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1
Kotsoni-Brown, Stavria. "The solo cello concertos of Antonio Vivaldi." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366973.
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Carpinteyro, Eduardo. "Pedagogical aspects in David Popper's four cello concertos." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1195506444.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.Advisor: Lee Fiser. Title from electronic thesis title page (viewed Feb. 5, 2008). Includes abstract. Includes bibliographical references.
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CARPINTEYRO, EDUARDO. "PEDAGOGICAL ASPECTS IN DAVID POPPER'S FOUR CELLO CONCERTOS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195506444.
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Yoo, Kyungjin. "Oration, Concerto Elegiaco by Frank Bridge: A Practical Guide for Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538701/.
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English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.
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Vivaldi, Antonio Hodges Brian D. "A transcription of Vivaldi's violin concerto RV 208 for cello." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1454/umi-uncg-1454.pdf.
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Brian D. Hodges' thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Oct. 22, 2007). Directed by John M. Fadial; submitted to the School of Music. Transcription includes cello part only. Includes bibliographical references (p. 34-37).
6
Ko, Ching-Shin. "Cellists and the Dvořák cello concerto : the labyrinth of interpretation /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11202.
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Cho, Hyun Mi. "Luigi Boccherini's Cello Concerto in B-Flat Major, G.482: Creating a Performance Edition through a Critical Study of the 'Original' Version and Friedrich Grützmacher's Edition." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538651/.
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The Cello Concerto in B-flat major, G.482, by Italian composer Luigi Boccherini (1743-1805), is the composer's most beloved work for the instrument, as well as one of the most performed pieces in the Classical concerto repertoire. Historically, cellists performing this work have used an edition prepared by German cellist Friedrich Grützmacher (1832-1903). However, an 'original' version that was discovered in 1949 is significantly different from that of Grützmacher. A comparison of both editions has revealed that Grützmacher in fact made considerable modifications to Boccherini's 'original.' Along with the issue of having two editions, cellists that have played the 'original' edition have noted that there are certain practical and interpretative matters that are not favorable to the cellist, particularly in terms of the way the music is notated and how it lacks many details. This dissertation provides clarity to these issues by undertaking a comprehensive analysis of both editions in order to make cellists become aware of the differences between both editions by comparing musical elements from a performance practice viewpoint. In addition, I discuss relevant issues that are present in the 'original' version, ultimately providing an alternative performance edition to this score that is based on historically informed performance (HIP) practices. Finally, I hope to draw attention on how a performance edition like this can be useful as a rare critical source to one of the major works from the eighteenth-century cello repertoire.
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Hale, Jacquelyn. "Consonance, tertian structures and tonal coherence in Wladimir Vogel's dodecaphonic world." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/vogel%5Fwladimir/index.htm.
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Gillingham, Amy E. "Cultivating Perception: Bridging Schematic Patterns and Audience in Franz Joseph Haydn's Violoncello Concertos." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275919165.
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Shen, Shuo. "The Controlled Indeterminacy in Lutoslawski's Cello Concerto." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574713314501106.
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Kimmel, Tyler T. "Hermes, a Concerto for Violoncello and Orchestra." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1542.
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This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.
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Meilstrup, Sharon. "Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2309.
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The Czech composer Paul Wranitzky (1756–1808) worked primarily in Vienna during the height of musical Classicism. He was well-respected among the higher artistic circles during his day as a composer, violinist, and conductor. His excellence in conducting was recognized by Haydn and Beethoven. His compositions were favored by Empress Marie Therese. Despite his contemporary fame and esteem, his works are relatively unknown today. His works are being revived today, bringing these once popular compositions back to the public. This thesis presents a critical edition of Wranitzky's cello concerto in C Major, appearing for the first time in a scholarly edition. This will allow for its study and performance, and allow musicologists to determine Wranitzky's influence on Viennese string and orchestral music.
13
Kleinmann, Denika Lam. "An Analysis of Honegger’s Cello Concerto (1929): a Return to Simplicity?" Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500189/.
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Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques.
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Bian, Zhuojun. "A pedagogical analysis of Dvorak’s Cello Concerto in B Minor, Op. 104." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61164.
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I first heard Antonin Dvorak’s Cello Concerto in B Minor, Op. 104 when I was 13 years old. It was a memorable experience for me, and I was struck by the melodies, the power, and the emotion in the work. As I became more familiar with the piece I came to understand that it holds a significant position in the cello repertory. It has been praised extensively by cellists, conductors, composers, and audiences, and is one of the most frequently performed cello concertos since it was premiered by the English cellist Leo Stern in London on March 19th, 1896, with Dvorak himself conducting the Philharmonic Society Orchestra.
In this document I provide a pedagogical method as a practical guide for students and cello teachers who are planning on learning this concerto. Using a variety of historical sources, I provide a comprehensive understanding of some of the technical challenges presented by this work and I propose creative and effective methods for conquering these challenges.
Most current studies of Dvorak’s concerto are devoted to the analysis of its structure, melody, harmony, rhythm, texture, instrumentation, and orchestration. Unlike those studies, this thesis investigates etudes and student concertos that were both precursors to – and contemporary with – Dvorak’s concerto. Through an understanding of those works I present an approach that will assist players in achieving high technical and artistic standards for their own performances of the concerto.
