Relevant bibliographies by topics / Viola Repertoire

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Academic literature on the topic 'Viola Repertoire'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Viola Repertoire"

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Przygocki, James. "Becoming an Artist: Viola Repertoire for the Developing Student." American String Teacher 70, no. 1 (2020): 49–53. http://dx.doi.org/10.1177/0003131319892252.

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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 (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 r
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Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.

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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – wit
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Shevtsova, Anastasia V. "The Genre of the Instrumental Concerto in the Viola Repertoire: from Bach to Schnittke." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2018): 31–37. http://dx.doi.org/10.17674/1997-0854.2018.1.031-037.

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Antokoletz, Elliott. "Bartók’s Viola Concerto manuscript: Some questions and speculations." Studia Musicologica 53, no. 1-3 (2012): 69–84. http://dx.doi.org/10.1556/smus.53.2012.1-3.6.

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The question of authenticity in the creation of Bartók’s Viola Concerto has been one of the most enigmatic in the viola repertoire. Inconsistencies among revisions of the work by different scholars since the first attempt by Tibor Serly in 1946 reveal that the task of uncovering an authentic final version by scrutinizing the manuscript itself is not always a clearcut or “purely mechanical” endeavor. Following a brief overview of the manuscript’s layout, this article addresses some ambiguous details based on a number of puzzling indications. Some of these questions can only be resolved by acqui
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Ricketts, Matthew. "Texts—Textures—Intertexts: Brian Cherney’s Transfiguration (1990)." Intersections 37, no. 1 (2019): 181–200. http://dx.doi.org/10.7202/1059894ar.

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Transfiguration ([1990] 1991) is one of Brian Cherney’s most ambitious compositions. Scored for large orchestra, the piece explores how memories transfigure reality and what that process might sound like. Cherney weaves together a dizzying mise en abyme of quotations—from the canonic repertoire, simulacra of European folk tunes, and his own earlier music (including most prominently Shekhinah for solo viola from [1988] 1992). Orchestral textures alternatively obscure and reveal material both directly and indirectly related to and inspired by the Holocaust, including the photograph of a Hungaria
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Bonini-Baraldi, Filippo, Emmanuel Bigand, and Thierry Pozzo. "Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture." Empirical Musicology Review 10, no. 4 (2016): 265. http://dx.doi.org/10.18061/emr.v10i4.4891.

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<p>Techniques based on motion capture can be useful in <span><span style="font-size: x-small;">analyzing a wide range of musical styles and practices</span></span>: in this case, Transylvanian village music. We focused on a repertoire known as “Gypsy songs of sorrow”, played by professional Gypsy musicians during parties and celebrations of their own community. Two parameters were the object of study: rhythmic duration, and synchronization between musicians (a violinist and a viola player). Results show that rhythm is a local variant of <em>aksak</em>
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Derrick, Patty S. "Julia Marlowe: An Actress Caught Between Traditions." Theatre Survey 32, no. 1 (1991): 85–105. http://dx.doi.org/10.1017/s0040557400009479.

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Julia Marlowe's career, 1887–1924, came at an awkward point in the history of the American theatre, a transitional period when old traditions were fading and new ones had not yet been established. During her thirty years as an actress, a heterogeneous mixture of plays was seen on the American stage: Shakespeare and other old classics, emotional dramas adapted from the French and German, melodramas old and new, early attempts at realism, problem plays. Most strikingly innovative in this period were the dramas of Ibsen, Shaw, and O'Neill (his early plays), which questioned conventional values an
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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.

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The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A
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Correa Suárez, Karen Johana, and Braunwin Sheldrick. "REPERTORIO LATINOAMERICANO PARA CLARINETE, VIOLA Y PIANO: CATÁLOGO CON COMENTARIOS." Ricercare 2018, no. 10 (2019): 55–82. http://dx.doi.org/10.17230/ricercare.2018.10.3.

