Bibliografias temáticas / String orchestra

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Literatura científica selecionada sobre o tema "String orchestra"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 1 de fevereiro de 2022

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Artigos de revistas sobre o assunto "String orchestra"

1

Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (February 1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer
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Pope, David A., and James P. Mick. "An Analysis of Ratings and Interrater Reliability at the American String Teachers Association’s National Orchestra Festival." String Research Journal 11, no. 1 (July 2021): 67–82. http://dx.doi.org/10.1177/19484992211021012.

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The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances ( N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both scho
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Kleszynski, Kenneth. "Orchestra string warm-up." Music Educators Journal 73, no. 9 (May 1987): 50. http://dx.doi.org/10.2307/3400371.

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Katsman, Shira. "The Conductorless String Orchestra." American String Teacher 68, no. 2 (May 2018): 20–24. http://dx.doi.org/10.1177/0003131318759908.

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Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.

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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in C
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Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (January 2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.

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URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).
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Gembris, Heiner, Andreas Heye, and Andreas Seifert. "Health problems of orchestral musicians from a life-span perspective." Music & Science 1 (January 1, 2018): 205920431773980. http://dx.doi.org/10.1177/2059204317739801.

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The profession of orchestral musician is often linked to musculoskeletal problems, hearing disorders, and struggles with stage fright. However, data on the prevalence of physical problems are very divergent because of different research methods and sampling procedures. It is to be expected that physical problems generally increase with age, but the literature on medical issues that affect musicians contains very few studies on this aspect. In light of this, the data produced by a cross-sectional study of 2,536 musicians from 133 professional symphony orchestras in Germany were analyzed with re
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Sousa, Cláudia Maria, Jorge Pereira Machado, Henry Johannes Greten, and Daniela Coimbra. "Playing-Related Musculoskeletal Disorders of Professional Orchestra Musicians from the North of Portugal: Comparing String and Wind Musicians." Acta Médica Portuguesa 30, no. 4 (April 28, 2017): 302. http://dx.doi.org/10.20344/amp.7568.

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Introduction: It is well known that musicians are a group prone to suffer from playing-related musculoskeletal disorders. Professional orchestra musicians play for several hours a week and have to fight against pain caused by their profession. The aim of this study was to explore and describe self-reported complaints among professional orchestra musicians and to compare its intensity and the prevalence between string and wind instruments.Material and Methods: Hundred and twelve professional orchestra musicians from the three main professional orchestras from the North of Portugal were individu
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Anderson, Martin. "Lindberg, Concerto for Orchestra, Barbican, London." Tempo 58, no. 227 (January 2004): 60–61. http://dx.doi.org/10.1017/s0040298204260053.

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There would hardly seem to be a composer better placed to write a concerto for orchestra than Magnus Lindberg: his complete mastery of orchestral texture – demonstrated in a string of modern classics, Joy (1989–90), Arena (1994–95), Feria (1997) and Cantigas (1998–99) among them – makes it a wonder he hasn't tackled the genre before now. Indeed, he quietly billed the magnificent Aura (1994–95) as a concerto for orchestra, although in reality it's as good a symphony as anyone has written this past half-century – my suspicion is that the label allowed him to dodge the issue.
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Gillespie, Robert. "Producing String Teachers for Tomorrow's School String Orchestra Programs." American String Teacher 48, no. 1 (February 1998): 32–37. http://dx.doi.org/10.1177/000313139804800106.

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Teses / dissertações sobre o assunto "String orchestra"

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Park, Soonhee. "Music for String Orchestra." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc1038813/.

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Music for String Orchestra is a work of approximately sixteen minutes duration for chamber orchestra. The work is scored for eight first violins, six second violins, four violas, four to six cellos and two to four double basses. The work is in three movements. Movement I is in a large three-part form, movement II a simple three-part form and the last movement is in a large three-part form. The first and last movements are unified by several aspects, while the second movement employs material that is independent of the first and last movements. The main difference between the three movements
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Stark, Bradley. "Seraph for piano and string orchestra." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44148.