To do this, I focus on the methodological and technical aspects of cello playing in the concerto, exploring the history of cello techniques up to Dvorak’s time, and examining the contribution of Hanus Wihan to the composition of the concerto. I also explain the methodological and pedagogical value of cello exercises and repertoire that existed before and during Dvorak’s time, and show how those contributed to the development of techniques required for the performance of the concerto. Specific excepts are analyzed with reference to left- and right-hand cello techniques as found in the concerto, and strategies and explicit repertoire for developing these techniques are discussed.Arts, Faculty of
Music, School of
Graduate
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Jeremica, Elisabeth. "How to Learn the Dvorak Cello Concerto in B Minor: Building Personalized Practice Techniques for Virtuosic Performance." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449188899.
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Johnson, Samuel Converse. "Carnal Musicology in a New Edition ofLuigi Boccherini’s Cello Concerto in D major G. 478." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587821737858238.
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Cruz, David M. "Fernando Lopes-Graca and the works for cello - the Concerto da Camera col violoncello obbligato." Thesis, Boston University, 2014. https://hdl.handle.net/2144/10975.
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Thesis (D.M.A.)--Boston UniversityFernando Lopes-Graca is unarguably one ofthe greatest Portuguese composers of the 20th century, as well as an extremely prolific one. His repertoire is rich both in the amount of works written, but also in the variety of genres and instrumentation. Living during times of political (nationalistic) attempts of standardizing a concept of Portuguese folkloric culture based on inaccurate urban views, Lopes-Graca decided to develop an esthetic of nationalistic music based on the "deep roots" ofthe Portuguese culture. This esthetic lead him to a long work ofethno-musicological research within the deep areas ofthe mid 20th century rural Portugal. Lopes-Graca developed then, a unique compositional style deeply influenced by what he considered as the real roots of Portuguese music, and also by the main music currents ofthe early 20th century. Being a composer of mostly vocal and piano music, his works for cello solo and cello and piano constitute a rich and important part of his instrumental music, and a clear example of his main esthetics translated into instrumental music. The Concerto da Camera col violoncello obbligato (wrote from a request by the great cellist Mstislav Rostropovich), was called by Lopes-Graca himself as his work of "biggest maturity and consequence", and is one of the best examples of his mature style. Its formal structure is perhaps the best revealing example ofhis compositional organization and style development.
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Wilson, Ian Michael. "Concerted genomic and epigenomic alterations in non-small cell lung cancer." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/26490.
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Background: Around the world, lung cancer is the leading cause of cancer-related death and a major public health problem. A diagnosis of lung cancer carries a remarkably poor prognosis, even after years of research into the disease. The advent and availability of tools to survey the genomes and epigenomes of lung cancers is beginning to yield real clues into the molecular nature of the disease. These clues are being turned into new diagnostic and therapeutic tools with increasing regularity. We used modern high-resolution and high-throughput tools to identify novel genes implicated in various lung cancer phenotypes and aspects of lung cancer pathogenesis.
Hypotheses: (1) Combined profiling of lung cancer genomes and epigenomes will identify critical lung cancer genes that are simultaneously affected by DNA copy number and DNA methylation aberrations. (2) The susceptibility locus on chromosome 6q, identified through familial linkage studies, contains an unidentified tumor suppressor gene (3) Key genes involved in lung cancer phenotypes can be identified through the elucidation of discriminating genomic and epigenomic alterations.
Materials/Methods: Genomic and epigenomic data were analyzed independently and pair-wise to identify genes in NSCLC whose alterations are associated with NSCLC risk, development and phenotype. These genomic and epigenomic data were used in conjunction with a multitude of mRNA and protein-level assays to further refine candidate lists and validate their disruption. Targeted molecular silencing of a candidate TSG was used in conjunction with cellular assays to investigate and confirm the role of this gene in NSCLC.
Results: We designed and optimized an experimental/analysis framework for the combined interrogation of epigenomic and genomic data. We used this framework to identify a novel lung cancer tumor suppressor gene, EYA4, that is frequently disrupted in lung cancers, and is associated with NSCLC risk. Following this, we identified subtype-specific genomic and epigenomic alterations with consequent gene expression changes in NSCLC subtypes. Lastly, we identified specific phenotypic characteristics of the subtypes affected by the DNA alterations.
Conclusions: Integrated analysis of the genomes and epigenomes of NSCLC tumors provides a unique approach for the discovery of key cancer-related genes.
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Tseng, Li-Han Eliza. "Sergey Prokofiev’s Complete Solo Cello Repertory: The Compositional History and Performance Guide." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554213587575424.
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Price-Brenner, Kevin. "Pedagogical transcriptions for teaching two advanced works for cello : Beethoven’s Sonata for cello and piano no. 3 in A major, op. 69 and Haydn’s Cello concerto no. 1 in C major, Hob.VIIb.1." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2131.
