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Relevant bibliographies by topics / Viola and cello music

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Academic literature on the topic 'Viola and cello music'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Viola and cello music"

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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.

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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.

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Drakeford, Richard, Michael Glinka, Friedrich Cerha, Eric Hudes, William Mathias, Arvo Part, and Henri Pousseur. "Sextet for Two Violins, Viola, Cello, Double Bass and Piano." Musical Times 134, no. 1801 (March 1993): 141. http://dx.doi.org/10.2307/1193860.

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Hall, Michael. "Birtwistle's ‘Pulse Shadows’." Tempo, no. 204 (April 1998): 12–13. http://dx.doi.org/10.1017/s0040298200006264.

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By alternating his Nine Movements for String Quartet with his Nine Settings of Paul Celan (for soprano, two clarinets, viola, cello and double bass) to produce Pulse Shadows, Harrison Birtwistle created not only his longest work for the concert hall but also his most moving and affirmative.

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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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Bumpass, Kathryn, Wolfgang Amadeus Mozart, and Philip R. Wilby. "Allegro in F for Clarinet, Basset Horn, Violin, Viola, and Cello." Notes 42, no. 2 (December 1985): 401. http://dx.doi.org/10.2307/897453.

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Uscher, Nancy. "A 20th–Century Approach to Heterophony: Mark Kopytman'S ‘Cantus II’." Tempo, no. 156 (March 1986): 19–22. http://dx.doi.org/10.1017/s0040298200022087.

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Plato discussed the term ‘heterophony’ in his Laws, Part VII, The technique was widely in use by the Notre Dame school of composers in 12th-century Paris. Much of the indigenous music of the Near East and Africa is rich with it. Indeed, there is an important example in the Credo of Beethoven's Missa Solemnis. The Israeli composer Mark Kopytman has in recent years transformed this ancient term into a vital 20th-century technique, and made it the language of some of his important compositions. One of these, Cantus II for violin, viola, and cello (1980), will be performed at the ISCM World Music Days during March in Budapest.

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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.

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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.

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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.

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Radzetskaya, Olga Vladimirovna. ""Four Pieces on Lute Music Themes of the XVI and XVII Centuries" by S.N. Vasilenko: in the Context of Art." Development of education, no. 4 (10) (December 20, 2020): 63–68. http://dx.doi.org/10.31483/r-96705.

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The relevance of the article is related to the process of studying ensemble disciplines, because students due to this process need to create a three-dimensional representation of the work of the studied composer. The purpose of the article is an acquaintance with a number of compositions to create a convincing artistic interpretation of the work. Methods – description, observation, representation. The article presents an overview of the heritage of one of the prominent figures of Russian musical art in the first half of the XX century – Sergey Nikiforovich Vasilenko, who had a well-deserved respect among admirers of the academic style and traditions of the Moscow school of composition. The focus is on the review of chamber and ensemble music by S.N. Vasilenko, which reflects the specifics of the composer's creative thinking: a colorful sound palette, an appeal to the folklore heritage of Eastern peoples, original instrumental compositions, and ancient music of Western European composers. Results: substantiation of the author's idea in creating an exquisite program suite "Four pieces on themes of lute music of the XVI–XVII centuries" for cello (or viola) and piano (1918). This is one of the first works for viola written by S.V. Vasilenko in the post-October period of art, rarely performed and practically not found in educational practice. Conclusion: this cycle is the basis for further study of chamber literature for viola in historical dynamics and perspective.

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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.

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Dissertations / Theses on the topic "Viola and cello music"

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

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Moss, Kirk D. "Favored sound production exercises of selected violin, viola, cello, and double bass pedagogues an analysis and adaptation /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013485.

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Mehraban, Andrew. "The Genesis of Bottesini’s Gran Quintetto for Two Violins, Viola, Cello, and Double Bass and the Application of the Italian Scordatura." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619188369070701.

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Thomason, Eliza E. "Marcel Tabuteau and His Art of Phrasing: Applied to Suite No. 6 for Cello (Transcribed for Viola) in G Major, By J.S. Bach." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282568860.

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Ortega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.

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Du, Plessis Jacques. "Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017818.

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Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.

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Bottoni, Jennifer C. "The Heart's Portrait: An Emily Dickinson Fascicle for SATB Choir and String Quartet." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/200.

