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Dissertations / Theses on the topic 'Electronic and cello music'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Bielmeier, Douglass Christopher. "The Thief of Always." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1136924509.

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2

Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of

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3

Cheng, Chien-Wen. "Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

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4

Bukvic, Ivica Ico. "Tabula Rasa." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1131065629.

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5

Gagnon, Marie-Elaine. "Graduate cello recital." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3434.

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6

Clark, James. "Peter sculthorpe| Music for unaccompanied cello." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590072.

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<p> As a contemporary Australian composer, concerned with finding an "Australian sound," Peter Sculthorpe incorporated elements of Aboriginal music, Asian music, and other unique compositional devices in his music. This paper investigates Sculthorpe's compositional style through analysis of <i>Requiem: for Cello Alone, Threnody, Into the Dreaming, For Justine, and Sonata for Cello Alone,</i> in order to explore his incorporation of Australian characteristics within the context of idiomatic writing for the solo cello.</p>

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7

YANG, HEEYOUNG. "GAME FOR FOUR CELLO." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151383279.

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8

Nichols, Richard A. "Trio for horn, cello and piano /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889382746.

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9

Chen, Ru-Ping. "The Cello works of Hsiao Tyzen /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488187763848087.

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10

Thumpston, Rebecca Mary. "Agency in twentieth-century British cello music." Thesis, Keele University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.699672.

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Music's narrative qualities have received extended analytical scrutiny in recent years. Less attention has been focused on the characters that inhabit those narratives - the agents or personae within the stories music tells. This thesis synthesises and extends existing literature on musical agency in order to forge a new, analytically productive approach to the critical analysis of instances of agency in twentieth-century British cello music. Through analysis of Edward Elgar's Cello Concerto (1919), Benjamin Britten's Symphony for Cello and Orchestra (1963), John Tavener's The Protecting Veil

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11

Callner, Anna. "A recital of works for cello and piano." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/1981.

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Suite No. 4 in E-flat major - J. S. Bach Prelude Courante Sarabande Gigue Sonata, Op. 102, No. 1 - Ludwig van Beethoven Andante-Allegro vivace Adagio Allegro vivace Concerto in A-minor, Op. 129 - Robert Schumann Nicht zu schnell Langsam Sehr lebhaft Requierbros - Gaspar Cassado

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12

Craford, Mary Elizabeth. "Inventory of modern American cello-keyboard literature /." Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11847815.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1994.<br>Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore M. Pogonowski. Includes bibliographical references (leaves 89-104).

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13

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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14

Draiblate, Yoni. "HISTORY, EVOLUTION AND PEDAGOGY OF CELLO VIBRATO." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/555692.

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Music Performance<br>D.M.A.<br>On 9 April 1860, seventeen years before Thomas Edison invented the phonograph, a Parisian inventor named Leon Scott de Martinville invented the “phonautograph,” the first device capable of recording sound. In the demonstration recording produced by de Martinville, the listener hears the inventor singing a short section of the song “Au clair de la lune.” The recording lasts about ten seconds and is not of very good audio quality—it is full of interference and white noise, making it hard to decipher words. Technology has since evolved and improved to the point wher

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15

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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16

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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17

Fan, Chia-Lin. "The solo cello music of Benjamin Britten : an analysis : First cello suite, op. 72, Second cello suite, op. 80, Third cello suite, op. 87, and Tema Sacher." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1378140.

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The purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme co

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18

Zhou, Lejing 1986. "A Survey of Solo, Chamber Music and Orchestral Excerpts Selected and Organized Pedagogically for the Intermediate Cellist." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538786/.

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The use of orchestral excerpts from standard music repertoire as a pedagogical means has been adopted by many instrumental pedagogues to train the advanced instrumentalist. This dissertation presents an innovative idea among the excerpt tradition by drawing excerpts from solo, chamber music and orchestral music to function as etudes for the intermediate level cellist. 320 music excerpts are drawn and organized under the headings of different technical categories in order to train the techniques within the context of quality music. The purpose of the dissertation is to introduce the young playe

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19

Ko, Ching-Tzy. "Dynamic markings in Bach cello suites /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11427.

