Thematische Bibliographien / Clarinet with string quartet

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Auswahl der wissenschaftlichen Literatur zum Thema „Clarinet with string quartet“

Autor: Grafiati

Veröffentlicht am 24. Juni 2021

Zuletzt aktualisiert am 17. Februar 2022

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Zeitschriftenartikel zum Thema "Clarinet with string quartet"

Rosen, Jerome, Harrison Birtwistle, Jules Langert, Burrill Phillips, Thomas Read, Gunther Schuller und Ellen Taaffe Zwilich. „Clarinet Quintet; For Clarinet and String Quartet“. Notes 44, Nr. 2 (Dezember 1987): 365. http://dx.doi.org/10.2307/941597.

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Roseberry, Eric, Mandelring Quartet, Ib Hausmann und Kolja Lessing. „Berthold Goldschmidt: String Quartet; Piano Sonata; Clarinet Quartet“. Musical Times 133, Nr. 1797 (November 1992): 588. http://dx.doi.org/10.2307/1002597.

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Rushton, Julian, Mozart, Marc Schachman, Eric Hoeprich und Antaria Quartet. „Oboe Quartet: Clarinet Quartet; String Quartet in D, K.575“. Musical Times 135, Nr. 1816 (Juni 1994): 387. http://dx.doi.org/10.2307/1003231.

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Conway, Paul. „Michael Berkeley: recent world premières and CD releases“. Tempo 57, Nr. 225 (Juli 2003): 39–40. http://dx.doi.org/10.1017/s0040298203230242.

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Michael Berkeley's choral and operatic successes have tended to obscure his accomplishments in the field of chamber music, which include a serialist String Trio (1978), two String Quartets and a Clarinet Quintet from the 1980s and the string quartet Torque and Velocity (1997). His latest essay in the genre, Abstract Mirror, for string quintet, was premièred on 11 February 2003 at Bishopsgate Hall by the Chilingirian Quartet, with cellist Stephen Orton. The work was a joint commission by the players and the City Music Society.

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Rickards, Guy. „MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE“. Tempo 58, Nr. 229 (Juli 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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Rickards, Guy. „New Releases of music by Women Composers“. Tempo 59, Nr. 231 (Januar 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.

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Hall, Michael. „Birtwistle's ‘Pulse Shadows’“. Tempo, Nr. 204 (April 1998): 12–13. http://dx.doi.org/10.1017/s0040298200006264.

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By alternating his Nine Movements for String Quartet with his Nine Settings of Paul Celan (for soprano, two clarinets, viola, cello and double bass) to produce Pulse Shadows, Harrison Birtwistle created not only his longest work for the concert hall but also his most moving and affirmative.

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Rickards, Guy. „Hindemith, et al. - HINDEMITH ‘Artist & Educator’: 41 Pieces for 2 violins from ‘Geigen-Schulwerk’; Sonatas for solo violin, op. 31 nos. 1–2. Ida Bieler (vln), Georg Sarkisjan (vln 2). Coviello Contemporary COV61114. - ‘Icelandic String Quartets’. PÁLSSON: Theme with Variations and Fugue. NORDAL: From Dream to Dream. HAUKUR TÓMASSON: A Long Shadow. MAGNÚSSON: String Quartet No 21. 1Stefania Ólafsdóttir (vla). Ethos String Quartet. Smekkleysa SKM65. - PENDERECKI: String Trio; String Quartets Nos. 1–3; Der unterbrochene Gedanke for string quartet; Clarinet Quintet1. 1Arkadiusz Adamski (cl), DAFÔ String Quartet. Dux 0770. - PISTON: String Quartets Nos. 1, 3 & 5. Harlem String Quartet. Naxos 8.559630. - POHJOLA: String Quartets Nos. 1–4. Kamus String Quartet. Alba SACD ABCD 334. - ‘Bow 56’. OLOFFSON: Higgs Boson: Capriccio for string sextet and electronics. PARMERUD: String Quintet No 1. HÅKAN LARSSON: Marks, for string quintet. ANDERS NILSSON: Host, for string sextet. Uppsala Chamber Soloists. Phono Suecia PSCD 190.“ Tempo 67, Nr. 264 (April 2013): 87–92. http://dx.doi.org/10.1017/s0040298213000247.

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Smirnov, Dmitri. „Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke“. Tempo, Nr. 220 (April 2002): 2–10. http://dx.doi.org/10.1017/s0040298200008998.