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Advanced cello students and their studio teachers have a wide range of literature to study and perform that spans approximately 400 years. Despite this wealth of repertoire, advanced music from the classical era is often understudied or overlooked due to difficulties of the accompanying part, written either for the piano or the orchestra. For example, Beethoven’s cello sonatas tend to be avoided by teachers of advanced young students because of the difficulties in securing a pianist. Additionally, Haydn’s cello concerti demand a great deal of rehearsal time with an experienced pianist in preparing the student to perform with a full ensemble.
The purpose of this study is to provide pedagogical assistance to the cello studio teacher of advanced students. This detailed teaching edition reduces the original accompaniment into a single cello part to be played by the studio teacher during lessons. The transcriptions do not replace the music written for the piano, but functions as a three-part pedagogical bridge: teaching the student the solo; accompanying the student in the cello reduction; and preparing the student to play with the accompaniment as originally conceived. The two compositions presented in this aid are Beethoven’s Sonata for Cello and Piano No. 3 in A major, Op. 69 and Haydn’s Cello Concerto No. 1 in C major, Hob. VIIb.1. This practical study will refer to An Annotated Translation of Evegeny Shenderovich’s Overcoming Technical Difficulties in the Piano Transcriptions of Orchestral Scores by Marcelina Turcanu.
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Pope, Patricia A. "Investigation of Multiple Concerted Mechanisms Underlying Stimulus-induced G1 Arrest in Yeast: A Dissertation." eScholarship@UMMS, 2013. https://escholarship.umassmed.edu/gsbs_diss/680.
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Progression through the cell cycle is tightly controlled, and the decision whether or not to enter a new cell cycle can be influenced by both internal and external cues. For budding yeast one such external cue is pheromone treatment, which can induce G1 arrest. Two distinct mechanisms are known to be involved in this arrest, one dependent on the arrest protein Far1 and one independent of Far1, but the exact mechanisms have remained enigmatic. The studies presented here further elucidate both of these mechanisms.
We looked at two distinct aspects of the Far1-independent arrest mechanism. First, we studied the role of the G1/S regulatory system in G1 arrest. We found that deletion of the G1/S transcriptional repressors Whi5 and Stb1 compromises Far1-independent arrest, but only partially, and that this partial arrest failure correlates to partial de-repression of G1/S transcripts. Deletion of the CKI Sic1, however, is more strongly required for arrest in the absence of Far1, though not when Far1 is present. Together, this demonstrates that functionally overlapping regulatory circuits controlling the G1/S transition collectively provide robustness to the G1 arrest response. We also sought to reexamine the phenomenon of pheromone-induced loss of G1/S cyclin proteins, which we suspected could be another Far1-independent arrest mechanism. We confirmed that pheromone treatment has an effect on G1 cyclin protein levels independent of transcriptional control. Our findings suggest that this phenomenon is dependent on SCFGrr1but is at least partly independent of Cdc28 activity, the CDK phosphorylation sites in Cln2, and Far1. We were not, however, able to obtain evidence that pheromone increases the degradation rate of Cln1/2, which raises the possibility that pheromone reduces their synthesis rate instead.
Finally, we also studied the function of Far1 during pheromone-induced G1 arrest. Although it has been assumed that Far1 acts as a G1/S cyclin specific CDK inhibitor, there has been no conclusive evidence that this is the case. Our data, however, suggests that at least part of Far1’s function may actually be to interfere with Cln-CDK/substrate interactions since we saw a significant decrease of co-pulldown of Cln2 and substrates after treatment with pheromone. All together, the results presented here demonstrate that there are numerous independent mechanisms in place to help robustly arrest cells in G1.
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Pope, Patricia A. "Investigation of Multiple Concerted Mechanisms Underlying Stimulus-induced G1 Arrest in Yeast: A Dissertation." eScholarship@UMMS, 2006. http://escholarship.umassmed.edu/gsbs_diss/680.
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Progression through the cell cycle is tightly controlled, and the decision whether or not to enter a new cell cycle can be influenced by both internal and external cues. For budding yeast one such external cue is pheromone treatment, which can induce G1 arrest. Two distinct mechanisms are known to be involved in this arrest, one dependent on the arrest protein Far1 and one independent of Far1, but the exact mechanisms have remained enigmatic. The studies presented here further elucidate both of these mechanisms.
We looked at two distinct aspects of the Far1-independent arrest mechanism. First, we studied the role of the G1/S regulatory system in G1 arrest. We found that deletion of the G1/S transcriptional repressors Whi5 and Stb1 compromises Far1-independent arrest, but only partially, and that this partial arrest failure correlates to partial de-repression of G1/S transcripts. Deletion of the CKI Sic1, however, is more strongly required for arrest in the absence of Far1, though not when Far1 is present. Together, this demonstrates that functionally overlapping regulatory circuits controlling the G1/S transition collectively provide robustness to the G1 arrest response. We also sought to reexamine the phenomenon of pheromone-induced loss of G1/S cyclin proteins, which we suspected could be another Far1-independent arrest mechanism. We confirmed that pheromone treatment has an effect on G1 cyclin protein levels independent of transcriptional control. Our findings suggest that this phenomenon is dependent on SCFGrr1but is at least partly independent of Cdc28 activity, the CDK phosphorylation sites in Cln2, and Far1. We were not, however, able to obtain evidence that pheromone increases the degradation rate of Cln1/2, which raises the possibility that pheromone reduces their synthesis rate instead.
