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Journal articles on the topic 'Electronic and cello music'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Cleman, Thomas, Robert Basart, and Yehuda Yannay. "Kansas City Dump; For Clarinet, Piano, Violin, Cello, and Electronic Tape." Notes 44, no. 2 (1987): 367. http://dx.doi.org/10.2307/941598.

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2

Straebel, Volker. "Technological implications of Phill Niblock's drone music, derived from analytical observations of selected works for cello and string quartet on tape." Organised Sound 13, no. 3 (2008): 225–35. http://dx.doi.org/10.1017/s1355771808000320.

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AbstractFour compositions for cello and string quartet on tape by American intermedia artist Phill Niblock originating from 1974 to 2003 are discussed. The interdependence of compositional approach and available technology is considered, leading to the observation that the electronic music composer's technique is considerably independent of the available technology. Where a dependence of artistic development on factors not originally musical has to be acknowledged, these nonmusical factors lie not so much in the technology but in Niblock's interpretation of it. This is discussed within the con

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3

LIVINGSTON, HUGH. "Paradigms for the new string instrument: digital and materials technology." Organised Sound 5, no. 3 (2000): 135–47. http://dx.doi.org/10.1017/s1355771800005045.

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The applications of technology in instrument design contribute to the resulting sound on many levels, particularly in the context of new evolutions representing the traditional instruments of our culture. Materials technology is seldom given consideration in the description of Western string instruments, but our choices of woods, metals and synthetics can dramatically alter the sound without altering the substance of instrumental performance. In the design of modified string instruments which mimic features of natural acoustic predecessors, new technology is applied on many levels. A taxonomy

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4

Berehova, Olena, and Mariia Kara. "Features of the individual interpretation of the cello sonata genre in the creation by Gyorgy Ligeti." Музикознавча думка Дніпропетровщини, no. 18 (November 16, 2020): 167–78. http://dx.doi.org/10.33287/222027.

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The purpose of this scientific article is characterization of the individual approach concerning the outstanding Austrian composer of Hungarian origin Gyorgy Ligeti to the genre of sonata for cello solo, which was successfully made by this composer. To achieve this goal, the role of this genre in the composer’s work is determined, the stylistic features of the only cello sonata in the composer’s work are discovered, and the composition of the work is analyzed. The methodology research as is in applying a holistic musicology analysis that allows deeply penetrate into the essence of the intonati

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5

Tsaregradskaya, Tatiana V. "The Music of Fausto Romitelli: Concerning the Question of “Musical Material”." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2024): 81–90. http://dx.doi.org/10.56620/2782-3598.2024.1.081-090.

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The end of the 20th century demonstrates an expansion of horizons of the comprehension of musical sonorities, the conception of their transformation from music into “sound,” which radically changes the perception of timbre: this element becomes transformed from a peripheral component of sound to the primary element, thereby changing entirely the entire conception of musical material. Thus, the theory of music material developed by outstanding German philosopher Theodor Adorno in the middle of the 20th century has found its confirmation. The latter’s concept of the historicity of music material

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6

Kleinpell, Ruth, JJ Schlesinger, Akash Gururaja, and M. B. Michel. "Implementing a Therapeutic Music Program in the ICU." International Journal of Critical Care 18, no. 4 (2024): 27–28. https://doi.org/10.29173/ijcc1006.

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Introduction: In an effort to promote a healing environment in the intensive care unit (ICU), the use of therapeutic music offers an opportunity to expand patient and family centered care initiatives. However, limited information is available on the benefits of therapeutic music for patients, family members and clinical staff. Objective: The objective of this study was to implement a therapeutic music program in the ICU setting. Using musicians who were processed as hospital volunteers, the program was implemented starting in the medical ICU and expanding to 4 other clinical ICUs at an academi

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7

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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8

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

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9

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

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10

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

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11

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

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12

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

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13

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 3 (2024): 361–63. http://dx.doi.org/10.53830/sing.00016.

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Abstract: Four new song cycle publications are reviewed for this September 2023 submission: Michael Ching’s Arrangements and Derangements: Interpretations of Schubert for Soprano, Cello, and Piano ; Reinaldo Moya’s Ciudad Perdida ; Lori Laitman’s Into Eternity: A Letter by Vilma Grunewald , for mezzo-soprano and piano; and Marion von Tilzer’s Into Eternity , for mezzo soprano, solo cello, string quartet, and piano.

