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

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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1

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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2

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

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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Turnbull, Catherine. "Performing the Bach cello suites on the viola /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19293.pdf.

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McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.
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Romare, Barth-Croon Michelle. "Hur startar man en stråkkvartett?" Thesis, University of Skövde, School of Humanities and Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-4182.

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Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.

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14

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

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15

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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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 Requiem: for Cello Alone, Threnody, Into the Dreaming, For Justine, and Sonata for Cello Alone, in order to explore his incorporation of Australian characteristics within the context of idiomatic writing for the solo cello.

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16

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

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17

Isaacs, Azra. "A performance guide of J.S. Bach's viola da Gama sonatas transcribed for viola." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13253.

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Includes bibliographical references.
As a viola player who is currently learning the viola da gamba sonatas, I have noted a significant dearth of literature in this focal area. This has been particularly evident when approaching the viola transcriptions of Bach’s solo cello suites and viola da gamba sonatas. My aim is to create a performance guide to J.S. Bach’s Three Sonatas for viola da gamba and Harpsichord (BWV 1027‐1029), transcribed for viola. I shall be comparing three editions of viola transcriptions to Bärenreiter’s Neue Bach Ausgabe, edited by Hans Eppstein. This comparison will focus on articulation markings and other editorial devices used to adapt the sonatas for the viola. An analysis of the articulation used by Bach and his copyists can only be undertaken if performance practice of the time is understood. The “Historically Informed Performance” (HIP) movement is central to this understanding, and has been the topic of much recent debate. Although the viola da gamba and viola are both string instruments, they differ in size and employ different techniques. Thus, should the articulation and timbre of the former be imitated in playing the latter? Or should the unique qualities of the viola be embraced to create a distinct sound? Thus, my interest in this research topic was piqued not only by the need for interpretative clarification; but also by the potential to address the specific technical difficulties arising due to the mechanics of the viola.
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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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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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20

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 (1987), Jonathan Harvey's Advaya (1994), Richard Ayres's No, 30 (NONcerto for Orchestra, Cello and High Soprano) (2001, rev. 2003), and Harrison Birtwistle's Tragoedia (1965), this thesis proposes a framework for sustained analysis of musical agency. Theorising the manner in which listeners construct virtual subjectivities in musical works, this thesis proposes a new approach to musical agency in which the subjective and embodied agential responses of listeners are privileged. Focus is directed towards exploring the manner in which musical representations of voice, gesture and volition engage the embodied agency of listeners through mandatory, virtually-mandatory and elective means. It is argued that listeners' subjective and embodied agential responses enable the attribution of virtual agents to musical works. These virtual agents can then partake in agential narratives for suitably inclined listeners. The thesis thereby hypothesises the existence of intra-agency: a conceptual space that blends the various agencies - composer, performer, persona, listener and context - at play in a musical work.
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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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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.
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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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
D.M.A.
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 where we can examine the evolution of vibrato with relative ease, simply by listening to different recordings. When examining the question of cello vibrato prior to the second half of the 19th century with its technological innovations, however, we are left with a somewhat paradoxical question: “How did vibrato sound?“ This question is important for two reasons. First, through exploring the history of cello vibrato we may be able to make clearer inferences or, at the very least, establish more educated hypotheses, pertaining to general questions of sound and musical aesthetics throughout the centuries. Second, examining early cello technique and how it evolved can greatly help us understand the evolution of the left hand’s role in performance, particularly in the creation of vibrato. I am well aware that when it comes to historical performances prior to the introduction of quality recording technology, we can only deal with probabilities, never certainties, and we have no way of knowing what soloists and orchestral musicians sounded like, nor do we have a way to know what composers wished to hear. Since it is not possible to draw conclusions based on audio recordings prior to the end of the 19th century, I will explore the evolution of cello vibrato through close examination of early cello performance practice, as outlined in treatises and texts, as well as accounts by musicians who were key figures in developing and advancing playing techniques. While it will never be feasible to go back in time and hear this evolution for ourselves, it is possible to construct a better understanding of the use of vibrato prior to the second half of the 19th century. My aim in this paper is to better understand the evolution of cello vibrato, its origins, early techniques for producing it, and the influence of technique on vibrato over the years, mainly throughout Europe, in order to better answer this question: when did vibrato become an integral part of the cellist’s sound? Have cellists always used vibrato, and if so, did they use it continuously on all possible pitches? For the performing artist and teacher, it is highly beneficial to know the history and evolution of vibrato, and its role in the development of the cello sound over the years. Having this knowledge can have a direct effect on interpretation. By way of background, I will first discuss the origins of both the instrument and vibrato itself, in separate chapters.
Temple University--Theses
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Shen, Shuo. "The Controlled Indeterminacy in Lutoslawski's Cello Concerto." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574713314501106.