Finally, we also studied the function of Far1 during pheromone-induced G1 arrest. Although it has been assumed that Far1 acts as a G1/S cyclin specific CDK inhibitor, there has been no conclusive evidence that this is the case. Our data, however, suggests that at least part of Far1’s function may actually be to interfere with Cln-CDK/substrate interactions since we saw a significant decrease of co-pulldown of Cln2 and substrates after treatment with pheromone. All together, the results presented here demonstrate that there are numerous independent mechanisms in place to help robustly arrest cells in G1.
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Souza, Edmarcia Elisa 1984. "A Nek7 é uma quinase multifuncional que atua sobre diferentes processos biológicos e em concerto com a sinalização da divisão celular = Nek7 is a multifunctional kinase that acts on different biological processes and in concert with the cell division signaling." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/314350.
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Orientador: Jorg KobargTese (doutorado) - Universidade Estadual de Campinas, Instituto de Biologia
Made available in DSpace on 2018-08-25T15:15:29Z (GMT). No. of bitstreams: 1 Souza_EdmarciaElisa_D.pdf: 15682912 bytes, checksum: e58bfe67bbf5f3bc0979ec28db650292 (MD5) Previous issue date: 2014
Resumo: As proteínas Neks (NIMA-related kinases) representam uma família de 11 quinases humanas nomeadas Nek1 a 11 que compartilham 40 a 45% de identidade de sequência com o regulador mitótico NIMA identificado em Aspergillus nidulans. O sinergismo entre os mecanismos que dirigem a mitose é essencial para a adequada divisão celular e sua desregulação é correlacionada ao aparecimento de cânceres humanos. As Neks são essenciais para progressão do ciclo celular e por isso têm recebido especial atenção como alvos para terapia do câncer. A Nek7 humana, por sua vez, contribui para formação do fuso mitótico e biogênese dos centrossomos. Neste trabalho, nós revelamos a Nek7 como uma quinase multifuncional. Nossos estudos demonstraram um amplo espectro de proteínas de interações com a Nek7 humana, classificadas dentro de múltiplas categorias funcionais, sobretudo, da divisão celular. Alguns novos parceiros de interação também são seus potencias substratos e, ainda, localizam com a Nek7 em estruturas essenciais para a mitose e citocinese. Nós evidenciamos ainda, que através de mecanismos distintos, os domínios N- e C-terminal de Nek6 e Nek7 podem contribuir diferencialmente para a regulação e catálise e podem proporcionar a base estrutural para a independência funcional dessas quinases na sinalização celular. Além disso, usando estudos baseados microscopia confocal e RNAi (RNA interference), nós mostramos que o interactor de Nek7, a proteína RGS2, é necessária para organização e orientação do fuso mitótico. Células em metáfase suprimidas de RGS2 apresentaram fenótipos tais como: prisão na mitose; defeitos na tensão dos cinetocóros e alinhamento dos cromossomos; desorganização do fuso mitótico; perturbação na redistribuição de proteínas do polo do fuso envolvidas em nucleação; mal-orientação do fuso mitótico; e redução de microtúbulos dos ásteres e de dinâmica. Além disso, tanto a supressão quanto a superexpressão das formas selvagem e quinase dead de Nek7 prejudicaram o recutamento de ?-tubulina para o polo do fuso. Esses achados introduz a participação de RGS2 na mitose e indicam que esta pode atuar cooperativamente com Nek7 para a precisa organização e formação do fuso mitótico. Por fim, empregando biologia de sistemas, nós mostramos um compreensivo interactoma das Neks, destacando para um possível crosstalking de todos os membros da família nos processos de regulação de centríolos e mitose; função ciliar e ciliopatias; e resposta a dano de DNA
Abstract: The Neks (NIMA-related kinases) proteins represent a human kinases family named Nek1 to 11 that share 40 to 45% of sequence identity with the established NIMA mitotic regulator, identified in Aspergillus nidulans. The synergism of the mechanisms that drive mitosis is essential for proper cell division and its dysregulation is correlated with the occurrence of human cancers. The Neks are essential for cell cycle progression and therefore have received attention as targets for cancer therapy and other diseases. Human Nek7 contributes to mitotic spindle formation and centrosome biogenesis. Herein, we reveal Nek7 as a multifunctional kinase. Our proteomic studies have demonstrated a broad spectrum of interaction proteins of human Nek7 classified into multiple functional categories, especially, cell division. Some new interaction partners are also potential Nek7 substrates and localize in key structure during mitosis and cytokinesis. We also evidenced that, through different mechanisms, the N- and C- terminal domains of Nek7 and Nek6 can differentially contribute to the regulation and catalysis and provide the basis for a functional independence of Nek6 and Nek7 in cell signaling. Furthermore, using studies based in confocal microscopy and RNAi we showed the Nek7 interactor, RGS2 protein, is required for organization and orientation of the mitotic spindle. Metaphase cells RGS2-depleted showed phenotypes such as: arrest in mitosis; defects in tension kinetochores and alignment chromosomes; disruption of the mitotic spindle; disturbance in the proteins redistribution of the spindle pole involved in nucleation and microtubule dynamics; mitotic spindle misorientation; and astral microtubules reduction. Furthermore, the suppression or both overexpression of Nek7 wild type or kinase dead impaired the recruitment of ?-tubulin to the spindle pole. These findings introduce the involvement of RGS2 in mitosis and indicate that it may act cooperatively with Nek7 for proper mitotic spindle organization and formation. Finally, employing systems biology, we showed a comprehensive Neks interactome, highlighting for a possible crosstalking of all family members in centrioles and mitosis regulation; ciliary and ciliopathies function; and response to DNA damage
Doutorado
Bioquimica
Doutora em Biologia Funcional e Molecular
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Inman, Michael V. "An examination of Beethoven's Sonata for piano and violoncello, Op. 5 No. 1, Boccherini's Concerto in B-flat Major for cello, Bach's Suite no. 3 for unaccompanied Violoncello in C Major, and Inman's Suite for Unaccompanied Violoncello in C-sharp Minor." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/866.