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The Second Violin Sonata for violin and piano (1968), subtided Quasi una Sonata, is one of Alfred Schnittke's most popular works, and it is one of my personal favourites among his pieces (alongside his First Symphony, First String Quartet, First Hymn, Second and Third Violin Concerti, Three Madrigals, etc). I discovered Schnittke's music in April 1969 at an underground concert given in the Gnessin Institute in Moscow by Alexei Lyubimov (piano), Boris Berman (piano), Lev Mikhailov (clarinet) and a few string players. This half-forbidden concert, organized by Alexander Ivashkin, was all that remained of a whole festival, which had been cancelled at the last moment by the authorities. The concert was split into three parts, the first two of them dedicated to the music of the Soviet avant-garde, with compositions by the likes of Edison Denisov, Tigran Mansurian, Valentin Silvestrov, Viktor Ekimovsky and Kuldar Sink etc. At the end of the second part there was a perfonnance of Schnittke's Serenade for five musicians. This very cheerful and fanny piece, entangled with hundreds of short quotations, sounded very different from the rest of the program. The final part of the concert contained works of Schoenberg, Berg and Webern, played for the first time in Brezhnev's Soviet Union.

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Mottershead, Tim. „Gerard Schurmann - ‘CHAMBER MUSIC VOLUME 2’: GERARD SCHURMANN String Quartet no. 1 & 2; Trio for Clarinet, Cello and Piano; Fantasia for Cello and Piano. Lyris Quartet, Håkan Rosengren (cl.), Clive Greensmith (vc), Mikhail Korzhev (pno). Toccata Classics TOCC0220“. Tempo 68, Nr. 270 (04.09.2014): 94–95. http://dx.doi.org/10.1017/s0040298214000503.

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Dissertationen zum Thema "Clarinet with string quartet"

Rothenberg, Florie. „Music for clarinet and string quartet by women composers“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

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This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.

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Rubio, Carrion Maria. „Performance and analysis of Brahms quintet op. 115 for clarinet and string quartet : Searching for a deeper interpretation“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4156.

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In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed. From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece. After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.

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Hines, John. „Folio of compositions /“. Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.

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Willson, Simon. „A portfolio of compositions presented for the degree of PhD in music composition at the University of Aberdeen“. Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=136866.

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This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently. Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language. In contrast, two works (Aubade and So Turn Your Heart) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance. From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

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O'Connor, Jennifer. „Black snow by Michael Smetanin : an analysis : and original compositions“. University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.

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McConnell, Sarah E. „Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max Reger“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248493/.

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Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.

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Ben-Tal, Oded. „String quartet /“. May be available electronically:, 2002. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Baird, David Olen Rudy Paul. „String beans and rice three dances for jazz quartet and string quartet /“. Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
"A thesis in music composition." Advisor: Paul Rudy. Typescript. Duration: 15:00. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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Santa, Ana Alfredo. „Passenger - for string quartet“. Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27216.

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Passenger is a multi-version musical composition of approximately 40 minutes in length scored for string quartet. The formal design of the piece involves reconfiguring its large-scale form each time it is performed. During any given performance the piece is an uninterrupted and continuous flow of music, but its distinct seven-segment structure allows a reordering of the music’s segments in a chosen sequence where each segment is played once, and only once, starting with a fixed opening segment. Once the order of the segments is selected each segment connects to the next through a series of overlapping transitions that present an unbroken listening experience. The total number of possible variations for Passenger is 720. Comparatively, each possible rendering of the piece offers a wide degree of change in order to demonstrate how impermanent large-scale form operates as a compositional technique. Its changing structure was created with the intention of promoting a variety of readings of the composition’s musical content by altering the chronological placement of large sections of music. Subsequent listening experiences will explore alternative pathways with which to cover familiar musical material and contribute to the music’s overall interpretation. The goal of this project is to rethink the role of form, and to use it as an agent of change capable of generating new and expressive methods of music making and listening.

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Arbury, David Bryant. „String quartet no. 2“. College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3493.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Bücher zum Thema "Clarinet with string quartet"

Zwilich, Ellen Taaffe. Quintet for clarinet and string quartet. Hillsdale, NY: Mobart Music, 1992.

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Foss, Lukas. Tashi: For B♭ clarinet, piano and string quartet. New York, NY: Pembroke Music, 1987.

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London, Larry. Dynamo quintet: Suite in six movements for clarinet and string quartet. Berkeley, CA?]: Larry London, 2017.

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Hindemith, Paul. Die junge Magd: For alto voice, flute, clarinet, and string quartet, op. 23, no. 2. Boca Raton, Fla: Masters Music Publications, 1998.

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Penderecki, Krzysztof. Quartett für Klarinette und Streichtrio =: For clarinet and string trio (1993). Mainz: Schott, 1993.

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Busoni, Ferruccio. Suite für Klarinette und Streichquartett g-moll =: Suite for clarinet and string quartet in G minor, Busoni-Verzeichnis 176. Wiesbaden: Breitkopf & Härtel, 1995.

