Relevant bibliographies by topics / Viola music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Viola music'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Viola music"

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Wallace, Helen, Clarke, Phillip Dukes, and Sophia Rahman. "Viola Sonata Maconchy: Five Sketches for Viola Shostakovich: Viola Sonata." Musical Times 135, no. 1817 (July 1994): 462. http://dx.doi.org/10.2307/1003267.

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Sills, David, and Philip J. Kass. "Viola Forum: The Viola Music of Lillian Fuchs." American String Teacher 35, no. 2 (May 1985): 59–61. http://dx.doi.org/10.1177/000313138503500222.

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Rose, Ellen C., and Karen Ritscher. "Viola Excerpts as Music." American String Teacher 44, no. 1 (February 1994): 54–58. http://dx.doi.org/10.1177/000313139404400117.

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Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (October 2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.
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Bekenova, A. "N.Karimov's viola transcriptions in the pedagogical repertoire (on the example of the transcription of «Kuy» by M.Sagatov)." Pedagogy and Psychology 47, no. 2 (June 30, 2021): 256–64. http://dx.doi.org/10.51889/2021-2.2077-6861.30.

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In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited repertoire. The article deals with the transcription of N.Karimov's «Kuy» for violin and chamber orchestra by M. Sagatov as one of the first experiments in interpreting the sound of dombra kuy in viola music.
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Cyr, Mary, Jason Paras, George Houle, and Glenna Houle. "The Music for Viola Bastarda." Notes 45, no. 1 (September 1988): 146. http://dx.doi.org/10.2307/941405.

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Milliot, Sylvette, and Jason Paras. "The Music for Viola Bastarda." Revue de musicologie 73, no. 1 (1987): 129. http://dx.doi.org/10.2307/928922.

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Broe, Carolyn Waters. "Viola Music by Women Composers." American String Teacher 57, no. 3 (August 2007): 68–71. http://dx.doi.org/10.1177/000313130705700312.

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Hancock, Virginia, Jason Paras, George Houle, and Glenna Houle. "The Music for Viola Bastarda." Sixteenth Century Journal 19, no. 1 (1988): 124. http://dx.doi.org/10.2307/2540977.

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Spencer, Kathleen Moretto, and Howard Mayer Brown. "How Alfonso della Viola tuned his viols, and how he transposed." Early Music 14, no. 4 (November 1986): 521–33. http://dx.doi.org/10.1093/earlyj/14.4.521.

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Dissertations / Theses on the topic "Viola music"

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Price-Brenner, Paul Alan. "Concerto for viola section and orchestra." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5605.

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Concerto for Viola Section and Orchestra is a two-movement work lasting nineteen minutes. Its first movement in entitled Frenetic, and the second, Song and Finale, is made up of a slow and fast section. The concerto is scored for piccolo, two flutes, two oboes, two clarinets in B-flat, bass clarinet, two bassoons, two horns in F, two trumpets in C, tenor trombone, bass trombone, four percussion, a section of seven violists, violins 1, violins 2, violoncellos, and double basses. Balance can be one of the main problems with writing a work for solo viola and orchestra. While the viola’s timbre makes it an enticing instrument, there is a restriction that keeps it from easily projecting over an orchestra. Composers have devised several methods for solving the problem. For example, Paul Hindemith was careful not to over orchestrate in his concerto entitled Der Schwanendreher. By limiting the number of cellos and basses to four and three respectively, and by omitting violins and other violas altogether, Hindemith thinned out and removed timbres that might obstruct the viola. In my concerto for a section of violas, I also consider orchestration as a solution to the problems of balance and projection. However, I focus on the soloists in contrast to the orchestra. By composing for seven violas, I utilize the thickness of sound achieved through chorusing. Using any combination of the violas, it becomes easier for the listener to perceive the viola timbre. Furthermore, this use of multiple violas allows for more complex counterpoint in solo passages, something a single instrument is not able to manage on its own. This piece is not a concerto grosso in any sense. The soloists do not perform as a smaller chamber ensemble extending from the larger orchestra. Instead, the soloists are treated as a single entity. They act as one unit, using seven performers to do the work of one soloist.
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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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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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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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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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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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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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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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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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Alveteg, Ellen. "Dra stråken till sin spets : En undersökning av extended techniques för viola genom instudering av Viola Spaces av Garth Knox." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69373.