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Seraph is a fifteen minute composition for piano and string orchestra. In addition to traditional musical techniques such as variation and passacaglia, the work employs a distinctive approach to phrase structure, form, harmony, and compositional technique. An ascending natural minor scale serves as the main theme while other melodies, textures, harmonies, and motives interact in counterpoint with the theme. In addition, the theme undergoes its own developmental transformations and modifications, and it influences a distinctive harmonic language featuring extended, non-traditional chords and
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Winders, Christopher. "Concerto grosso for string quartet and orchestra /." Digitized version, 2008. http://hdl.handle.net/1802/7635.

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Thesis (Ph. D.)--University of Rochester, 2008.<br>Duration: ca. 15:00. Includes program and performance notes. Accompanied by: Cycle of cycles : ordering principles suggested by George Perle's twelve-tone tonality / by Christopher Clay Winders (x, 45 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7635
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Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.

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Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.
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Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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Tseng, Su-ling. "Gerald Finzi's Concerto for clarinet and string orchestra /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983130.

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Kimbler, Chad. "CONCERTO FOR AMPLIFIED MANDOLIN, STRING ORCHESTRA, AND PERCUSSION." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143068097.

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Williams, Blair A. "Rural School String/Orchestra Programs: Profile and Recommendations." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461086972.

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McBride, Michael A. (Michael Anthony). "Sinfonia." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501150/.

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Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.
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Real, Nicolas. "Concerto No. 1 for Flute, String Orchestra and Percussion." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252765.

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Music Performance<br>D.M.A.<br>A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.<br>Temple University--Theses
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Livros sobre o assunto "String orchestra"

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Smallman, Jeff. Air: String orchestra. Hensall, ON: Lighthouse Music Publications, 2008.

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Shipley, Edward. Nocturne for string orchestra. London: Fentone Music, 1997.

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Bridge, Frank. Suite for string orchestra. Boca Raton, Fla: E.F. Kalmus, 1996.

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Wuorinen, Charles. Grand bamboula: String orchestra. New York: C.F. Peters, 1993.

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Mackay, Lucinda. Orchestra sketch-book: Edinburgh University String Orchestra. Edinburgh: [Edinburgh University String Orchestra], 1997.

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Filtz, Johann Anton. String symphony no. 2, C major, string orchestra. [New York]: Henmar Press, 1987.

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Mayer, Frederick R. The string orchestra super list. Edited by Music Educators National Conference (U.S.). Reston, VA: Music Educators National Conference, 1993.

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Copland, Aaron. Two pieces for string orchestra. [New York]: Boosey & Hawkes, 1994.

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Goddard, Mark. Fiddledy-jig: For string orchestra. Oxford: Spartan Press, 1992.

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Carlo, Menotti Gian. Nocturne, soprano, harp, and string quartet (or string orchestra). New York, NY: G. Schirmer, 1990.

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Capítulos de livros sobre o assunto "String orchestra"

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Koopman, Bert. "The Amsterdam Concertgebouw Orchestra: Guardian of Symphonic Music." In Guardians of Public Value, 161–83. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51701-4_7.

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AbstractThe Amsterdam Concertgebouw Orchestra, founded in 1888, has consistently been rated among the world’s best symphonic orchestras. This chapter describes how the orchestra evolved into a public institution with an adventurous repertoire and international allure. Over the years, the orchestra had to deal with an ageing public and changing audience demands. It describes how growing pressure on subsidizing authorities have made the orchestra increasingly dependent on sponsors and donors. It discusses the artistic leadership of conductors and the commercial strategizing of business managers—the key actors in shaping the institution. It analyses how the institution eventually found a productive way to channel the perennial conflicts into its governance. The chapter shows how a balance was found between financial pressures and artistic demands, preserving this cultural institution in the face of strong headwinds.
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Penhallurick, Rob. "Strange Orchestras." In Studying the English Language, 106–18. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-03621-6_7.