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Este artículo tiene como objetivo proporcionar una contribución para el reconocimiento del nuevo repertorio de música de cámara latinoamericano para clarinete, viola y piano. La naturaleza de este documento no pretende ser musicológica o teórica, sino, más bien, una organización de repertorio existente para este conjunto. Para tal fin, las principales fuentes consultadas fueron compositores latinoamericanos referenciados en páginas web personales e institucionales, entrevistas vía correo electrónico y catálogos de referencia. Se compiló una lista de obras, así como una revisión de su estética
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Dissertations / Theses on the topic "Viola Repertoire"

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Oh, Yun-Jin. "Required viola repertoire for the Primrose competition and theTertis competition." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3214.

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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.

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<p> The 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.</p><p> The first recital consisted of music written for the world&rsquo;s then-preeminent viola virtuoso, Lionel Tertis (1876-1975). This program included Vaughan Williams&rsquo; <i> Romance for Viola and Piano,</i> Frank Bridge&rsquo;s <i>Two Pieces for Viola a
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Tábora, 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.

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British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never b
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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.

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The importance that Franz Schuberts music has on any classical musician is almost indisputable. His output stretches over all the important genres of his time and while he never wrote solo pieces specifically for the viola, one work has gained an essential status in the viola repertoire. That work being the sonata for arpeggione and piano, D. 821. Volumes have been written on Schubert, his style, early 19th century Vienna, romanticism, classicism and the formal development of the sonata form as well as the rise of the bourgeoise music scene. Perhaps less is written on the viola and especially
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DeStefano, Dominic. "A Guide to the Pedagogy of Microtonal Intonation in Recent Viola Repertoire: Prologue by Gérard Grisey as Case Study." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277154671.

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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.

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Delgado, João Pedro Martins. "A emancipação técnico-expressiva da viola de arco em Portugal através de repertório. Um património histórico inédito: das origens até 1945." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27865.

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A presente tese de doutoramento tem como objectivo principal estudar a evolução da emancipação técnico-expressiva da viola de arco em Portugal, das origens até 1945, analisando e mapeando um processo histórico até hoje quase desconhecido. Para este efeito, procede-se ao levantamento de fontes musicais inéditas, respectivo tratamento crítico e análise de características técnicas e interpretativas, bem como à investigação documental histórica e musicológica, por forma a contextualizar o processo estudado. A partir deste suporte documental, foca-se o percurso de autonomização das práticas do inst
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Swanson, 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.

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The purpose of this document is to present research on methods of arranging music for viola and piano (or viola and orchestra) from music originally written for clarinet and piano (or clarinet and orchestra). Subjects of research include arrangements made by the composer as well as those made by other arrangers. Principal works studied include the Brahms Clarinet Sonatas Op. 120, Nos. 1 and 2, and the Mozart Clarinet Concerto in A. Examples are also included from other relevant works fitting the criteria. Following the analysis on arranging techniques, I have used knowledge gained from my rese
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Franco, Ruiz Sara. "Evolución del repertorio para viola en la música de Rebecca Clarke." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15521.

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Mestrado em Música<br>Este trabajo supone una aproximación a la música para viola de la compositora inglesa de principios del siglo XX Rebecca Clarke, mediante la realización de un análisis desde una perspectiva tradicional de cinco de sus obras más representativas para el instrumento. A través de dos líneas de investigación paralelas, una teórica y una práctica, se realiza un estudio sobre el estilo musical y compositivo de la autora. Asimismo pretende examinar si existe algún tipo de evolución estilística con respecto a las etapas vitales en las que estas obras fueron compuestas. La investig
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Joyce, Joseph Patrick. "The Twelve Etudes of Heitor Villa-Lobos: Didactic purpose within concert repertoire." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/290160.

