Dissertations / Theses on the topic 'Viola music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Viola music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Price-Brenner, Paul Alan. "Concerto for viola section and orchestra." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5605.
Full textIsaacs, 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.
Full textAs 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.
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.
Full textManseau, 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.
Full textBenjamin 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.
Heim, Matthew David. "Trio for Clarinet, Viola, and Piano." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155752522.
Full textBruderer, 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.
Full textVita. 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.
Pinto, João Paulo do Amaral. "A viola caipira de Tião Carreiro." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284078.
Full textDissertação (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
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.
Full textThe 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.
Chang, Chih-Chao. "The Corporal Disposition of Viola Playing." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274644759.
Full textAlveteg, 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.
Full textMedine, 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.
Full textTitle 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.
Treter, Christine W. "The significance of selected compositions by Ralph Vaughan Williams which feature the viola." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861379.
Full textSchool of Music
Whitman, William V. "A graduate viola recital with extended program notes." FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/1392.
Full textMenezes, Eduardo de Almeida. "Modas de Vila e Modos de Vida: A Representa??es do Rural na Moda de Viola." Universidade Federal Rural do Rio de Janeiro, 2008. https://tede.ufrrj.br/jspui/handle/tede/704.
Full textThis work aims to identify the representations of countryside in songs classified as moda de viola . This type of music began to run on broadcast radio and recorded on discs at the beginning of the decade of 1930 and has always been associated with the rural way of life, more specifically the inhabitants of rural areas limited to the area of caipira culture, which includes parcels Southeast, Central West and Southern regions of Brazil. To observe the representations of the rural in these songs, it was necessary, firstly, set the moda de viola category and map the context in which it is embedded, noting the analysis and historical surveys on the subject, conducted by professionals from different areas. Based on the results obtained in this step has been proposed a methodology to analyze the letters the songs. The option to study this subject was see the letter of songs as literary pieces and use elements of the proposed methods for analysis of the literature Antonio C?ndido and Pierre Bourdieu. From this perspective were done surveys of social factors that can influence the compositions, namely the public, the trajectory of the composers and the context of production. Once seen these aspects was held reading of the songs and identification of representations of the countryside.
Este trabalho tem como objetivo identificar as representa??es do rural presentes nas m?sicas classificadas como moda de viola. Este tipo de m?sica passou a ser veiculado nas emissoras de r?dio e gravado em discos, no in?cio da d?cada de 1930, e sempre associado ao modo de vida rural, mais especificamente aos habitantes das ?reas rurais circunscritas ? ?rea da cultura caipira, que comporta parcelas das regi?es Sudeste, Centro-Oeste e Sul do Brasil. Para se observar as representa??es do rural nessas m?sicas, foi necess?rio, em primeiro lugar, definir a categoria moda de viola e mapear o contexto onde ela est? inserida, observando a an?lise e levantamentos hist?ricos sobre o tema, realizados por profissionais de diferentes ?reas. Com base nos resultados obtidos nessa etapa, foi proposta uma metodologia para an?lise das letras as m?sicas. Optou-se por tratar as modas de viola como pe?as liter?rias e utilizar elementos dos m?todos propostos para an?lise de literatura de Ant?nio C?ndido e Pierre Bourdieu. A partir desta perspectiva foram feitos levantamentos dos elementos sociais que podem influenciar as composi??es, a saber: o p?blico, a trajet?ria dos compositores e o contexto de produ??o. Uma vez observados esses aspectos, foi realizada a leitura das modas e a identifica??o das representa??es do rural.
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.
Full textNg, Shaun Kam Fook. "Le Sieur de Machy and the French solo viol tradition." University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0060.
Full textGarcia, Rafael Marin da Silva 1982. "Moda-de-viola : lirismo, circunstância e musicalidade no canto recitativo caipira /." São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/95141.