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Madebwe, Charles. "An investigation into the role played by perceived security concerns in the adoption of mobile money services : a Zimbabwean case study." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017933.
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The ubiquitous nature of mobile phones and their popularity has led to opportunistic value added services (VAS), such as mobile money, riding on this phenomenon to be implemented. Several studies have been done to find factors that influence the adoption of mobile money and other information systems. The thesis looks at factors determining the uptake of mobile money over cellular networks with a special emphasis on aspects relating to perceived security even though other factors namely perceived usefulness, perceived ease of use, perceived trust and perceived cost were also looked at. The research further looks at the security threats introduced to mobile money by virtue of the nature, architecture, standards and protocols of Global System for Mobile Communications (GSM). The model employed for this research was the Technology Acceptance Model (TAM). Literature review was done on the security of GSM. Data was collected from a sample population around Harare, Zimbabwe using physical questionnaires. Statistical tests were performed on the collected data to find the significance of each construct to mobile money adoption. The research has found positive correlation between perceived security concerns and the adoption of money mobile money services over cellular networks. Perceived usefulness was found to be the most important factor in the adoption of mobile money. The research also found that customers need to trust the network service provider and the systems in use for them to adopt mobile money. Other factors driving consumer adoption were found to be perceived ease of use and perceived cost. The findings show that players who intend to introduce mobile money should strive to offer secure and useful systems that are trustworthy without making the service expensive or difficult to use. Literature review done showed that there is a possibility of compromising mobile money transactions done over GSM
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Yapp, Francis Anthony. "Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)." Thesis, University of Canterbury. School of Music, 2012. http://hdl.handle.net/10092/7464.
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When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue.
Yet notwithstanding its repertoire and the skill of its performers,
this generation of French cellist-composers has remained undervalued
and underexplored. To a large extent, this neglect has arisen because a
succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing.
This dissertation focuses exclusively on the early French cello school.
It seeks to examine the rise of the solo cello in France within its socio-
cultural and historical context; to provide biographies of those com-
prising the early French cello school; to explore the repertoire with
particular emphasis on the growth of technique and idiom, detailing
features that may be described as uniquely French, and to assert the
importance of and gain recognition for this school, not as a forerunner
of the so-called Duport school but as an entity in itself.
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CHEN, TZU-CHING, and 陳姿菁. "A Research on the Ten Cello Concertos by Bernhard Romberg." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/01178801297070039594.
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博士輔仁大學
音樂學系
105
Throughout the history of the development of cello performance, the German cellist Bernhard Romberg(1767~1741) is an influential key figure and considered one of the greatest performers in the second half of the 18th century. His superb skills and performance made him popular all over Europe. He also brought cello performance to a whole new level. Furthermore, he has mastered a lifetime of experience and translated it to many important cello pieces and teaching materials, making a great contribution to the music world. Among all of Romberg's pieces, ten of the cello concertos are known to provide the chance for a cellist to demonstrate his mastery of the instrument. These unique work demonstrated his mature solo skills and values in learning. This article starts by detailing Romberg's life story, which may help us understand Romberg's importance to the development of cello performance in various aspects. Then this article analyzes the structure and techniques of the ten cello concertos written by Romberg, and summarizes the features and connotations of his work. The author interpreted the music based on his personal view in addition to further contemplation on the methods of expression for the unique sections in the concertos. The author also explored how to improve the interpretation level of the various difficult sets in the concerto to stay loyal to the spirit and understanding of Romberg. The author aims to contribute to academic research and teaching, encouraging further investigation of various cello technical theories in Romberg's work, to increase the exposure of his work to cellists and scholars in Taiwan, and to inspire further research and outstanding performance.
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Aquino, Felipe Avellar de. "Villa-Lobos's Cello concerto no. 2 a portrait of Brazil /." 2000. http://hdl.handle.net/1802/5359.
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Lin, Hsun, and 林壎. "The Study of Leopold Hofmann''s Cello Concertos and the performing environments." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/zfj9zq.