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The subject of this document is the embedded didactic purpose of concert pieces for the guitar written by Heitor Villa-Lobos that have been titled etude. The Twelve Etudes of Heitor Villa-Lobos are unique examples of virtuoso concert pieces that also serve as studies of numerous aspects of guitar technique; I will attempt to demonstrate how these didactic elements are contained within these works and how they can be used to improve technique by performing a brief pedagogical analysis of each piece. This document will be limited to six of the Twelve Etudes for Guitar written in 1929 and first p
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Books on the topic "Viola Repertoire"

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Die Viola d'amore: Geschichte, Bau, künstlerische Gestaltung, Repertoire, Methodik, Literatur. Heinz Berck, 2008.

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Jenisch, Kurt, and Eckart Schloifer. Viola: Sammlung wichtiger Passagen aus der Opern- und Konzertliteratur = Viola : excerpts from the operatic and concert repertoire. Schott, 1991.

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Jappe, Michael. Viola Bibliographie: Das Repertoire für die historische Bratsche von 1649 bis nach 1800 ; kommentiertes thematisches Verzeichnis. Amadeus, 1999.

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Jappe, Michael. Viola d'amore Bibliographie: Das Repertoire für die historische Viola d'amore von ca. 1680 bis nach 1800 : kommentiertes thematisches Verzeichnis nebst vier Exkursen zu wichtigen Komponisten. Amadeus, 1997.

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Corini, Lucia. La viola: Profilo storico e repertorio. Pizzicato, 1995.

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First Repertoire for Viola Book Three First Repertoire for Viola. Faber & Faber, 1998.

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First Repertoire For Viola. Faber & Faber, 1998.

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Barber, Barbara. Solos for Young Violists Viola Part and Piano Acc.: Selections from the Viola Repertoire (Solos for Young Violists). Alfred Publishing Company, 2003.

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Barber, Barbara. Solos for Young Violists Viola Part and Piano Acc.: Selections from the Viola Repertoire (Solos for Young Violists). Alfred Publishing Company, 2003.

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Orchestral Repertoire Complete Parts for Viola from the Classic Masterpieces (Kalmus Edition). Alfred Publishing Company, 2002.

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Book chapters on the topic "Viola Repertoire"

1

Reiter, Walter S. "The Bow, Creator of Sound." In The Baroque Violin & Viola. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0003.

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The art of playing the Baroque violin is primarily the art of the bow, for without the bow, the violin is silent. This lesson discusses the intrinsic qualities of the old bow and explains why the modern bow is ill suited to the demands of the Baroque repertoire. Quoting from a number of historical sources ( Georg Muffat, John Playford, Bartolomeo Bismantova, Michel Corrette, Roger North, Francesco Geminiani, Leopold Mozart, and L’Abbé le Fils), it provides information on the ways the bow was held and explains how holding the violin in the way advocated in the previous lesson impacts on essential aspects of bow technique and posture.
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Reiter, Walter S. "In the Footsteps of Corelli." In The Baroque Violin & Viola. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0019.

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The influence of Corelli on the op. 2 sonatas of Vivaldi is clear, so in some ways this lesson is a consolidation of the previous ones. It identifies three essential prerequisites to successful interpretation: an unceasing observation and scrutiny of detail, an appraisal of the implications of each detail, and the identification and internalization of the emotions inherent in the music at any given moment. The detailed Observations section incorporates discussions on exclamations, the art of gesture and the use of second position, so important in this repertoire and so often feared by violinists. Alternative methods of shifting are clearly explained and the best places to shift identified, with reference to Tartini and Leopold Mozart. The lesson discusses what the sources say about using open strings, explains why it is important to spot ornamentation within a written text and how that impacts the way we play.
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"The repertory and principal sources." In The Early Violin and Viola. Cambridge University Press, 2001. http://dx.doi.org/10.1017/cbo9780511481833.003.

