Log in

Relevant bibliographies by topics / Trios (Flute, violin, cello)

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Trios (Flute, violin, cello)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Trios (Flute, violin, cello).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Trios (Flute, violin, cello)"

1

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.

Full text

Abstract:

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. Overall ratings placed the eight instruments in the following order of preference: violin, flute, cello, saxophone, clarinet, trumpet, trombone, and French horn. A significant interaction between grade, gender, and instruments indicated little difference between genders in instrument preference at the third-grade level, but in fifth-grade, females preferred flute, violin, and cello more than males. No significant difference was found between the two methods of testing.

APA, Harvard, Vancouver, ISO, and other styles

2

Tannenbaum, Peter, Claude Vivier, Paul Gerrits, and Marie Levesque. "Paramirabo [For] Flute, Violin, Cello and Piano (1978)." Notes 51, no. 3 (March 1995): 1145. http://dx.doi.org/10.2307/899348.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Thow, John, and Aaron Jay Kernis. "Delicate Songs for Flute [Piccolo and Alto Flute], Violin, and Cello (1988)." Notes 50, no. 1 (September 1993): 390. http://dx.doi.org/10.2307/898780.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Olúrántí, Ayọ̀. "African Rhythms for flute, clarinet, violin, cello, percussion and piano." Journal of the Musical Arts in Africa 14, no. 1-2 (July 3, 2017): 87–93. http://dx.doi.org/10.2989/18121004.2017.1415659.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Schwartz, Elliott, Earle Brown, and Morton Feldman. "Centering; For Solo Violin, Flute, Clarinet, Bassoon, Horn, Trumpet, Trombone, Piano, Violin, Viola, Cello." Notes 44, no. 3 (March 1988): 596. http://dx.doi.org/10.2307/941563.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

Full text

Abstract:

MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

APA, Harvard, Vancouver, ISO, and other styles

7

Christensen, Jean, Bent Lorentzen, and Ivar Lunde. "Paradiesvogel, for 7 Instruments: Flute/Piccolo, Clarinet, Violin, Cello, Guitar, Percussion, Piano (1983)." Notes 46, no. 1 (September 1989): 241. http://dx.doi.org/10.2307/940787.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

URHAL, Necla, and Ümit Kubilay CAN. "ANALYSIS OF CELLO, PIANO, VIOLIN, VIOLA AND FLUTE SHEET MUSIC BOOKS PUBLISHED IN TURKEY." Online Journal of Music Sciences 3, no. 1 (July 15, 2018): 56–89. http://dx.doi.org/10.31811/ojomus.436905.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Mottershead, Tim. "Manchester University: Psappha in Klas Torstensson's Violin Concerto." Tempo 67, no. 265 (July 2013): 80–81. http://dx.doi.org/10.1017/s0040298213000545.

Full text

Abstract:

You're probably wondering why a violin concerto was given its UK première by the chamber ensemble Psappha? An informative programme note by Paul Griffiths for the 15 February concert revealed that Swedish composer Klas Torstensson (b. 1951) had in fact written a much longer, though still compactly scored, work in 2010 and had ‘squashed it down’ in length and further reduced the number of players. The work's full title is Pocket Size Violin Concerto – scored for soloist with unconducted accompaniment from piano, flute, and cello. Whilst compression of this kind is not uncommon in other branches of the arts, and concision is a noble artistic aim, one's fear was that such drastic pruning might have short-circuited the music's arguments. Happily this proved unfounded; and whilst the original half-hour's duration might have been pushing it a bit, the modified version (at a whisker under 17 minutes) seemed just about right.

APA, Harvard, Vancouver, ISO, and other styles

10

Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (January 2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

Full text

Abstract:

Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Trios (Flute, violin, cello)"

1

Flesher, Eric. "Wandering rocks : for flute, clarinet, violin, cello and piano /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11331.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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 involves two or more players of either ilk. In reference to the work presented here, Sizhu is a metaphor for the western instruments (flute and clarinet as “bamboo,” and violin and cello as “silk”) that are employed within the piece. It also refers to my use of a Chinese melody in the compositional process. The song, Er Quan Ying Yue (The Moon Reflected In Second Spring), was composed and performed regularly on the streets by the blind erhu player A Bing. The song has been fragmented, stretched, and varied to the point of near inscrutability, though it becomes more comprehensible following the mid-point. It inspires both structural and local events. The work also employs aspects of the spectral style. The first section is a slow distortion and transformation of the A harmonic spectrum; specific partials are emphasized as the spectrum expands and contracts. Additionally, fragments of the Chinese melody appear within the confines of each specific harmonic structure. The second part completely diverges utilizing assimilated pentatonic scale permutations. Finally, the third section synthesizes these two elements of musical material within the piece as the instruments morendo into silence.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Hannesson, Mark Joel. "Folie à deux : a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13908.