Full textBanca: Gisela Gomes Pupo Nogueira
Banca: Saulo Sandro Alves Dias
Resumo: A presente pesquisa traz um estudo sobre as modas-de-viola, gênero específico da música caipira, buscando a partir de transcrições e análises musicais e textuais, demonstrar algumas características específicas do gênero, revelando suas principais estruturas musicais, seus conteúdos temáticos e sua funcionalidade, que além da transmissão de valores morais, em muitos casos pode ser entendida como expressão poética musical que reflete determinado contexto social, servindo como ferramenta de denúncia e crítica a processos de exclusão e opressão social. A partir de um estudo histórico das narrativas de tradição oral demonstra-se também a recorrência dos temas de algumas modas-de-viola em narrativas que remontam a Idade Média, o Renascimento e transpassam a religiosidade popular brasileira. Como parte complementar à pesquisa discute-se o estigma caipira a partir de uma parcial reconstrução dos processos sócio-culturais e político-ideológicos responsáveis pela sua invenção, cujas conseqüências são as atribuições pejorativas que o termo caipira acarreta historicamente, e que, também na música, foi associado à noção de atraso e pobreza musical
Abstract: The present research brings a study about the modas-de-viola, specific genre of caipira music, searching from transcriptions and musical and literal analysis, to demonstrate some specific characteristics of the genre, revealing its main musical structures, its thematic contents and its funtionality, that beyond the transmission of moral values, in many cases can be understood as musical poetical expression that reflects certain social context, serving as tool of denunciation and criticism to the processes of exclusion and social oppression. From a historical study of the narratives of the oral tradicion it is also demonstrated the recurrence of the subjects of a few of modas-de-viola in narratives that retrace the Average Age, the Renaissance and trespass the Brazilian popular religiousness. As a complementary part to the research, is argued the caipira stigma, from a partial reconstruction of the sociocultural and ideological politician processes, which are responsible for its invention, which has the consequences of the pejorativas attributions that the term caipira causes nowadays, and that, also in music, it was associated with the notion of delay and musical poverty
Mestre
Stevens, Daniel Brent. "Rebecca Clarke: A Viola Duo Transcription of the Prelude, Allegro, and Pastorale." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30513/.
Full textLEE, 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.
Full textCheney, Stuart. "Dubuisson: A Study of His Music for Solo Bass Viol." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500315/.
Full textAnderberg, Hanna. ""TACK! Nästa!" : En undersökning av Stamitz violakonsert i D-dur: Sats I. Allegro i samband med orkesterprovspelningar." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4162.
Full textSacco, Ana Carolina Robusti 1979. "Estudo interpretativo da obra 'Trio das águas' para clarinete, viola e piano de Ricardo Tacuchian." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285323.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T09:43:22Z (GMT). No. of bitstreams: 1 Sacco_AnaCarolinaRobusti_M.pdf: 15590996 bytes, checksum: ae62d7c571cb9ee599acbdfd96cc3ecb (MD5) Previous issue date: 2015
Resumo: O objeto de estudo deste trabalho é a peça "Trio das Águas" composta por Ricardo Tacuchian no ano de 2012 e dedicada ao Terra Brasilis Trio, grupo no qual a autora desta dissertação atua como pianista. O primeiro capítulo aborda aspectos do ofício de compositor segundo Tacuchian, seus anseios e motivações para compor, fazendo ainda uma breve explanação a respeito dos fundamentos teóricos do Sistema ¿ T, ferramenta de controle de alturas desenvolvida pelo compositor no início dos anos 80 utilizada para a composição do "Trio das Águas". No segundo capítulo identificamos aspectos relevantes do emprego do Sistema ¿ T e que serviram de base para estruturar esta primeira interpretação. As sugestões interpretativas aqui encontradas baseiam-se no trabalho em conjunto dos primeiros intérpretes da obra com o compositor, buscando melhor compreensão de suas ideias quanto à concepção da obra, sonoridade e articulações desejadas. Os anexos consistem em textos de autoria do compositor sobre a abordagem estética em suas obras e seu Sistema ¿ T, disponibilizados pelo mesmo, e que deram suporte a essa dissertação. Ao levantar essas informações, o presente trabalho tem por objetivo dar subsídios aos futuros intérpretes desta peça no desenvolvimento de uma interpretação coerente com as idéias do compositor
Abstract: The subject of this dissertation is the piece "Trio das Águas" (Water¿s Trio) composed by Ricardo Tacuchian in the year 2012 and dedicated to the Terra Brasilis Trio, ensemble where the author of this dissertation acts as pianist. The first chapter addresses aspects of the composer¿s craft, his wishes and motivations to compose it, and explains the T-System (Sistema ¿T), a pitch control tool developed by the in the 1980¿s used in the composition of the "Trio das Águas". In the second chapter, we identify relevant aspects of the use of this T-System that worked as basis for the first interpretation of the piece. The interpretative suggestions are based in the collaborative work of the first interpreters with the composer, seeking a better comprehension of his ideas about the concept of the work, sonority and desirable articulations. The attachments consist of texts by the composer about the aesthetical approach in his pieces and the "Sistema ¿ T". These texts, made available by the composer himself, served as basis for this dissertation. The present dissertation has as its goal to offer support to future interpreters of this piece, facilitating the development of an interpretation coherent with the composer¿s ideas
Mestrado
Praticas Interpretativas
Mestra em Música
Andersson, Oskar. "Liten till stor : Att byta från violin till viola." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79008.