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20

Cadieux, Marie-Aline. "The Cello and Piano Sonatas of Emilie Mayer (1821-1883) /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu148818776384735.

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21

Moseley, Ivan. "Scena for cello and piano : a portfolio of compositions." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/00bb1cc8-3bcd-112c-b0f7-2c7d18a0937f/8/.

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My objectives in pursuing this course of study were to widen my knowledge of other composers' music, with a view to: developing my techniques of composition, in terms of application of compositional models to the immediate process of writing (and of notating) music; extending that to works which were more ambitious in scope, duration and cohesion; and producing works which recognise performers' skills and limitations and exploit the former. This involved firstly analytical study of existing works in different genres written using a range of compositional techniques, and an assessment of how I

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22

Son, Eunkyung. "A performance guide: new cello compositions by Serra Miyeun Hwang." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5639.

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Korean Canadian composer Serra Miyeun Hwang (1962-) has written three compositions for cello- Beckoning, Presence, and Hundredth View- inspired by Korean culture and traditional music. She infuses each piece with Korean elements, including special rhythmic patterns, text, and tone color, which are influenced and motivated by traditional Korean percussion music, religions, culture, combined with techniques of Western instrumental performance. The purpose of this study is to introduce Hwang’s music to other cellists and help them incorporate the historical and cultural aspects of Korean traditio

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23

Rabelo, Paulo César Martins. "The cello and piano works of Camargo Guarnieri." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342108311.

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24

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 prepa

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25

Lee, Sunhaeng. "The Legacy of Bach’s Cello Suites in Twentieth-Century Solo Cello Suites." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584001275758751.

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26

Fetherston, Mary Davis. "Building Memory Structures to Foster Musicianship in the Cello Studio." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299594260.

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27

Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as

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28

Becker, Karen Andrews. "Selected cello works of Ernest Bloch : a descriptive essay /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Thesis (D.M.A.)--University of Texas at Austin, 1999.<br>Vita. Discography: leaves 77-79. Includes bibliographical references (leaves 80-83). Available also in a digital version from Dissertation Abstracts.

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29

SPAKAUSKAS, DARIJUS. "THE WHALE PROJECT." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1181655993.

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30

Suckling, Christopher Andrew. "The realisation of recitative by the cello in Handelian opera." Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/18107/.

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This thesis examines the author’s practice of the chordal realisation of recitative by the cello in Handel opera. The realisation of recitative has a long pedagogical history from 1774–1877; it is, however, rarely part of current practice. The decline of realisation in the nineteenth century and its consequences for current practice is considered. The realisation of recitative first appears in cello pedagogy as a fully formed practice. Its origins are unclear. The first chapter demonstrates that the development of cello technique at the turn of the eighteenth century provided Italian émigré co

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31

Burkhardt, Rick. "Pipeline : for voice, bass flute, cello, and percussion /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

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32

Beadell, Mary. "A comprehensive study, descriptive analysis and resulting catalog of opera-inspired repertoire for the cello." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280676.

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Opera-inspired cello repertoire is well suited for performance and educational purposes, but has not been systematically identified and evaluated. Currently, there are neither existing studies on this repertoire nor any published compilations. Through demonstration and analysis, this study will show the performance qualities and pedagogical merit of this repertoire through identification, review and analysis of each piece. The findings of this study will be used to create a catalog that will make this literature more visible and more accessible to performers, teachers and students in the schoo

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33

Chen, Tzu Yun. "A Pedagogical Approach to Vibrato Styles for Advanced Cello Students and Their Teachers." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365642147.

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34

Sharp, Barry Shelton. "Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

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Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work

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35

Sloan, Steven Ernest. "The Seasons: 30 Haiku for Flute, Clarinet, Violin, Cello, Mezzo-Soprano, and Baritone." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491382981518334.