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碩士國立中山大學
音樂學系研究所
95
The cello concertos of Leopold Hofmann occupied an important position in Vienna between the 1760s-1780s. The total output of seven cello concertos that could be identified of his works were written for the Viennese public concerts. The audience often enjoyed listening to highly virtuosic and the newest works in the public concerts at the time. The purpose of the study will be the cello concertos of Leopold Hofmann and its relations to the Viennese public concerts. This research focuses on the detailed examination of the traits of the seven cello concertos. The thesis consists of three chapters, including the introduction and conclusion. The chapter one discusses Leopold Hofmann’s life, his works and his style of composition. He was a popular composer during his time and his fame was known both in Vienna and other big cities. Chapter two focuses on the background of the Vienna in the second half of the eighteenth century, the emergence of the public concerts and the development of the cello concertos during the middle and late eighteenth century. Because of the development of the public concerts in Vienna during the second half of the eighteenth century, there were many opportunities for these concertos to be performed. Chapter three concentrates on the contents of Hofmann’s cello concertos. His concertos show the mature concerto form of the Pre-classic period.
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Luchkow, Andrew Stephen. "Elgar conducting his cello concerto: audio and documentary evidence of style beyond the score." Thesis, 2005. http://hdl.handle.net/2152/2270.
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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.
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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
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Nerenberg, Mark. "Concerto for Cello, Orchestra, and Live Electronics." Thesis, 2013. http://hdl.handle.net/1807/35185.
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The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.
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蕭文妍. "R.Schumann: cello concerto in a minor, op.129." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/21667017435331135498.
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Yen, Ju-an, and 顏汝安. "A Study of Haydn’s Cello Concerto in D Major." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/5e4bt5.
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碩士國立中山大學
音樂學系研究所
104
Franz Joseph Haydn (1732-1809) is a prominent and prolific Austrian composer of the Classical period. Haydn''s two cello concertos, in the classical period of the classic works took a very important role in the cello repertoire. The cello works are indispensable for every cellist to learn and is also a top choice for concerts and recordings. This study includes three chapters. The first chapter introduces Haydn''s life and compositional background of Cello Concerto in D Major. The second chapter is the development of style by Haydn and introducing the background of the two cello concertos. Lastly, the third chapter talks about the concerto’s interpretation through a detailed analysis of the musical form and structure. This study aims to better prepare future players of this piece through a detailed analysis of the piece as a whole.
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Yun, Pan Jou, and 潘柔雲. "Schumann Cello Concerto Op.129 in a minor First Part." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/81747619096884364637.
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Ju-Ling, Han, and 韓如伶. "The Analysis and Interpretation of Darius Milhaud's Cello Concerto No.1." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/59944679730777058364.
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碩士輔仁大學
音樂研究所
94
The main point of this thesis is to discuss the way to play the Darius Mulhaud's Cello Concerto No.1. I introduce the background of Les Six, then disscuss about the compositional style of Milhaud and analyze the techniques used in each movement.
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Chang, An-Chi, and 張安琪. "A Study of Elgar’s “Cello Concerto in E minor, Opus 85”." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/14742189667254605377.
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碩士國立中山大學
音樂學系研究所
92
Elgar is the greatest modern composer in Britain after Purcell. Though he never received formal musical education and training, through self-learning and composing ceaselessly, finally he gained both domestic and international approval for his works. In addition, he is a model of self-made composer. Elgar’s works include oratorios, choruses, symphonies, concertos, orchestral music and chamber music. One who never received any academic musical education, Elgar however successfully created an indigenous English style of music through his own learning, exploration, and innovation. Among the main characteristics of his works are their noble temperament and romantic sentiment filled with nostalgia and retrospection. The Cello Concerto, op. 85 is the most well-known work of Elgar’s later productions, one indispensable piece for the Cello concert repertoire. This study is mainly devoted to exploring the background and techniques of this most outstanding work in Elgar’s later life. Besides, it will be analyzing the relationship between solo cello and the orchestra movement by movement. Lastly, it will be exploring Elgar’s frequently-used technical expressions and the ways to perform and interpret this work.
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LIU, HUI-FEN, and 劉慧芬. "A Study of Haydn''s Cello Concerto in D major, Op.101." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/w33msu.
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Chen, Lin, and 陳琳. "An Analysis and Interpretation of Édouard Lalo’s Cello Concerto in d minor." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/r9ujrc.
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碩士東吳大學
音樂學系
103
Édouard Lalo (1823-1892), born in the 19th century, was a French composer of Romantic period. He grew up in France but he has Spanish soul in his music. It is obviously seen that his composition featured Spanish passion. For example, “Syphonie Espanole” and the thesis of this research paper “Cello Concerto in d minor”. These two works are full of exotic feeling and fully show the Spanish music style. Lalo had experienced depression in his early career, but with his efforts and insistences; he not only revived the France chamber music but also composed a series of significant instrumental works. The “Cello Concerto in d minor” is one of his masterpieces. This study will explore Lalo and his “Cello Concerto in d minor.” The detail will be focused on Lalo’s life, music style, the composition analysis, and interpretation.
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Huang, Yu-wei, and 黃郁維. "A Study of Hsiao Tyzen’s Cello Concerto in C minor Op.52." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/26ruk8.