Full textTábora, Deras Manuel Emilio. "The viola works of Peter Racine Fricker, with emphasis on his Three movements for viola solo, op. 25 plus an overview of his Concerto for viola op. 18, and Fantasy for viola and piano, op. 44." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1921.
Full textPereira, Antonio Carlos de Mello. "Concerto para viola de Claudio Santoro : edição de partitura, redução para viola e piano e subsidios para interpretação." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284717.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T12:06:02Z (GMT). No. of bitstreams: 1 Pereira_AntonioCarlosdeMello_M.pdf: 3600416 bytes, checksum: c92d7d21bb89a916777ef4de9d4054a7 (MD5) Previous issue date: 2008
Resumo: Este trabalho tem o intuito de contribuir para a pesquisa e o enriquecimento do repertório de música brasileira específica para viola, em vista da pouca quantidade de obras em forma de concerto escritas para o instrumento no Brasil. A produção de uma partitura editada e a redução no formato para viola e piano, permite em primeiro lugar o estudo de forma prática da obra por músicos e professores, e conseqüentemente sua aplicação no currículo das escolas de música, conservatórios e universidades. Isso contribui para divulgar esse concerto especialmente representativo na obra de Claudio Santoro. O trabalho de edição utiliza sugestões de James Grier, com uma investigação histórica sobre as fontes, estabelecendo critérios de revisão e edição fundamentados num estudo e identificação dos elementos de estilo do compositor. Em seguida realizamos uma análise da peça seguindo a proposta de Jan LaRue em seu livro Guidelines for Style Analysis, que igualmente propõe a identificação dos elementos musicais, suas inter-relações que ajudam a definir aspectos de estilo do compositor. Finalizando, oferecemos informações e sugestões como subsídios para a interpretação do concerto, sempre lembrando a conexão da parte teórica e analítica com a realidade prática do intérprete. As sugestões de sonoridades específicas são embasadas em aspectos técnicas da prática violística com especificações em dedilhados, arcadas, e articulações.
Abstract: The primary purpose of this study is to contribute to the research on the contemporary Brazilian repertoire for viola, which has very few concertos. The musical edition prepared in this research, including the score, the reduction for viola and piano, and the solo-viola part, will allow its study by musicians, teachers and students, and consequently its inclusion in the curriculum of conservatories, music schools and universities. This way we hope to help preserving this concerto so representative of Claudio Santoro's musical production. The edition process was based on James Grier's suggestions, using historic investigation of the sources and establishing review and edition criteria based on the identification of the composer's style. In the sequence of the study, we use the method proposed by Jan LaRue's in his book "Guidelines for Style Analysis" to identify the musical elements and its inter-relation to help define aspects of the composer's style. Finally, we offer information and subsidies for the interpretation of the concert, connecting analysis and instrumental practice, with suggestions about musical and technical problems.
Mestrado
Mestre em Música
Luce, Gregory R. "British viola repertoire of the first half of the twentieth century." Thesis, University of Maryland, College Park, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3725814.
Full textThe aim of this dissertation performance project has been to obtain a familiarity with the sound and emotional palette of the British viola repertoire of 1900-1950. The music of this time and place has a uniquely soulful, pensive, and internally wrought emotional quality which translates perfectly into the character of the viola.
The first recital consisted of music written for the world’s then-preeminent viola virtuoso, Lionel Tertis (1876-1975). This program included Vaughan Williams’ Romance for Viola and Piano, Frank Bridge’s Two Pieces for Viola and Piano (Pensiero and Allegro Appassionato), Arnold Bax’s Sonata for Viola and Piano, and finally York Bowen’s thrilling Sonata No. 1 in C Minor.