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MacLeod, Rebecca B. "An Introduction to the Orchestra Classroom." In Teaching Strings in Today’s Classroom, 3–9. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351254144-1.

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"Recording String Quartet." In Recording Orchestra and Other Classical Music Ensembles, 186–91. New York; London: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-28.

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Butz, Karel. "Assessment." In Achieving Musical Success in the String Classroom, 149–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190602888.003.0006.

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The chapter describes why orchestra students must understand the “what,” “how,” and “why” involved with assessment procedures in order to attain musical success. Examples of how differentiation, which allows every student to receive valuable feedback from the director about strengths and areas for improvement, applies to orchestra assessment are provided. The author discusses how a director can determine when and if assessment is necessary and whether it will prove rewarding, informative, and valid, as it must for students to attain an independent functioning level of lifelong musicianship. Informal and formal orchestra assessment procedures are described in detail. Sample grading rubrics are provided as well.
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Pejrolo, Andrea, and Richard DeRosa. "Writing and Sequencing for the String Orchestra." In Acoustic and MIDI Orchestration for the Contemporary Composer, 98–155. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-52021-6.50006-4.

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Manning, David. "Elgar, Introduction and Allegro for String Orchestra." In Vaughan Williams on Music, 410–12. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0099.

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"– Writing and Sequencing for the String Orchestra." In Acoustic and MIDI Orchestration for the Contemporary Composer, 114–71. Routledge, 2009. http://dx.doi.org/10.4324/9780080551067-9.

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"—Writing and Sequencing for the String Orchestra." In Acoustic and MIDI Orchestration for the Contemporary Composer, 129–92. Second edition. | New York ; London : Routledge, 2016. | "2016 |: Routledge, 2016. http://dx.doi.org/10.4324/9781315754932-10.

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Fiala, Michele. "Gordon Hunt." In Great Oboists on Music and Musicianship, 100–109. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0011.

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Gordon Hunt is currently principal oboe of the London Chamber Orchestra, and formerly of the Philharmonia and London Philharmonic Orchestras. In this interview, he discusses his early career, tone, reeds, vibrato, and the application of the string concept of louré to oboe. He shares his ideas on breathing, air support, and making a musical plan. He closes with reminiscences of great concerts.
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Trabalhos de conferências sobre o assunto "String orchestra"

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Matias, Ferry. "Teaching Music Musically (Study of Animé String Orchestra Bandung, Indonesia)." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.015.

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Alvarez, Beth Woodward, and Ramon Palau. "The Performance Effects of Online Video Tutorials on Secondary School String Orchestra Students." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.21.

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the str
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Y.W., Liu. "China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-54.

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The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the
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Mitrică, Bianca, Irena Mocanu, Ines Grigorescu, and Monica Dumitraşcu. "CULTURAL TOURISM IN ROMANIA – A GENERAL OUTLINE OF THE CONCEPTUAL FRAMEWORK." In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/28.

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At the international and national level there is a strong connection between culture and tourism, tourism representing an important factor of the economic development by capitalizing the tourist potential of the cultural elements. Romania has a rich and valuable heritage potential with tourist attractions included on the map of European cultural routes. The challenge for Romania is the weak promotion of the cultural tourism due to the difficulties in developing a better infrastructure for a high accessibility to cultural attractions. The literature offers a wide range of definitions of cultura
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Shadden, Shawn C., and Sahar Hendabadi. "Potential Pathways for Platelet Activation." In ASME 2012 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/sbc2012-80474.

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As platelets are transported they are continuously stretched, compressed and sheared by local gradients in the flow. Exposure to elevated gradients can cause platelets to actively react with conformational, chemical and enzymatic responses, i.e. becoming activated. Once switched to the activated state, platelets perform multifaceted roles to orchestrate clotting. Mechanically-induced platelet activation under pathological conditions has been studied since the late 1970s. This work builds on [1], which introduced a trajectory-based level of activation parameter for platelets, and [2] describing
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Relatórios de organizações sobre o assunto "String orchestra"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There a
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