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Smallman, Jeff. Clarinet quartet. Hensall, ON: Lighthouse Music Publications, 2007.

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Arthur, Berger. String quartet. [U.S.]: Henmar Press, 1993.

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Sheinfeld, David. String quartet. Berkeley, CA: Fallen Leaf Press, 1988.

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Nancarrow, Conlon. String quartet. Baltimore, Md: Smith Publications, 1986.

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Buchteile zum Thema "Clarinet with string quartet"

Mazzola, Guerino. „String Quartet Theory“. In Computational Music Science, 173–84. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_19.

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Gubaidulina, Sofia. „String Quartet No. 2, Reh. 1–21 (1987)“. In Anthology of Post-Tonal Music, 114–19. 2. Aufl. Second edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-28.

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Webern, Anton. „Five Movements for String Quartet, op. 5, III (1909)“. In Anthology of Post-Tonal Music, 30–31. 2. Aufl. Second edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-10.

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Webern, Anton. „Five Movements for String Quartet, op. 5, II (1909)“. In Anthology of Post-Tonal Music, 29. 2. Aufl. Second edition. | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-9.

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Bottoms, Stephen. „In Defense of the String Quartet: An Open Letter to Richard Schechner“. In The Rise of Performance Studies, 23–38. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306059_3.

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Gollin, Edward. „Form, Transformation and Climax in Ruth Crawford Seeger’s String Quartet, Mvmt. 3“. In Communications in Computer and Information Science, 340–46. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04579-0_33.

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Eisen, Cliff. „The string quartet“. In The Cambridge History of Eighteenth-Century Music, 648–60. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521663199.024.

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„The String Quartet“. In Twentieth-Century Chamber Music, 192–265. Routledge, 2004. http://dx.doi.org/10.4324/9780203493076-12.

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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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„London String Quartet Foundation“. In The Grants Register 2019, 479. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-95810-8_767.

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Konferenzberichte zum Thema "Clarinet with string quartet"

Glowinski, Donald, Giorgio Gnecco, Stefano Piana und Antonio Camurri. „Expressive Non-verbal Interaction in String Quartet“. In 2013 Humaine Association Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2013. http://dx.doi.org/10.1109/acii.2013.45.

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Thielen, Elisabeth, Julien Letellier, Jürgen Sieck und Annette Thoma. „Bringing a virtual string quartet to life“. In AfriCHI '18: 2nd African Conference for Human Computer Interaction. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3283458.3283477.

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Morita, Satoru, und Sayaka Tokunou. „Learning Ensemble Performance for String Quartet by Practice“. In 2006 IEEE Conference on Cybernetics and Intelligent Systems. IEEE, 2006. http://dx.doi.org/10.1109/iccis.2006.252331.

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Taminau, Jonatan, Ruben Hillewaere, Stijn Meganck, Darrell Conklin, Ann Nowé und Bernard Manderick. „Applying subgroup discovery for the analysis of string quartet movements“. In 3rd international workshop. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1878003.1878014.

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Percival, Graham, Nicholas Bailey und George Tzanetakis. „Physical modelling and supervised training of a virtual string quartet“. In the 21st ACM international conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2502081.2502101.

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Mekyska, Jiri, Matej Istvanek, Lubomir Spurny und Zdenek Smekal. „Enhancement of Beat Tracking in String Quartet Music Analysis Based on the Teager-Kaiser Energy Operator“. In 2019 42nd International Conference on Telecommunications and Signal Processing (TSP). IEEE, 2019. http://dx.doi.org/10.1109/tsp.2019.8769118.

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Cox, Susanne, und Richard Sänger. „Digitale Fassungsvergleiche am Beispiel von Beethovens Eigenbearbeitungen“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.99.

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Annotation:

In its second module, „Beethovens Werkstatt“ deals with five of Beethoven’s compositions which exist both in their original versions and as authentic arrangements (Piano Sonata op. 14/1 arranged for string quartet, Septett op. 20 and Trio op. 38, Opferlied op. 121b and Bundeslied op. 122 as piano reductions, Große Fuge op. 133 as arrangement for piano for four hands op. 134). To demonstrate Beethoven’s arrangement practices, the original version of each work is synoptically linked with its arrangement in a digital edition called „VideApp Arr“. Through digital tools for comparison the relationships between the two versions can be investigated from different perspectives. It becomes visible how the versions are related to each other both by „invariance“ (text elements with the same structure), by „variance“ (text elements with a similar structure) and, in special cases, also by „difference“ (text elements without corresponding parameters). Each view within the „VideApp Arr“ is generated from the underlying MEI data.

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Berichte der Organisationen zum Thema "Clarinet with string quartet"

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 the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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