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36

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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37

Bebe, David Martin. "A Logical and Comprehensive Sequence of Skills for Teaching Children the Cello." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/227.

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The main purpose of this essay is to develop the most effective and logical sequence of skills for teaching children how to play the cello. This essay deals with the questions "When does one introduce specific skills for playing the cello?" and "Is there a sequence of skills that is universally the most beneficial for learning how to play the cello?" The chapters include a detailed examination of the existing cello methods currently available to cello teachers, and explore whether the ideal comprehensive cello sequence exists. It is important for teachers to have a complete plan for the young

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38

Abubakr, Mukryan. "Maqam - orientalisk improvisation : att utforska maqam-baserad improvisation på solocello." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4234.

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39

Bogert, Nathan Bancroft. "Transcribing string music for saxophone: a presentation of Claude Debussy's Cello Sonata for baritone saxophone." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2442.

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The saxophone has a rich tradition of performing transcriptions. In recent years, saxophonists have begun exploring the performance of transcriptions that would have previously been believed to be outside of the capabilities of the saxophone. In general, this new wave of transcriptions has been drawn from the repertoire of string instruments. Through the arrangement of Claude Debussy's Cello Sonata of 1915, this document provides a step-by-step explanation of how saxophonists can effectively transcribe string music for the

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40

Kwon, Sae Rom. "Basic Principles of the Alexander Technique Applied to Cello Pedagogy in Three Case Studies." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337288926.

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41

Chudy, Magdalena. "Discriminating music performers by timbre : on the relation between instrumental gesture, tone quality and perception in classical cello performance." Thesis, Queen Mary, University of London, 2016. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18378.

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Classical music performers use instruments to transform the symbolic notationof the score into sound which is ultimately perceived by a listener. For acoustic instruments, the timbre of the resulting sound is assumed to be strongly linked to the physical and acoustical properties of the instrument itself. However, rather little is known about how much influence the player has over the timbre of the sound - is it possible to discriminate music performers by timbre? This thesis explores player-dependent aspects of timbre, serving as an individual means of musical expression. With a research scop

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42

Rann, Thomas. "Defining an Israeli school of cello pedagogy and performance through an analysis of the teaching of Professor Uzi Wiesel." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8954.

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This research enquiry seeks to define a contemporary Israeli school of cello pedagogy and performance that has evolved out of numerous influences, and particularly the teaching of Wiesel. In analysis of the elements that define this school, a survey of the components that comprise Israeli cello playing is achieved. This adds to the body of knowledge, as this branch of cello pedagogy has not previously been investigated to this extent. The researcher used the Grounded Theory method to analyse and collate interviews from important cellists connected to the Israeli school. A questionnaire forma

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43

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

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44

Ericsson, Sara-Rebecka. "Schelomo: Rhapsodie Hébraïque." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3227.

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45

Neary, Fay Damaris. "Symbolic structure in the music of Gubaidulina." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1120157817.

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46

Dube, Michelle Claire. "Prelude of Suite V for cello solo by J. S. Bach: Options for performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.

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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, s

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47

Silver, Noreen. "Nineteenth century music for cello and piano in the British Library Collection : an annotated catalogue /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11364.

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48

Malchow, William R. "String Quartet in Three Movements." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2572.

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49

Moon, JeeHyung. "Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4881.

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50

Yun, Mi Yeon. "A New Vision for the Genre| The Five Cello Sonatas of Ludwig van Beethoven and the Striving Towards Instrumental Equality." Thesis, University of Cincinnati, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3599334.

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<p> Mainstream scholarship teaches that Beethoven's five cello sonatas follow his progression as a composer. The Op. 5 sonatas are considered to belong to the Classical tradition of keyboard domination and cello subordination, and the Op. 69 sonata is held as an important transitional work in which the cello and the piano are first treated as equals. The Op. 102 sonatas, appearing in Beethoven's increasingly chromatic and contrapuntal late period, further integrate the cello into the music making, but many scholars see the cello here as more of an independent voice than a matching partner. A c

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