)-beta-D-glucanases (I, II, III, IV and V) purified from Penicillium pinophilum cellulase were compared by h.p.l.c. analysis, with normal, 1-3H-labelled and reduced cello-oligosaccharides and 4-methylumbelliferyl glycosides as substrates. Significant differences were observed in the preferred site of cleavage even when substrates with the same number of glycosidic bonds were compared. Thus, although endoglucanase I was unable to attack normal cello-oligosaccharides shorter than degree of polymerization 6, it hydrolysed reduced cellopentaose to yie

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34

Nurmusabih, Nandya Abror, Hari Martopo, and Ayu Tresna Yunita. "Studi Eksploratif Bahan Ajar Cello Berbasis Metode Suzuki." PROMUSIKA 5, no. 1 (2018): 1–6. http://dx.doi.org/10.24821/promusika.v5i1.2281.

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Metode Suzuki merupakan metode pembelajaran musik yang menekankan pentingnya pendidikan bakat musik sedini mungkin untuk anak-anak dengan menggunakan bahasa ibu (mother tongue). Metode ini banyak disalahartikan oleh masyarakat hanya dengan menggunakan kurikulum buku saja, tanpa menerapkan filosofi dari penciptanya, Shinici Suzuki yaitu dididik dengan kasih sayang Nurtured by Love (dididik dengan kasih sayang) dan teorinya yaitu Talent Education (pendidikan bakat). Tujuan eksplorasi Metode Suzuki ini yaitu: (1) untuk memperkaya bahan ajar cello berbasis Metode Suzuki Cello menggunakan metode ek

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35

Halimah, Halimah, Gufran Ali Ibrahim, and Ninuk Lustyantie. "CELLO AS A LANGUAGE TEACHING METHOD IN INDUSTRIAL REVOLUTION 4.0 ERA." English Review: Journal of English Education 7, no. 1 (2018): 75. http://dx.doi.org/10.25134/erjee.v7i1.1497.

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CELLO is derived from Community English Language Learning and Orai. It is a new teaching method developed especially in the community of English language learning based on the idea of Curran�s work on teaching method. CELLO is a combination between an innovative teaching method and media technology called Orai Application that is applied in teaching and learning of speaking especially in fostering students� fluency. Today, all graduates face a world transformed by technology, in which the Internet, cloud computing, and social media create different opportunities and challenges for formal educa

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36

Laird, Paul R., Ronald Caltabiano, Corey Field, and Frank La Rocca. "Sonata for Solo Cello." Notes 46, no. 3 (1990): 822. http://dx.doi.org/10.2307/941461.

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37

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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38

Situ, Zhiwen, and Charles Wendt. "The Cello in China." American String Teacher 38, no. 4 (1988): 80–81. http://dx.doi.org/10.1177/000313138803800432.

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39

Stevens, Paul, and Jeffrey Solow. "Comfortable Cello Set-up." American String Teacher 41, no. 1 (1991): 56–58. http://dx.doi.org/10.1177/000313139104100116.

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40

Sharp, Irene, and Linda King. "Cello Artistry by Design." American String Teacher 42, no. 3 (1992): 61. http://dx.doi.org/10.1177/000313139204200326.

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41

Novak, John. "Dvorak: Cello Concerto (review)." Notes 57, no. 1 (2000): 142–43. http://dx.doi.org/10.1353/not.2000.0046.

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42

Heath, W. G. "The cello; Dilsey; Psyche." World Literature Written in English 35, no. 1 (1996): 75–77. http://dx.doi.org/10.1080/17449859608589238.

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43

Tondi, Emanuele. "Giuseppe Cello (1946–2006)." Tectonophysics 476, no. 1-2 (2009): 1. http://dx.doi.org/10.1016/j.tecto.2009.06.005.

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44

Steensma, David P. "A Cello for Michayla." Journal of Clinical Oncology 28, no. 28 (2010): 4400–4401. http://dx.doi.org/10.1200/jco.2010.30.0681.

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45

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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46

Tatarkin, D. Yu. "TO THE QUESTION OF THE ORIGINAL IDEA OF THE CELLO SUITES NO. 5 AND NO. 6 BY J. S. BACH." Arts education and science 4, no. 33 (2022): 53–62. http://dx.doi.org/10.36871/hon.202204053.

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This article analyzes the two final cello suites of the Bach cycle BWV 1007–1012 from the viewpoint of their original instrumental affiliation. The author conducted a textual study of the autograph of the Lute Suite g-moll BWV 995, which is considered to be the author's adaptation of the Cello Suite No. 5. The analysis of the nature of the corrections contained in the lute source made it possible to establish their compositional nature and to identify the manuscript itself as a non-calligraphic compositional manuscript, created in the process of composition. The article shows that the lute ver

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47

Yalong, Yu. "DEVELOPMENT OF CELLO SCHOOL IN CHINA. CREATIVE AND PEDAGOGICAL ACTIVITIES OF WANG LIANSAN AND SITU ZHIWEN." Arts education and science 1, no. 2 (2021): 113–20. http://dx.doi.org/10.36871/hon.202102014.

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The article traces the development of Chinese cello tradition, the process of its formation in interaction with national European schools (Spanish, French, Russian, etc.) and the appearance of the first national musicians-performers who became founders of Chinese cello pedagogical system. The significance of the first major cello composition San Tung's Fantasia for Cello and Orchestra, was also emphasized. Presented are the portraits of outstanding instrumentalists — Wang Liansan and Situ Zhiwen, whose creative and pedagogical experience allowed not only to significantly renew the system for t

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48

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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49

Wirayudha, Asep Hidayat. "The Secret of Brahms Cellos Sonata No. 1 Op. 38 and Shostakovich Cello Sonata Op. 40." International Journal of Creative and Arts Studies 3, no. 2 (2017): 35. http://dx.doi.org/10.24821/ijcas.v3i2.1843.

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This study aims to find a technique solution behind the Far interval and Octave interval in Brahms Cello sonata no.1 opus 38 and Shostakovich cello sonata op. 40 through literature and Discography approach. The fingering problems may poses special difficulties to any cellists. According to the author’s assessment, there are two problems that warrant special attentions of the cellist. Both intervals may cause serious problems on the performance of short fingers cellists. The size of the fingerboard on the cello as compared to other string instruments are longer, resulting in harder difficulties

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50

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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