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碩士國立中山大學
音樂學系研究所
103
It is widely known that traditional Taiwanese music originated in China. As time goes by, Taiwanese music has passed through several stages of development. The discussions of the study are focused on the cello concerto composed by Hsiao Tyzen. The discussions are divided into four sections. The first section introduces the background of Hsiao’s growth and his pursuit of music career. The second section aims to get insights into Hsiao’s style and features by means of analyses of influential factors found in his compositions. The third section concentrates on the interpretation and styles of performance of his cello concerto Op. 52. The last part of the discussions attempts to generalize the representative features of Taiwanese music found in his works, which virtually is the mixture of musical structures of both western and traditional Taiwanese composition.
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Kao, Lo Yao, and 高洛堯. "A Study of Music Style and Analysis of Haydn’s D major Cello Concerto." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/cb7e38.
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Pei-Yu, Chuang, and 莊佩瑜. "The Analysis and Performance Interpretation of Concerto of Khachaturian for Cello and Orchestra." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/39924121523827410200.
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yu-chen, Ko, and 柯昱辰. "An Analysis and Interpretation of A.Dvorak Cello Concerto in B Minor,Op.104." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/48449610153825940803.
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Wu, Hsin-hua, and 吳欣樺. "The Analysis and Interpretation of Elgar's Cello Concerto in E Minor, Op.85." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/46703325576386568815.
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碩士國立臺灣藝術大學
音樂學系碩士班
98
Elgar completed his Cello Concerto in E Minor, Op.85 in 1919, influenced by both English Musical Renaissance and Late Romanticism in style, the composition has a broad spectrum color of the Late Romantic Era and a special taste representing a rich English style. For this reason, Elgar cello concerto would be a big challenge for cellists to performer the musical style and became an indispensable cello repertoire. The dissertation is divided into five parts. Chapter one consists of the motive, aim, researching scope and methodology of this thesis, with a description of the framework and skeleton. Chapter two makes a study of the effect under the musical environment and the social background at Elgar’s time by exploring English composers’ artistic technique of the nineteenth century, and mastering the musical character by researching Elgar’s life and compositions. Finally, we are able to realize composer’s mental state by studying the compositions’ background、orchestration and the character which influenced by Romanticism composer. Chapter three focuses on the analysis of Elgar’s common-used composition technique like the motive development、orchestration、musical structure and harmonic language in the concerto. Chapter four finds the appropriate way to fit the musical terms into the work, and overcoming difficulties met in collaboration with piano. Chapter five concludes insights, thoughts and suggestions on the aspects of performance and interpretation.
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CHOU, PEI-HSUAN, and 周佩璇. "An Interpretation and Analysis of D. Shostakovich’s Cello Concerto No.1, Opus 107." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/dr6j2j.
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碩士中國文化大學
音樂學系
106
Dmitri Shostakovich is one of the greatest musicians of the 20thcentury and The Cello Concerto No.1 in E-flat major, Opus. 107” is the primary example which is used in this thesis. After analyzing the interpretation and structure of Shostakovich’s music, we’ve found many important traces for his music creation in the era of Soviet dictatorship, which relied on intimidation and restriction to the people, and we are going to explore and discuss this composition through analysis and research. After knowing Shostakovich’s persistence to the music and compositional background and techniques that are completely not following his predecessors in music, I was deeply inspired by Shostakovich after repeatedly playing this concerto. In the thesis, I will address the challenges that I’ve faced after my practical practices. This thesis is divided into 5 chapters: The first chapter is Introduction, focus on the research motivation and purpose, scope of study and research methods. The second chapter gives the outline of the background about the concerto, also includes some historical incidents of Shostakovich’s career and compositional techniques. Chapter 3 is focused on analysis of his music. Chapter 4 is the performance Insight and the interpretational ideas of this concerto. Chapter 5 is the conclusion, collation and induction.
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LAI, TING-HUNG, and 賴定宏. "The Analysis and Interpretation of Cello Concerto in D major by Joseph Haydn." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/k7q4y9.
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碩士實踐大學
音樂學系碩士班
107
Joseph Haydn’s (1732-1809) concertos for various instruments nowadays become not only works representing the genre in the Viennese classical period, but also a standard repertoire for the instrument, just like the two concertos for cello. Two decades since his previous work for cello, Haydn composed the Cello Concerto in D major in 1783. Through this piece, one can observe Haydn’s evolution of musical language combining the baroque heritage and the style of his time for developing his own style. This thesis focuses on the study of the Haydn Cello Concerto in D major which is divided into five chapters. The first is the introduction, describes the research motive, purpose, range and methodology. The second chapter introduces the background of Haydn Cello Concerto in D major, as well as the musical environment during the 17th to the 18th century, the development process of the cello, the Haydn’s biography, and this work’s background. The third chapter consists the analysis of the piece, through musical form, harmony, melody and rhythm. The fourth chapter presents the author’s personal suggestions about the interpretation of the piece. The fifth chapter in a conclusion of the study.