The second recital contained the chronologically ordered complete works for viola and piano of Rebecca Clarke (1886-1979). Thanks to the monumental sonata of 1919, Rebecca Clarke is thought of by many as a composer, but she was most certainly a remarkable violist as well, making her one of the last performer-composers to continue the legacy of the great composer-virtuosi of the late nineteenth and early twentieth centuries. Clarke was at the very forefront of a time when female composers were beginning to be accepted socially. She is removed by only fifty or so years from the time of Clara Schumann, another great female artist, but is perhaps more remarkable in that her instrument of choice was not as widely accepted as a solo instrument at that time.
The final recital consisted of several works chosen to showcase the viola’s unique relationship with British composers over time. The first half of the recital featured three under-celebrated works by Arnold Bax: Concert Piece, Trio in One Movement, and Legend. The second half of this program reached back into the late Renaissance with a pair of pieces by John Dowland arranged for violin and viola, then finishing with Benjamin Britten’s Lachrymae of 1950, which was inspired by these two works.
Tsinadze, Ana. "The Voice of the Viola in the Music of Giya Kancheli." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86526.
Full textD.M.A.
Giya Kancheli is a Georgian composer whose creative journey has encompassed a variety of genres including film scores, symphonies, concertos, and theater music. While his early works were under the influence of various musical styles and genres including early Baroque and jazz, his latest compositions have undergone significant progress, leading to a highly individual creative style. Departing from traditionalist elements, the recent compositions of Kancheli are unorthodox in the treatments of form and harmony. The expressive gestures in combination with explosive eruptions of individuality in his music create an undercurrent of looming calamity. This monograph analyses the reasons Kancheli chose to use the viola as a solo instrument in the four works written thus far, Vom Winde beweint, Abii ne viderem, Caris Mere, and Styx. Aside from providing an assessment of the musical content, each chapter investigates the compositional process involved as well as the particular circumstances surrounding each composition that led the composer to select the viola as a solo instrument.
Temple University--Theses
Braddock, Andrew. "A Performance Guide to Arthur Bliss's Sonata for Viola and Piano." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/152.
Full textYucel, Gizem. "The viola concerto of Ahmed Adnan Saygun| Compositional elements and performance perspectives." Thesis, The University of North Carolina at Greensboro, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3609611.
Full textAhmed Adnan Saygun (1907-1991) is one of the most important Turkish composers. He is also celebrated as an influential teacher and a dedicated ethnomusicologist. His compositional output spans a great variety of genres from symphonies to arrangements of Turkish folk songs to solo partitas and concertos. His complex and brilliant orchestrations have won him a worldwide reputation, and the Viola Concerto substantiates this claim. Saygun incorporates both western neoclassical compositional techniques and Turkish folk elements throughout this concerto.
The viola concerto, written in 1977, was recorded two times, in 1989 and 2006. While his music has been analyzed and interpreted by both theorists and musicologists, this particular work has never been formally researched. The purpose of this study is to analyze the form and structure of each movement of the concerto through a discussion of the elements Saygun uses. This study will provide brief historical background on western classical music in Turkey, the life of the composer, and his compositional style in order to better understand Saygun as a composer and his viola concerto in particular. Themes and folk elements will be identified and analyzed in order to better understand the connection between movements. In this study, the integrated rhythmic, melodic, structural and instrumental elements of Turkish folk tradition will be highlighted. Through this research, I endeavor to introduce the piece to a new audience as well as to potential performers.
Pereira, Guilherme de Carvalho. "Técnicas de realização de acordes na viola /." São Paulo, 2018. http://hdl.handle.net/11449/155839.