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14

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

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15

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

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16

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

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17

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

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18

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

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19

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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20

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

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21

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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22

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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23

Lee, MyungJin. "A Study on the Audition Pieces of Music Colleges for the Cello Majors from 2007 to 2017." Korean Society of Music Education Technology 31 (April 16, 2017): 99–120. http://dx.doi.org/10.30832/jems.2017.31.99.

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The purpose of this study is to analyze the audition requirements for the admission of the 8 music colleges for cello majors for last 10 years. In order to achieve this goal, 55 cello pieces were collected from 8 music colleges such as Kyunghee University, Seoul National University, Sookmyung Women’s University, Yonsei University, Ewha Womans University, Chungang University, Korea National University of Arts, and Hanyang University. Investigating the frequency of the repertoire presents that 8 music colleges are applying a uniform standard in their audition requirements. This results may illus

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24

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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25

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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26

Raharja, Adi William. "ANALYSIS OF MUSIC FORM AND CELLO PLAYING TECHNIQUES SONATINE FOR CELLO & PIANO BY BUDHI NGURAH." Repertoar Journal 1, no. 1 (2020): 94–113. http://dx.doi.org/10.26740/rj.v1n1.p94-113.

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This resesarch aims to describe the musical form, and cello techniques that include fingering and bowing techniques in the work of Budhi Ngurah. The research process is using descriptive analytic methods. Data in this research were obtained by observation, interviews, and documentation. And analyzed by reduction, presentation and inference. The results indicate that the Sonatine For Cello and Piano by Budhi Ngurah consists of 3 movements. Movement I has a sonata forms with moderate tempo consisting of exposition, development, and recapitulation. Movement II has a three parts music form, ABA. M

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27

Akbel, Burcu Avcı. "Students' and Instructors' Opinions on the Implementation of Flipped Learning Model for Cello Education in Turkish Music." Journal of Education and Training Studies 6, no. 8 (2018): 1. http://dx.doi.org/10.11114/jets.v6i8.3256.

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Flipped learning is based on more effective use of the time spent with the instructor in the classroom. This study is aimed at identifying students’ and instructors’ opinions on the use of flipped learning model in cello education in Turkish music. This is the first study whereby flipped learning model has ever been used in Turkish Music education and cello education. Opinions on the implementation of the model were obtained through semi-structured interviews separately prepared for students and instructors. The data were analyzed by using the content analysis method. According to the data fro

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28

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

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

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29

Wang, Han. "The Application and Practice of AI Empowering Cello Teaching." Arts Studies and Criticism 6, no. 1 (2025): 30. https://doi.org/10.32629/asc.v6i1.3584.

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With the rapid development of artificial intelligence technology, its application in the field of music education is becoming increasingly widespread. This paper aims to explore the application and practice of AI technology in cello teaching, analyze how it improves teaching efficiency and learning effects, and elaborate its practical value through specific cases. The article first introduces the current development status of AI technology in music education, and then elaborates in detail the specific applications of AI in cello teaching, including intelligent accompaniment practice, personali

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30

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

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31

Çiftçibaşı, Mehmet Can. "Development of a cello performance measurement tool: Validity and reliability study." Cypriot Journal of Educational Sciences 16, no. 2 (2021): 859–68. http://dx.doi.org/10.18844/cjes.v16i2.5688.

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The aim of this study was to develop a new performance measurement tool with proven validity and reliability to be used in the semester final exams of the individual instrument (cello) courses in institutions in which music teachers are trained. The study has a descriptive nature and a documentary scan was made during the preparation of the items to be included in the measurement tool. The participants of the study comprised 17 instructors who teach cello in 17 different universities in Turkey and a total of 50 students from 4 different music teaching programmes. In the study, two different da

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32

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

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

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33

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

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

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34

Topaloğlu, Taner, and Şebnem Yıldırım Orhan. "Instructor Opinions on the Use of Turkish Folk Music of Syncopated Style in Cello Training." Journal of Education and Learning 7, no. 6 (2018): 165. http://dx.doi.org/10.5539/jel.v7n6p165.

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The ability of the music teacher to provide a more qualified education in the professional life and to express himself musically is directly proportional to the quality of the previous instrument training. Studies revealed that the Turkish music products are not used sufficiently in the instrument training given by the institutions of music education and the inadequacy of the customized Turkish music products for use in education.  From this point of view, the aim of this study is to determine the usage status of works and studies of Turkish folk music of syncopated style arranged

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35

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

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36

SCHMID, CAITLIN. "Ice(d) Music/Cello/Bodies: Re-staging Charlotte Moorman's Ice Music (1972–2018)." Twentieth-Century Music 17, no. 2 (2020): 213–45. http://dx.doi.org/10.1017/s1478572220000067.