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Manseau, Colleen. "Benjamin Britten's early viola works with a pedagogical analysis intended for the advancing viola student." Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3724313.

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Benjamin Britten wrote five pieces for the viola, the most well-known being the Lachrymae, Op. 48: Reflections on a song of Dowland written in 1950 for the Scottish violist William Primrose. Britten’s other viola works were composed in 1930-1932 and were written for himself to perform as the violist. They were not published until after his death and have only recently been available for purchase. The intent of this treatise is to help make these lesser-known works to be more accessible for instructors in order to teach these pieces to young advancing violists. For the purpose of this study, advancing violists may be defined as students who generally are in high school or college with well-developed techniques such as vibrato, shifting, spiccato, and bow control.

This document includes a short biography of Benjamin Britten along with a pedagogical analysis of the pieces Reflection for Viola and Piano (1930), Elegy for Viola Solo (1930), Two Portrait (1930) No. 2, and There is a Willow Grows Aslant a Brook. The author studied each piece and worked with a pianist to establish proper tempos and fingerings. For rhythmically challenging ensemble passages, the author created original exercises for piano and viola to be played together. The author also has created original exercises for practicing difficult passages and improving techniques such as shifting. Musical examples, with alternate bowing and fingerings, are also discussed in this study.

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Heim, Matthew David. "Trio for Clarinet, Viola, and Piano." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155752522.

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Kotsoni-Brown, Stavria. "The solo cello concertos of Antonio Vivaldi." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366973.

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CARPINTEYRO, EDUARDO. "PEDAGOGICAL ASPECTS IN DAVID POPPER'S FOUR CELLO CONCERTOS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195506444.

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Yu, Wei-Shuan. "A Comparison of Cello and Viola da Gamba Bow Technique and Style from 1600–1750." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627667722072256.

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Chang, Chih-Chao. "The Corporal Disposition of Viola Playing." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274644759.

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Reed, Annaliese Ippolito. "The J.C. Bach/Casadesus Viola Concerto through pedagogical lenses." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591638.

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The Johann Christian Bach Viola Concerto in C minor plays a significant role in the student viola repertoire. The research presented is intended to serve as a resource to teachers who are preparing viola students for the study and performance of this work. First, historical context is given and the mysterious origin of the concerto is stated and explored. Second, the skills required before approaching the piece are outlined in addition to the benefits of the study of this work. Through this project report, students and teachers will gain a better understanding of the J.C. Bach/Casadesus Viola Concerto and why it is a vital piece in the viola repertoire.

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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 compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition.
School of Music
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33

Bruderer, Conrad David. "A study of twentieth-century violin and viola duos : including critical reviews and analyses of selected works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839494.

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Thesis (Ph. D.--Music)--University of California, San Diego, 1998.
Vita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.
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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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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 player to the concept that techniques and musical expression are not two separated entities, rather, techniques serve as a medium to convey the music.
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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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Whitman, William V. "A graduate viola recital with extended program notes." FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/1392.

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The extended program notes include historical facts of the composers and characteristics of the pieces being performed. The graduate viola recital will include the following works: Concerto in D-Major by Franz Anton Hoffmeister, Suite No. I in G-Major by Johann Sebastian Bach, and Sonata in A-Minor (Arpeggione) by Franz Schubert.
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Nummela, Arttu. "Dmitri Shostakovich’s Viola Sonata : History and analysis." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3485.

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In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.
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Reiter, Erica Amelia 1968. "Krzysztof Penderecki's Cadenza for Viola Solo as a derivative of the Concerto for Viola and Orchestra: A numerical analysis and a performer's guide." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289622.