Full textBanca: Luiz Britto Passos Amato
Banca: Emerson Luiz de Biaggi
Resumo: O presente trabalho tem por objetivo aprofundar o conhecimento acerca da realização de acordes na viola a partir da concepção dos principais autores da literatura da viola e do violino dos séculos XIX e XX. Aspectos da escrita empregada para indicar a sobreposição de notas para esses instrumentos trouxeram a necessidade de reflexão sobre sua realização por parte do instrumentista. Devido ao formato curvo do cavalete e ao fato de a crina do arco ser plana, a execução de acordes demanda o uso de técnica específica, sendo necessário o uso de estudos e exercícios para seu desenvolvimento. Trata-se de assunto fundamental para o desenvolvimento do instrumentista, entretanto, observa-se escassez de material pedagógico disponível que aborde a técnica de acordes. Foi realizado um levantamento no intuito de quantificar e classificar a ocorrência de emprego de acordes em métodos, livros de exercícios, estudos e caprichos, nos quais foram encontradas propostas de estudo, realização e interpretação de acordes. Observou-se que as orientações relacionadas à execução de acordes diferem marcantemente entre os autores consultados, apontando para uma riqueza de possibilidades de realização desse aspecto da técnica de arco que fornece variedade de meios para atender às vastas demandas estilísticas com que se deparam violistas e violinistas enquanto intérpretes.
Abstract: This research aims to deepen the knowledge about chord playing on Viola, based on the conceptions of the main Viola and Violin authors of the 19th and 20th centuries. Some aspects related to the writing of overlapping notes to those instruments brought the need of reflection about their execution by players. Due to the curved form of the bridge and to the fact that the hair of the bow is flat, the execution of chords demands the usage of a specific technique and consequently the use of studies and exercises for its development. Despite it is a fundamental matter for the instrumentalist's development, it may be observed a scarcity of teaching material available that addresses the chord playing technique. A research with the purpose of quantifying and classifying the occurrence of chord usage in methods, practicing books, etudes and caprices was done, and varied proposals of studying, performance and interpretation of chords were found in those methods. It was observed that the orientation related to the execution of chords differs markedly among consulted authors, displaying a richness of performing possibilities of such bowing technique aspect that provides a variety of means to attend to the wide stylistic demands which Viola and Violin players encounter as performers.
Mestre
Marjamäki, Veikko. "Franz Schubert's "Arpeggione" sonata : Style, background and role in romantic viola repertoire." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3978.
Full textO'Loghlin, Michael. "The Viola da gamba music of the Berlin School, 1732-1772 /." [St. Lucia, Qld.], 2002. http://adt.library.uq.edu.au/public/adt-QU20021223.153129/index.html.
Full textMin, Sungah. "Three twentieth century viola virtuosos music written for them by them /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3166.
Full textBetancourt, Cindy Alyce. "William Walton's viola concerto : a methodology of study." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063302.
Full textSchool of Music
LEE, KYUNGJU. "AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSIONS OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP 120 BY JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100760484.
Full textSchilling, Scott Michael. "The Importance of Transcriptions for the Modern Viola Performer: A Complete Transcription of Ysaÿe's Sonata for Violoncello Solo Op. 28." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242175457.
Full textKim, SeonJu. "Challenges faced by modern violists when preparing the F. Schubert Arpeggione sonata for performance /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11422.
Full textHendrickson, Tyler John. "John Blackwood McEwen Sonata in A minor for viola and piano (1941): a critical performance edition." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6762.
Full textGarcia, Rafael Marin da Silva [UNESP]. "Moda-de-viola: lirismo, circunstância e musicalidade no canto recitativo caipira." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/95141.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Universidade Estadual Paulista (UNESP)
A presente pesquisa traz um estudo sobre as modas-de-viola, gênero específico da música caipira, buscando a partir de transcrições e análises musicais e textuais, demonstrar algumas características específicas do gênero, revelando suas principais estruturas musicais, seus conteúdos temáticos e sua funcionalidade, que além da transmissão de valores morais, em muitos casos pode ser entendida como expressão poética musical que reflete determinado contexto social, servindo como ferramenta de denúncia e crítica a processos de exclusão e opressão social. A partir de um estudo histórico das narrativas de tradição oral demonstra-se também a recorrência dos temas de algumas modas-de-viola em narrativas que remontam a Idade Média, o Renascimento e transpassam a religiosidade popular brasileira. Como parte complementar à pesquisa discute-se o estigma caipira a partir de uma parcial reconstrução dos processos sócio-culturais e político-ideológicos responsáveis pela sua invenção, cujas conseqüências são as atribuições pejorativas que o termo caipira acarreta historicamente, e que, também na música, foi associado à noção de atraso e pobreza musical
The present research brings a study about the modas-de-viola, specific genre of caipira music, searching from transcriptions and musical and literal analysis, to demonstrate some specific characteristics of the genre, revealing its main musical structures, its thematic contents and its funtionality, that beyond the transmission of moral values, in many cases can be understood as musical poetical expression that reflects certain social context, serving as tool of denunciation and criticism to the processes of exclusion and social oppression. From a historical study of the narratives of the oral tradicion it is also demonstrated the recurrence of the subjects of a few of modas-de-viola in narratives that retrace the Average Age, the Renaissance and trespass the Brazilian popular religiousness. As a complementary part to the research, is argued the caipira stigma, from a partial reconstruction of the sociocultural and ideological politician processes, which are responsible for its invention, which has the consequences of the pejorativas attributions that the term caipira causes nowadays, and that, also in music, it was associated with the notion of delay and musical poverty
Yang, Fan. "Reconsidering the Nineteenth-Century Potpourri:Johann Nepomuk Hummel’s Op. 94 for Viola and Orchestra." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522417588095517.