Full text

Abstract:

Folie à deux is a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing. It explores the idea of musical influence through the metaphor of shared delusion. This dissertation is made up of four main sections. The first will look at the background to the piece, the historical and personal influences that led to its composition. The second section will discuss those aspects of the piece that are somewhat unique as well as an examination of how it does not correspond to standard practices. Next, a detailed examination of the steps taken to bring the piece to fruition will be explored. Finally, some concluding remarks will be made about the piece and the future creative directions that may be followed in its wake.

APA, Harvard, Vancouver, ISO, and other styles

6

Pak, Moon-Chung. "Sonata form in the six quintets, opus 11, by Johann Christian Bach." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026704.

Full text

Abstract:

This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.

APA, Harvard, Vancouver, ISO, and other styles

7

Pitman, Dennis. "Life Above the Permafrost." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1272739943.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

"Three compositions." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5895456.

Full text

Abstract:

by Lee Chui Ling.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.
Preface --- p.1
Chapter I. --- Twinkling --- p.3
Chapter i) --- Analysis-----Introduction --- p.4
Chapter ----- --- Formal structure
Chapter ----- --- Musical elements
Chapter ii) --- Score (with performance notes) --- p.8
Chapter II. --- Emancipation --- p.14
Chapter i) --- Analysis 226}0ؤ Introduction --- p.15
Chapter ----- --- First movement ~ Formal structure
Chapter ~ --- Orchestration
Chapter ----- --- Second movement ~Formal structure
Chapter ~ --- Harmony
Chapter ----- --- Third movement ~ Formal structure
Chapter ~ --- Musical elemets
Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25
Chapter III. --- Once Upon a Time --- p.105
Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106
Chapter ----- --- Formal structure
Chapter ----- --- Scale
Chapter ----- --- Quotation
Chapter ii) --- Score (with performance notes) --- p.111

APA, Harvard, Vancouver, ISO, and other styles

9

"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

10

Barkoskie, Alvez Theodore. "Rasgueado for flute, clarinet in Bb, violin, cello, percussion and piano." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4822.

Full text

Abstract:

"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello.
text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Trios (Flute, violin, cello)"

1

Joseph, Haydn. Sechs Trios für Violine oder Oboe (Flöte), Viola und Violoncello =: Six trios for violin or oboe (flute), viola, and violoncello. Winterthur, Schweiz: Amadeus, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Joseph, Haydn. 6 Trios für Flöte, Violine und Violoncello. Heidelberg: Güntersberg, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Wreede, Katrina. Flute trio #1 for flute, viola, and cello. [S.l.]: Vlazville Music, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Willoughby, Robert. French flute favorites. Nashville, TN: Gasparo, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Schuller, Gunther. Adagio (1953) for flute and string trio. Newton Centre, MA: Margun Music, 1992.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Boismortier, Joseph Bodin de. Sonate D-dur für Querflöte (Oboe, Violine), Gambe (Fagott, Violoncello) und Basso continuo : op. 37/3 =: Sonata in D major for flute (oboe, violin), viola da gamba (bassoon, violoncello) and basso continuo : op. 37/3. Kassel: Bärenreiter, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Zwilich, Ellen Taaffe. Trio for violin, cello, and piano. Bryn Mawr, Pa: Merion Music, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hoover, Katherine. Trio for violin, cello and piano. New York, NY: Papagena Press, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

John, Eaton. Piano trio for piano, violin, cello. [New York, N.Y.]: Associated Music Publishers, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Weiner, Lawrence. Dialogues: For violin, cello, and piano. San Antonio, Tex: Southern Music Co., 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Trios (Flute, violin, cello)"

1

"Trios for Piano, Violin, and Cello." In The Piano in Chamber Ensemble, Third Edition, 437–500. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv21hrj5p.24.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Wranitzky, Paul. "Six Sextets for Flute, Oboe, Violin, Two Violas, and Cello." In Recent Researches in the Music of the Classical Era, 87. A-R Editions, 2012. http://dx.doi.org/10.31022/c087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Schulenberg, David. "Bach the Capellmeister." In Bach, 149–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

Full text

Abstract:

As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!