Dissertations / Theses: 'And cello'

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Gagnon, Marie-Elaine. "Graduate cello recital." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3434.

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Ludwig, Aaron B. "Lonely Cello: A Performer's Analysis of Leon Kirchner's "For Cello Solo"." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/533.

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The purpose of this essay is to examine Leon Kirchner’s "For Cello Solo" for the preparation of a performance. The score, manuscripts, and recordings were analyzed to better inform the author’s interpretation of the work. Backgrounds for both the piece and the composer are included to illuminate the origins of the work. Additional information was accumulated through interviews with Carter Brey and Maria Kitsopoulos, performers of the work who collaborated with the composer. This essay aims to aid a performer’s preparation and interpretation of the composition by describing the piece’s historical and biographical context, analyzing its compositional design, and addressing specific sound and musicality issues related to the work.

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Fallowfield, Ellen. "Cello map : a handbook of Cello technique for performers and composers." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/960/.

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Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. The ‘map’ of the title is meant in the scientific sense of the word; connections are made between: ‘actions that a cellist makes’ and ‘sounds that a cello can produce’. In some cases, where existing scientific theory is insufficient to back up these connections, original empirical research has been undertaken and areas for further research have been suggested. Within this system there are no special effects, rather a continuum of actions with a clear relationship to sound.

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Fan, Chia-Lin. "The solo cello music of Benjamin Britten : an analysis : First cello suite, op. 72, Second cello suite, op. 80, Third cello suite, op. 87, and Tema Sacher." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1378140.

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The purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition.
School of Music

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Kaufman, Gabrielle. "Gaspar Cassado : a study of Catalan cello arrangements and cello performance style." Thesis, Birmingham City University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.631677.

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This thesis explores the legacy of Catalan cellist and composer Gaspar Cassadó (1897–1966). It provides a summary of his life and legacy, an analysis of his performance style and transcription style, and explores the implications of the findings for the related fields of Catalan and Spanish twentieth-century music, musical transcription and twentieth-century cello performance. The text is complemented with a CD containing recordings of cello works by Cassadó performed by the author of this thesis, as well as the first attempt to list definitively Cassadó’s compositions, transcriptions and recordings, which are found in Appendices I–IV. Cassadó’s performance style is analysed mainly through recording comparisons between him and a number of cellists connected with his cultural and historical background. The comparisons conclude that Cassadó, although displaying certain similarities with other cellists in the comparison, cannot truly be said to have belonged to a tradition or generation based solely on performance characteristics; instead more general aspects of approach, philosophy and influence exerted on other performers need to be taken into account. The discussion of his transcriptions includes a study of music transcription history and the related area of language translation, to provide a context for a number of case studies, analysing genres and styles within Cassadó’s output. The study concludes that a definite attempt is perceptible on Cassadó’s part to widen the concept of cello transcription as creative practice, as well as to approach the great historical exponents in the field, such as Franz Liszt. It also emphasises the unusual breadth in styles and types of his output. An additional commentary relates the author’s own performance experience of Cassadó’s works, especially with regard to performing several unpublished works and first-hand study with one of Cassadó’s disciples. Some conclusions from this commentary include a number of interpretative details of possible use for the future performer of Cassadó’s works, with the intention not to be prescriptive but rather to open up new and stimulating possibilities for the performances of this repertoire, keeping in mind Cassadó’s own practice of using performances as a workshop to improve musical scores.

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Lee, Sunhaeng. "The Legacy of Bach’s Cello Suites in Twentieth-Century Solo Cello Suites." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584001275758751.

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YANG, HEEYOUNG. "GAME FOR FOUR CELLO." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151383279.

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Gagnon, Marie-Elaine. "The Influence of the French Cello School in North America." Scholarly Repository, 2006. http://scholarlyrepository.miami.edu/oa_dissertations/47.

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The purpose of this study is to explore how the French School of Cello technique evolved over two and a half centuries and how it has influenced cello playing and pedagogy in the United States and in Canada, and whether it is still possible to distinguish it from other schools of bow and left hand technique. The study includes a historical background and overview of the origins of the French cello school: its importance and influence on today's major schools of cello playing, a comparison of the world's five major cello schools, and a proposal of the existence of a Global school of cello playing that has evolved in North America. A cello family tree in Chapter 4 traces the multiple cello school influences on the author. Interviews of five established cello teachers in North America are discussed in Chapter 5. Appendices include the unabridged interviews of the five cellists and a table of content of Bazelaire's Méthode.

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Lojewski, Mee Na Manon. "Galant and grotesque aesthetics in the musical language of Haydn's cello concerti: cello concerto in C major (c1765), cello concerto in D major (c1783)." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11947.