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HUANG, JING-ZHEN, and 黃景臻. "An Analysis and Interpretation of Edward Elgar: Cello Concerto in E minor, op. 85 / JING-ZHEN HUANG Cello Graduation Recital." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/aewv65.
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碩士東吳大學
音樂學系
107
Edward Elgar (1857-1943) created another peak in the development of classical music in the United Kingdom that had not been seen for over 200 years. The unique style and language in his works was a product of the influence of classic traditions and the contemporary trend of his time. His Cello Concerto in E minor, op. 85, is considered to be his last notable work. Though it is the performance of the British cellist Jacqueline du Pré (1945-1987), with its intuitive, gifted, and personal touch, that has become widely known regarding this work, this paper is based on the recording performed by another British cellist Beatrice Harrison (1892-1965) and conducted by Elgar himself, along with the score of this piece and related historical materials. It seeks to further explore the other possibilities of performance and interpretation for Elgar’s Cello Concerto, from a perspective closer to the ideas of the composer. This paper contains four chapters and a conclusion. The first chapter is an introduction to the research motive and contents for this paper, with textual analysis of the qualitative approach as its main research method. The second chapter deals with the background and recordings of this work, discussing the background for the creation of this cello concerto and the recordings of the two most representative English cellists, as well as other versions of recording prior to 1965; the third chapter is the analysis of composition, comprising the author’s observation and analysis regarding this music. The fourth chapter illustrates the musical interpretation, connecting the author’s understandings as expressed in chapters two and three, representing the result of verbal explanation and personal experiment. The conclusion sums up the discoveries and feelings during the research process as whole. In a nutshell, the research of this paper finds that what makes Elgar’s Cello Concerto so appealing lies in the composer’s deep feelings, evident in his cohesive yet versatile arrangement of all the details, expressed through his compact and concise approach of composition. This inspired the author to reflect on what the conditions are for becoming a performer: to reach the pinnacle, one must take each and every step steadily, without tolerating any laziness and compromising any imperfection. Within this strict and meticulous process, however, an open-minded attitude is needed. Every individual is allowed to have their own interpretations of the music from their perspectives, without differentiation of good or bad towards the music in and of itself, just as Mother Nature embraces and tolerates all beings and creatures. As a performer, the author was delighted and very grateful to have the opportunity to explore this piece of music, and to have experienced the scope that goes beyond restricting oneself by merely listening to one so-called “seminal” recording. /Jing–Zhen Huang Cello Recital L. Boccherini: Cello Sonata in G major, G. 5 R. Schumann: 5 Stücke im Volkston, Op.102 J. S. Bach: Suite for Violoncello Solo No. 4 in Eb major, BWV 1010 D. Shostakovich: Sonata for Cello and Piano in d minor, Op. 40
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Chiu, Ying-Chin, and 邱應欽. "The Interpretation and Analysis of Cello Concerto in B minor, Opus 104 by Dvořák." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/45rye5.
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Liao, Ken, and 廖謙雄. "An Analysis and interpretation of Robert Schumann’s Cello Concerto in A Minor, Op. 129." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/67608382545089630353.
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碩士國立臺南藝術大學
音樂學系碩士班
103
This thesis aims to discuss and analysis “Cello Concerto in a minor” composed by Schumann in 1856 in Düsseldorf, which includes Schumann’s life, composes style, the background of the Concerto, analysis of the composition and the interpretation of each movement should be played. Firstly, the life of Schumann will be well introduced, including how he became a composer, and the style varied by the time and the environment. Next, the background of the composition will be discussed. From Schumann moved to Düsseldorf, the position of the conductor he took, the appreciation after the composition was played, and the suggestions gave from friends to the work. The analysis of this composition includes the techniques of phrases and forms in each movement as well as the usage of linking the movements respectively. Lastly, the interpretation of the composition discusses how to perform each movement suitably, and achieve the expectation which composer anticipated.
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"A New Piano Reduction of the Antonin Dvořák Concerto for Cello and Orchestra in B minor Op.104." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57327.
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abstract: The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvořák’s Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the original orchestration, such as inaccurate indications for dynamics, rhythms, and notes. In rehearsal and performance, the pianist is challenged to adapt and transform one of the existing reductions into a playable and productive piano reduction, one which creates Dvořák’s full orchestral sonorities while retaining clarity of voicing. The resulting sound can be infinite in variety, as individual decisions and reductions may differ greatly. This paper will explore the following: how to reduce this orchestral score and solve the technical problem involved in orchestral writing for piano while effectively producing the sound of the orchestra in the piano reduction. There will be a literature review on important published reductions and a brief history of the work and composer. While it is not possible to discuss in detail each passage that has been revised or altered, this paper will focus on and analyze representative and substantial passages, including the perspective of two different reductions: Bärenreiter (2011) and Bärenreiter Praha (2004). It will provide a detailed demonstration of each example and will make suggestions for changes which will concentrate on capturing the essence of the orchestral score at the piano. Chapter one introduces and presents current editions. Chapters two, three and four will discuss each movement of the concerto with detailed explanations about changes in certain passages and sections. The appendix will feature a new revised reduction of Dvořák’s Cello concerto in B minor.Dissertation/Thesis
Doctoral Dissertation Music 2020