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The intent of this study is to explore the musical, structural, and intervallic relationship between Krzysztof Penderecki's two works for viola, the Concerto for Viola and Orchestra and Cadenza for Viola Solo. The Concerto for Viola is a twenty-minute work accompanied by full orchestra; the Cadenza for Viola Solo is an eight-minute solo work. In these viola works, Penderecki has encapsulated the characteristics of the viola: the tone, technical capacity, and character. Both of Penderecki's viola works demand and reinforce the unique qualities of the viola. This document provides a performance guide to help a performer develop more insight and understanding of the viola's individual qualities that are represented in these pieces. The comparison between the Concerto for Viola and Cadenza for Viola Solo is discussed in three sections. First, the two works are divided into logical sections and compared to one another in a parametric structure chart. The musical and structural features discussed in the performance analysis include motivic elements, articulations, rhythmic ideas, dynamics. The highest tier consists of larger concepts, such as structure, phrasing, and sequential patterns. The lower tiers focus on detailed comparisons including dynamics, note patterns, and fingerings. These musical and structural analyses of the Concerto for Viola and Cadenza for Viola Solo are represented in flowcharts. These flowcharts evaluate, along an aerial view, similarities and dissimilarities between sections, the merging of one section with another, and the formal structure of the two works. The second analysis is a process based on applying to each pitch a specific numerical value. Each pitch is assigned a designated number, and the two pieces are compared solely on these numbers. The numbers indicate the intervallic relationships of motives, phrases, and sequences of each work. The numerical comparisons demonstrate consistent correlations between the two works that are not evident through other methods of analysis. Finally, the Cadenza for Viola Solo is analyzed from a performer's perspective. These performance issues focus on certain sections that require more detailed guidance, inclusive of bowing technique, shifting options, vibrato, and dynamic considerations.
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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 might selectively assimilate what I had learnt about the composers' methods into my own work. This study extended beyond the genres in which I was myself composing or are reflected in my portfolio. Secondly, in addition to work with my tutors, I attended group tutorials (during my first year) and, whenever possible, participated in workshops, seminars and discussion groups not only at Royal Holloway, but also in other centres, including The Royal College and the Royal Academy of Music, King's College, London, the University of Cambridge and the Royal Northern College of Music. One of the pieces in this portfolio was composed expressly for and another was first played at a Royal Holloway workshop. Other workshop pieces are listed in Appendix I. Workshops and other discussions, more Of less formal, with players and singers enriched my understanding of instrumental and vocal techniques. Lastly, I sought performances of my music, and engaged in active collaboration and discussion with the performers as regards notation, precision in indicating technique, etc. The chapters which follow document my activities. In Chapter 1 I discuss my analytical processes, and in the following chapters indicate how I applied what I had learnt and identify some of the works in the repertoire which I found most instructive, in relation to each of the pieces submitted for consideration. I suggest that the major works submitted show clear stylistic development.
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Pinto, João Paulo do Amaral. "A viola caipira de Tião Carreiro." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284078.

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Orientador: Jose Roberto Zan
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T17:30:30Z (GMT). No. of bitstreams: 1 Pinto_JoaoPaulodoAmaral_M.pdf: 6828945 bytes, checksum: b0e6967a207bca86632cf629ed108239 (MD5) Previous issue date: 2008
Resumo: Esse trabalho é resultado de uma pesquisa sobre a obra musical do músico e compositor Tião Carreiro (José Dias Nunes, 1934-1993). O enfoque principal foi identificar os elementos constitutivos e as características do estilo desse artista como instrumentista de viola, instrumento reconhecido como o símbolo da chamada música caipira. Para tanto, foram analisados musicalmente os dois LPs instrumentais do violeiro gravados em 1976 e 1979. Além disso, foram abordados os aspetos históricos da viola caipira, do segmento instrumental sertanejo e da trajetória do artista no mercado fonográfico. A partir das análises musicais, foi identificado um conjunto de elementos e técnicas utilizados pelo músico para construir seus toques e solos. A pesquisa também relacionou e caracterizou musicalmente as matrizes e gêneros, caipiras ou não, utilizados pelo violeiro na gravação desses dois discos. Entre eles, destaca-se o pagode de viola, gênero criado no final dos anos cinqüenta a partir da combinação de algumas matrizes musicais e que, por ter se tornado a marca principal do violeiro, foi objeto de uma investigação mais aprofundada.
Abstract: This work is the result of a research on the musical work of the musician and composer Tião Carreiro (José Dias Nunes, 1934-1993). The main focus was to identify the constituent elements and the characteristics of the style of this artist as a viola (Brazilian ten-string guitar) instrumentalist, considering the viola a recognized instrument as the symbol of what is so called música caipira (typical rural music of the central-southern region of Brazil). For that, the two first instrumental LPS of the artist, recorded in 1976 and 1979, were musically analysed. Besides that, historical aspects of viola caipira, also from the instrumental sertanejo segment and the trajectory of the artist in the phonographic market were approached. From these musical analyses a group of elements and techniques used by the musician to build his touches and solos was identified. The research also related and musically characterized the origins and genders, caipira or not, used by the violeiro in the recordings of these two records. Among them, there is one in particular, the pagode de viola, gender created at the end of the fifties's, from the combination of some musical origins and that, for having become the main mark of the violeiro, was the subject of a deepened investigation.
Mestrado
Mestre em Música
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42