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Efter att ha gått en kurs i fri improvisation där jag fick utforska min violas möjligheter till att producera ljud, väcktes en nyfikenhet hos mig kring utökade speltekniker som kan förekomma i nutida konstmusik, så kallade extended techniques. Jag fick tips om etydsamlingen Viola Spaces av Garth Knox där olika extended techniques presenteras och bestämde mig för att studera in fyra av dem. De etyderna jag valde behandlar olika stråktekniker, nämligen sul ponticello, sul tasto, tremolo och olika sätt att dra stråken på. Under arbetets gång redogör jag för de svårigheter jag stötte på under min inlärningsprocess av etyderna samt hur jag gick till väga för att lösa dem. Arbetet redovisas dels genom videoinspelningar som jag gjorde i samband med mina övningstillfällen och dels genom material från de anteckningar jag förde under processen. Jag tar också upp tolkningsfrågor av notationen och reflekterar kring instruktionerna om hur musiken ska framföras. Arbetet har resulterat i att jag känner mig bättre förberedd på att spela nutida konstmusik än vad jag gjorde tidigare. Jag har också utökat min kunskap om olika stråktekniker.
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Books on the topic "Viola music"

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Zeyringer, Franz. Literatur für Viola =: Literature for viola = Littérature pour alto : Verzeichnis der Werke für Viola-Solo, Duos mit Viola, Trios mit Viola, Viola-Solo mit Begleitung, Blockflöte mit Viola, Gesang mit Viola und der Schul- und Studienwerke für Viola. Hartberg: Schönwetter, 1985.

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George, Houle, and Houle Glenna, eds. The music for viola bastarda. Bloomington: Indiana University Press, 1986.

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Bauer, Ross. Chin music: Viola and piano. New York: C.F. Peters, 1993.

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Riley, Dennis. Winter music: Violin and viola. New York: C.F. Peters, 1987.

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Zeyringer, Franz. Literatur für Viola: Verzeichnis der Werke für Viola-Solo, Duos mit Viola, Trios mit Viola, Viola-Solo mit Begleitung, Blockflöte mit Viola, Gesang mit Viola und der Schul- und Studienwerke für Viola = Literature for viola : catalogue of works for viola solo, duos with viola, trios with viola, solo viola with accompaniment, recorder with viola, voice with viola, and methods, etudes and exercises for viola = Littérature pour alto : répertoire des oeuvres pour alto seul, dous avec alto, trois avec alto, alto seul avec accompagnement, flûte et alto, chant et alto, pièces pour méthodes et conservatoires. Hartberg, Austria: J. Schönwetter Jun., 1985.

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Kolb, Barbara. Cavatina: For solo viola. [New York]: Boosey & Hawkes, 1988.

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Vivaldi, Antonio. Opere per viola all'inglese (viola da gamba). Firenze: Studio per edizioni scelte, 2006.

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Staff, Hal Leonard Corp. Movie Music: Viola. Leonard Corporation, Hal, 2006.

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Staff, Hal Leonard Corp. Movie Music: Viola. Leonard Corporation, Hal, 2006.

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Hal Leonard Publishing Corporation (COR). Movie Music: Viola. Hal Leonard Corporation, 2006.

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Book chapters on the topic "Viola music"

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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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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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Karyawanto, H. Y., M. Sarjoko, and V. E. Dewi. "Variative etude as skill-forming on the Youth Level Viola major course at music study program." In Innovation on Education and Social Sciences, 49–55. London: Routledge, 2022. http://dx.doi.org/10.1201/9781003265061-7.

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Dudeque, Norton. "Bach's music." In Heitor Villa-Lobos's Bachianas Brasileiras, 16–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429323874-2.

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Ahrendt, Rebekah. "The Diplomatic Viol." In International Relations, Music and Diplomacy, 93–114. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63163-9_5.

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Dudeque, Norton. "Intertextuality with Brazilian popular music." In Heitor Villa-Lobos's Bachianas Brasileiras, 96–119. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429323874-4.

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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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Kildea, Paul. "Artist’s Choice: Cecil Aronowitz (1970)." In Britten on Music, 345. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0104.

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Abstract Cecil Aronowitz has been a regular and welcome visitor to the Festival for about twenty years. His remarkable playing has been heard each year from the pit of the Jubilee Hall, as our viola soloist in operas such as The Rape of Lucretia, Albert Herring and The Turn of the Screw, not to mention The Little Sweep. His musicianly leading of the violas (and what a joy to work with!) has been indispensable ever since the E.C.O. became our resident orchestra. Perhaps his most spectacular appearances have been in the Church Parables in Orford Church, where he can be seen energetically leading and encouraging the other instrumentalists (and of course singing the plainchant in the processions). We are delighted that his is the Artist’s Choice of the year, and that he will be partnered for most of the programme by his young wife Nicola.
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Conference papers on the topic "Viola music"

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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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Hsieh, MingChih. "The Keyboard Music of Heitor Villa-Lobos." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.012.

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Ferreira, Leonardo, Estela Ribeiro, and Carlos Thomaz. "A cluster analysis of benchmark acoustic features on Brazilian music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10444.

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In this work, we extend a standard and successful acoustic feature extraction approach based on trigger selection to examples of Brazilian Bossa-Nova and Heitor Villa Lobos music pieces. Additionally, we propose and implement a computational framework to disclose whether all the acoustic features extracted are statistically relevant, that is, non-redundant. Our experimental results show that not all these well-known features might be necessary for trigger selection, given the multivariate statistical redundancy found, which associated all these acoustic features into 3 clusters with different factor loadings and, consequently, representatives.
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