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Martins, Andrea, César Neves, José M. Arnaud, and Mariana Diniz. "Os motivos zoomórficos representados nas placas de tear de Vila Nova de São Pedro (Azambuja, Portugal)." In Arqueologia em Portugal 2020 - Estado da Questão - Textos. Associação dos Arqueólogos Portugueses e CITCEM, 2020. http://dx.doi.org/10.21747/978-989-8970-25-1/arqa43.

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From the excavations carried out between 1936 and 1967 in the Chalcolithic settlement of Vila Nova de São Pedro (Azambuja, Portugal), there were recovered more than 500 ceramic elements usually known as “loom weights” with different shapes, dimensions and, in the majority, with decorated surfaces. The iconographic repertoire is quite diverse, with the geometric motifs in higher representation, followed by soliforms, anthropomorphic and zoomorphic motifs. For the zoomorphic motifs there were identified eleven decorated surfaces, whose typology is split into two categories: quadruped – whose species are not identifiable; deer representations. These iconographic motifs are part of the symbolic and conceptual universe of Iberian communities from the 3rd Millennium BC, also appearing in several artifactual categories such as ceramics, figurines, plates, engravings and rock art paintings. Understanding the mechanisms that create and increase this thematic uniformity, as well as the meaning of the deer for these agro pastoral groups, will allow a closer approach to the cultural and social behavior of these communities.
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Budasz, Rogério. "Musical Sources and Archives." In Opera in the Tropics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.003.0004.

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This chapter examines the nature and uses of music in early Luso-Brazilian theater from the eighteenth to the early nineteenth century. The first part considers the processes and choices that determined the formation of a theatrical music repertory during the late colonial period. The second part describes the extant musical sources of theatrical music once performed in Portuguese America and now at libraries and archives in Portugal (Paço Ducal de Vila Viçosa, Biblioteca do Palácio da Ajuda) and Brazil (Acervo Curt Lange, Biblioteca da UFRJ, Museu da Música de Mariana), as well as those that have disappeared but can be identified through nonmusical sources. The chapter closes with a discussion ofthe first examples of sung-through Italian operas composed in Brazil.
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Rippon, Stephen. "The Romano-British urban and religious landscape." In Kingdom, Civitas, and County. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198759379.003.0010.

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There has been a long-standing tendency to divide Roman Britain into just two regions. This simplistic view goes back toHaverfield’s (1912) ‘civil’ and ‘military’ districts, and Fox’s (1932) ‘lowland’ and ‘upland’ zones, and the persistence of these binary characterizations contributes to the impression of homogeneity in Romano-British landscape character (Collingwood 1930; Frere 1967; Salway 1981, 4–5). Dark and Dark’s (1997) substitution of the term ‘villa landscape’ for ‘civil zone’, and ‘native landscape’ for ‘military zone’, simply reinforces this over-simplification. While there have been many discussions of local distinctiveness within the Romano-British landscape, this has all too often been within the context of modern counties (e.g. papers in Thomas 1966a), and Taylor’s (2007a) use of twenty-first century units of regional government was no better (his ‘South East’ region, for example, stretches from Kent to the foot of the Cotswold Hills and embraced regions of very different character in the Roman period). In An Imperial Possession Mattingly (2006) moves the debate on a long way, in discussing how three ‘communities’—military, civil (urban), and rural—interacted with each other in different regions, although his 621-page book, which is so rich in ideas, contains just fifteen very small-scale maps, reflecting how our understanding of regional variation in landscape character is not as well advanced as it is for the medieval period. The need to improve our understanding of regionality within Romano-British society across eastern England has recently been highlighted as a priority in the Research Framework for this region (Medlycott 2011b, 47); the following three chapters will hopefully go some way towards achieving that. The Roman Conquest brought about a transformation of lowland Britain as it was progressively drawn into the Roman world. One effect of this is an archaeological record that appears, at first sight, remarkably homogeneous, with the landscape apparently characterized by towns and villas, the economy seemingly dominated by market-based trade, and material culture increasingly using a relatively uniform repertoire of forms.
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