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 traditional music to their performance practices. By analyzing Hwang’s compositions in greater detail, this essay will provide cellists practice guidelines to achieve the desired tone and interpretive gestures of new cello repertoire. This essay contains Hwang’s biography and her philosophy of music and a description of the Korean influences on her music, including the genres of traditional music in Korea, their cultural background, music in Shaman ceremonies, Buddhist music, and p’ungmul (folk drumming and dance). There is also a performance guide of Beckoning for Cello and two Korean Drums; Presence for Soprano, Cello, and Piano; and Hundredth View for Solo Cello with my own interpretation. Learning Hwang’s pieces will bring cellists new experiences that are a mixture of music, culture, thoughts, and methods from Western and Eastern influences.
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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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44

Medine, David. "Bach, Ligeti, Saariaho, and Pisaro a recital /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464864.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the recital, PDF text of thesis, and PDF file with recital program.
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Price-Brenner, Kevin. "Pedagogical transcriptions for teaching two advanced works for cello : Beethoven’s Sonata for cello and piano no. 3 in A major, op. 69 and Haydn’s Cello concerto no. 1 in C major, Hob.VIIb.1." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2131.

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Advanced cello students and their studio teachers have a wide range of literature to study and perform that spans approximately 400 years. Despite this wealth of repertoire, advanced music from the classical era is often understudied or overlooked due to difficulties of the accompanying part, written either for the piano or the orchestra. For example, Beethoven’s cello sonatas tend to be avoided by teachers of advanced young students because of the difficulties in securing a pianist. Additionally, Haydn’s cello concerti demand a great deal of rehearsal time with an experienced pianist in preparing the student to perform with a full ensemble. The purpose of this study is to provide pedagogical assistance to the cello studio teacher of advanced students. This detailed teaching edition reduces the original accompaniment into a single cello part to be played by the studio teacher during lessons. The transcriptions do not replace the music written for the piano, but functions as a three-part pedagogical bridge: teaching the student the solo; accompanying the student in the cello reduction; and preparing the student to play with the accompaniment as originally conceived. The two compositions presented in this aid are Beethoven’s Sonata for Cello and Piano No. 3 in A major, Op. 69 and Haydn’s Cello Concerto No. 1 in C major, Hob. VIIb.1. This practical study will refer to An Annotated Translation of Evegeny Shenderovich’s Overcoming Technical Difficulties in the Piano Transcriptions of Orchestral Scores by Marcelina Turcanu.
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LEE, HSIAOPEI. "THE HISTORY OF VIOLA TRANSCRIPTIONS AND A COMPREHENSIVE ANALYSIS OF THE TRANSCRIPTION FOR VIOLA AND PIANO OF BEETHOVEN'S VIOLIN SONATA OP. 30, NO. 1." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115956595.

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47

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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48

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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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.
Vita. Discography: leaves 77-79. Includes bibliographical references (leaves 80-83). Available also in a digital version from Dissertation Abstracts.
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50

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 composer-cellists with the techniques to realise recitative. The use of the cello as a harmonising instrument is traced through its repertoire from the late seventeenth century to the unexpected pedagogical source of Geminiani’s The Art of Playing the Guitar. An analysis of this important and neglected source for the cello is offered. Opera manuscripts that appear to reveal traces of realisation by the cello are examined. Initially promising Handel sources are debunked. Handel harpsichord scores suggest that the continuo group was more homogeneous than in current recorded practice. This is considered alongside the poor acoustics of eighteenth-century theatres, suggesting a motive for the realisation of recitative by the cello. Cello methods from 1741–1877 are analysed. They reveal an increasingly elaborate practice of realisation of recitative by the cello in the early nineteenth century. Tensions emerge in the methods between Affekt, technique, and stagecraft. The author’s own practice is described. Common techniques between chordal realisation and current practice are examined. A method for acquiring a vocabulary of chords is offered that improves on those in the historical methods. Transcriptions of the author’s realisations together with a report from rehearsals and performances of Handel’s Agrippina at the Vlaamse Opera illustrate the author’s practice. The thesis concludes with a response to critical reception to the author’s practice.
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