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The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.

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Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.

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Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

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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 antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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Books on the topic "Viola and cello music"

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Association, American String Teachers. String syllabus: Violin, viola, cello, double bass, ensembles. Edited by National School Orchestra Association. 2nd ed. United States: The Association, 2003.

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Association, American String Teachers. String syllabus: Violin, viola, cello, double bass, ensembles. [United States]: The Association, 2000.

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Peterson, Wayne. Duodecaphony: For viola & violoncello. New York, N.Y: C.F. Peters, 1993.

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Peterson, Wayne. Duodecaphony: Viola and violoncello. [New York?]: Henmar Press, 1995.

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Marais, Marin. Five old French dances =: (Cinq danses fran̨caises anciennes) : viola (or violin or cello) and keyboard. Saint Louis, Mo. USA: Petrucci Music Press, 1990.

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Amram, David. Conversations: Flute, violin, viola, violoncello, and piano. New York: C.F. Peters, 1992.

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Davidovsky, Mario. Quartetto for fl, v, vle, cello (1987). New York: C.F. Peters, 1988.

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Larson, Anna. Adagio for trumpet and strings, for trumpet, violin, viola and cello. Washington, D.C: Arsis Press, 1991.

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Tertis, Lionel. Sunset =: (Coucher du soleil) : for violin, viola, or violoncello, with pianoforte accompaniment. London: J. & W. Chester, 1994.

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

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Book chapters on the topic "Viola and cello music"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Cello." In The Teaching of Instrumental Music, 421–30. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-30.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Viola." In The Teaching of Instrumental Music, 415–20. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-29.

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Hassler, Laura, and Chris Nicholson. "Cello Lessons and Teargas: War, Peace and Music Education." In The Palgrave Handbook of Global Arts Education, 417–29. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-55585-4_26.

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Yu, Lauren Jane, and Andrea Pohoreckyj Danyluk. "Predicting Expressive Bow Controls for Violin and Viola." In Computational Intelligence in Music, Sound, Art and Design, 354–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55750-2_24.

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Segall, Christopher. "Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto." In Analytical Approaches to 20th-Century Russian Music, 243–63. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-17.

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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.

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"The Cello." In The Teaching of Instrumental Music, 337–46. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-31.

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"The Viola." In The Teaching of Instrumental Music, 331–36. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-30.

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Cassidy Parker, Elizabeth. "Interlude." In Adolescents on Music, 172. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0020.

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Music inspires me. When I listen to music, I feel calm and focused. When I play music, I feel energized. I love playing the viola because of how it makes me feel, how it creates friendships and makes life happier and funnier every time I play. My viola and I are an inseparable pair....

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Harrison, Bryn. "Foreshadowing and Recollection: Listening Through Morton Feldman’s Piano, Violin, Viola, Cello." In Being Time. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781501396267.ch-002.

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Conference papers on the topic "Viola and cello music"

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Cojocaru, Daniela. "THE FOLKLORIC ORIGINS IN RUSTIC TRIO FOR VIOLIN, VIOLA AND CELLO BY ION GHIGA." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s15.055.

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Ruchkina, Natalia. "qNaturalq Music of Ivan G. Sokolov: Sonata for Cello and Piano." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.101.

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Schimbinschi, Florin, Christian Walder, Sarah M. Erfani, and James Bailey. "SynthNet: Learning to Synthesize Music End-to-End." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/467.

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We consider the problem of learning a mapping directly from annotated music to waveforms, bypassing traditional single note synthesis. We propose a specific architecture based on WaveNet, a convolutional autoregressive generative model designed for text to speech. We investigate the representations learned by these models on music and concludethat mappings between musical notes and the instrument timbre can be learned directly from the raw audio coupled with the musical score, in binary piano roll format.Our model requires minimal training data (9 minutes), is substantially better in quality and converges 6 times faster in comparison to strong baselines in the form of powerful text to speech models.The quality of the generated waveforms (generation accuracy) is sufficiently high,that they are almost identical to the ground truth.Our evaluations are based on both the RMSE of the Constant-Q transform, and mean opinion scores from human subjects.We validate our work using 7 distinct synthetic instrument timbres, real cello music and also provide visualizations and links to all generated audio.

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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.

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