Full textBurns, Christopher. "Weave : for string trio /." May be available electronically:, 2003. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
Full textPref. includes abstract and performance instructions. "Weave, for string trio, is formed of three solo pieces: Weft for violin solo, Shuttle for viola solo, and Warp for cello solo, each composed using a common structural and metrical grid, so that they may be performed simultaneously"--Leaf iv.
Sokolov, Yaron. "Atteone significa : for viola, piano and percussion with controllers /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
Full textNeary, Fay Damaris. "Symbolic structure in the music of Gubaidulina." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1120157817.
Full textGoodall, John W. (John Williams). "A Stylistic Analysis of Charles Martin Loeffler's Deux Rapsodies for Oboe, Viola and Piano, L'étang and La cornemuse, After Poems by Maurice Rollinat: A Lecture Recital, Together with Three Recitals of Selected Works by E. Rubbra, D. Beaty, B. Britten, W.A. Mozart, and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332159/.
Full textGalvin, Rachel White. "Viola Transcriptions| History, Rationale, and Process, with Focus on Selected Works by August Halm." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3611984.
Full textSince the viola attained soloist status in the early to mid 20 th Century, violists have been faced with the never-ending task of matching the performance standards of their more agile violin brethren. Much of the violinist's technical facility comes from their study of pre-twentieth century musical offerings; yet, the development of the viola student is handicapped by the lack of original viola repertoire from that time. More repertoire of this ilk needs to be made available as transcriptions to violists. Moreover, violists should be the ones creating these transcriptions because they know best the intricacies of the instrument. This may seem a daunting task since not all violists are experienced in composing or transcribing. Further, no standard transcribing process exists in print.
The aim of this document is to purpose a set of general guidelines for transcribing music from the violin to the viola, while isolating the various problems that can occur during that process. The Two Sonatas for Violin and Piano, as well as the Three Solo Sonatas for Violin of German composer, August Halm (1869–1929), will serve as the case study from which to build this method. While Halm is admittedly a Modern era composer, his compositional style leans more heavily on Bach, Beethoven, and Bruckner than his contemporaries. A secondary aim of this document is to inform the reader of Halm's pedagogical and theoretical opinions, and to demonstrate how they remain relevant for today's performers and students.
Teng, Chi-Chuan. "\"Xianshi,\" the Viola Concerto by Yi Chen : general analysis and issues of performance interpretation /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978856.
Full textEmerson, Christa Marie. "Structure and Meaning in Schnittke Analysis: Oppositional Functions in the Viola Concerto." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1250618137.
Full textAdvisor: Robert Zierolf. Title from electronic thesis title page (viewed Nov. 24, 2009). Includes abstract. Keywords: Schnittke; Viola Concerto; Music and Narrative. Includes bibliographical references.
Morgan, LeeAnn Jolley. "The William Primrose transcriptions : Primrose's rise to eminence and the expansion of the viola repertoire through his transcriptions /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11231.
Full textWetzel, Minor Lewis. "A better Bartók dilemmas and solutions in performing Bartók's Viola concerto /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2026890361&sid=5&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textSwanson, Christina Marie. "Adding to the viola repertoire by arranging: A study on methods of arranging music for viola from clarinet, with an original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280389.
Full text