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Abstract1972: Charlotte Moorman walked onto a concert hall stage – nude – and played a cello made of ice until it melted. 2001: Joan Jeanrenaud re-staged Moorman's piece wearing a wetsuit and brandishing a pitchfork. 2017: Seth Parker Woods performed a ‘protest’ version on an obsidian-coloured ice instrument. In this article, I argue that Ice(d) Music/Cello/Bodies has become a musico-political palimpsest, a measure of the way Moorman and her art have been recuperated through performative historiography. Through a reconstruction of the historical circumstances under which Moorman, Jeanrenaud, a

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37

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

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38

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

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39

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

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40

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

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41

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

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42

Geringer, John M., Rebecca B. MacLeod, and Michael L. Allen. "Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors." Journal of Research in Music Education 57, no. 4 (2009): 351–63. http://dx.doi.org/10.1177/0022429409350510.

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The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean fr

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43

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

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44

McConville, Brendan P. "RECONNOITERING THE SONIC SPECTRUM OF SALVATORE SCIARRINO IN ‘ALL' AURE IN UNA LONTANANZA’." Tempo 65, no. 255 (2011): 31–44. http://dx.doi.org/10.1017/s0040298211000040.

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The above quote, extracted from his L'Opere per Flauto (1977–1990), provides not only a colorful introduction to the effusive imagination of Italian composer Salvatore Sciarrino, but also a preview of what an unfamiliar listener may expect to find in his music. His largely unchanging musical language has slowly yet deliberately – like the four-minute unbroken cello glissando found near the end of his Vanitas for voice, cello and piano (1981)– captured the attention of composers, performers, scholars, and new music enthusiasts for over 30 years. Moreover, examination of Sciarrino's music provok

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45

MacLeod, Rebecca B. "A Comparison of Aural and Visual Instrument Preferences of Third and Fifth-Grade Students." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 33–43. http://dx.doi.org/10.2307/40319328.

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Abstract Instrument preferences of third and fifth-grade students (N = 90) were investigated for eight instruments commonly found in orchestra and band: flute, clarinet, saxophone, violin, cello, trumpet, French horn, and trombone. Participants were divided into two groups and asked to identify their favorite and least favorite instrument from a list of the eight instruments. One class each of third and fifth-grade students, Group A, listened to aural examples of the instruments and rated preferences for each instrument. The other two classes, Group B, rated pictures of each instrument. Overal

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46

Zolotareva, Natalia, and Maria Panchenko. "The features of the interpretation Concert e-moll for cello and orchestra by A. Khachaturyan." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 170–81. http://dx.doi.org/10.33287/222044.

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The purpose of this scientific represented publication is to reveal the peculiarities of the interpretation of the concerto in e-moll for cello and orchestra by Aram Khachaturian into representatives of different cello schools. The research methods is based on general scientific principles of research, such as analysis, synthesis, deduction, induction and special, a namely historical approach, method of interpretative analysis, comparative way, performance analysis and many others scientific manners. The scientific novelty of this submitted research article is that for the first time in domest

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47

Brumbeloe, Joe, and Stefan Wolpe. "Quartet for Oboe, Cello, Percussion, and Piano." American Music 14, no. 1 (1996): 132. http://dx.doi.org/10.2307/3052471.

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48

Purton, Alice. "Ellen Fallowfield and Keitaro Takahashi, Cello MApp." Tempo 75, no. 297 (2021): 97–98. http://dx.doi.org/10.1017/s0040298221000152.

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49

Terey-Smith, M. "Review: The Cambridge Companion to the Cello." Music and Letters 83, no. 4 (2002): 621–22. http://dx.doi.org/10.1093/ml/83.4.621.

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50

Kartik, T. K., and M. Mishra. "Artists on Social Media: an Analysis of Personal Branding Strategies employed by Indian Independent Artists on Social Media Platforms." CARDIOMETRY, no. 23 (August 20, 2022): 509–18. http://dx.doi.org/10.18137/cardiometry.2022.23.509518.

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The main objective of this paper is to understand the different tactics and platforms used by independent artists successfully to promote themselves as a brand and garner attention to their music, building a fan base. The platforms include social media and other platforms and also understand the most favorable platform for promoting oneself as an artist. This paper also deals with the different strategies they use to promote themselves. The first part of the paper includes the evolution of the music industry, the rise of streaming services, and independent artists. The revenue models of famous

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