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My performance research is motivated by my practical study of Haydn’s Cello Concerti. My interpretative understanding of this music, which begins in instrumental study and listening, is enriched by an exploration of its historical context. Writings on eighteenth-century music, aesthetic theory and musical criticism bring me new levels of understanding of the music of this period. As a performer I have realised that the traditional view of the ‘classical style’ of Haydn’s Cello Concerti is a limiting one. This view, which seems to prevail among modern cellists, suggests that there is a ‘correct’ approach to playing them. The aesthetic theories of Haydn’s time reveal that unexpected contrasts and a sense of spontaneity are much closer to the heart of his music than a striving for purity, which flattens out its expressive contrasts. An understanding of the galant and grotesque styles of Haydn’s time provides an alternative, more informative and imaginative basis for interpreting his music. Structuring my thesis into five chapters I explore the main concepts that I see as relevant to my interpretation of Haydn’s Cello Concerti. These concepts are not arranged according to a chronology or hierarchy of aesthetic relevance, but rather seek to present a web of intersecting ideas that contribute to my interpretation. I introduce classical as a term that needs to be reconsidered in relation to this music. To understand what classical meant during Haydn’s time, in chapter two I look at how instrumental music used ancient classical rhetoric to develop an expression equivalent to language. Chapter three examines the galant style that modernised musical rhetoric in mid-eighteenth century Germany and Austria. Haydn’s Cello Concerti are explored in the context of the period’s salon culture and Haydn’s residency in the Austrian court. Chapter four explores the burlesque, virtuosity, Sturm und Drang and fantasy6 as branches of the grotesque aesthetic. Chapter five discusses the sublime in the context of creative genius and how this affected Haydn’s critical reception. In the context of eighteenth-century dualistic ideas, I explore the interaction of galant and grotesque aesthetics as seemingly opposite yet ultimately inseparable concepts. My performance research is motivated by my practical study of Haydn’s Cello Concerti. My interpretative understanding of this music, which begins in instrumental study and listening, is enriched by an exploration of its historical context. Writings on eighteenth-century music, aesthetic theory and musical criticism bring me new levels of understanding of the music of this period. As a performer I have realised that the traditional view of the ‘classical style’ of Haydn’s Cello Concerti is a limiting one. This view, which seems to prevail among modern cellists, suggests that there is a ‘correct’ approach to playing them. The aesthetic theories of Haydn’s time reveal that unexpected contrasts and a sense of spontaneity are much closer to the heart of his music than a striving for purity, which flattens out its expressive contrasts. An understanding of the galant and grotesque styles of Haydn’s time provides an alternative, more informative and imaginative basis for interpreting his music. Structuring my thesis into five chapters I explore the main concepts that I see as relevant to my interpretation of Haydn’s Cello Concerti. These concepts are not arranged according to a chronology or hierarchy of aesthetic relevance, but rather seek to present a web of intersecting ideas that contribute to my interpretation. I introduce classical as a term that needs to be reconsidered in relation to this music. To understand what classical meant during Haydn’s time, in chapter two I look at how instrumental music used ancient classical rhetoric to develop an expression equivalent to language. Chapter three examines the galant style that modernised musical rhetoric in mid-eighteenth century Germany and Austria. Haydn’s Cello Concerti are explored in the context of the period’s salon culture and Haydn’s residency in the Austrian court. Chapter four explores the burlesque, virtuosity, Sturm und Drang and fantasy6 as branches of the grotesque aesthetic. Chapter five discusses the sublime in the context of creative genius and how this affected Haydn’s critical reception. In the context of eighteenth-century dualistic ideas, I explore the interaction of galant and grotesque aesthetics as seemingly opposite yet ultimately inseparable concepts.

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Clark, James. "Peter sculthorpe| Music for unaccompanied cello." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590072.

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As a contemporary Australian composer, concerned with finding an "Australian sound," Peter Sculthorpe incorporated elements of Aboriginal music, Asian music, and other unique compositional devices in his music. This paper investigates Sculthorpe's compositional style through analysis of Requiem: for Cello Alone, Threnody, Into the Dreaming, For Justine, and Sonata for Cello Alone, in order to explore his incorporation of Australian characteristics within the context of idiomatic writing for the solo cello.

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Nichols, Richard A. "Trio for horn, cello and piano /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889382746.

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Chen, Ru-Ping. "The Cello works of Hsiao Tyzen /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488187763848087.

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Ko, Ching-Tzy. "Dynamic markings in Bach cello suites /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11427.

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Zhou, Lejing 1986. "A Survey of Solo, Chamber Music and Orchestral Excerpts Selected and Organized Pedagogically for the Intermediate Cellist." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538786/.

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The use of orchestral excerpts from standard music repertoire as a pedagogical means has been adopted by many instrumental pedagogues to train the advanced instrumentalist. This dissertation presents an innovative idea among the excerpt tradition by drawing excerpts from solo, chamber music and orchestral music to function as etudes for the intermediate level cellist. 320 music excerpts are drawn and organized under the headings of different technical categories in order to train the techniques within the context of quality music. The purpose of the dissertation is to introduce the young player to the concept that techniques and musical expression are not two separated entities, rather, techniques serve as a medium to convey the music.

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Moon, Debra A., and Debra A. Moon. "BENJAMIN BRITTEN'S THREE SUITES FOR UNACCOMPANIED CELLO." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/626521.

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Craford, Mary Elizabeth. "Inventory of modern American cello-keyboard literature /." Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11847815.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1994.
Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore M. Pogonowski. Includes bibliographical references (leaves 89-104).

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Kotsoni-Brown, Stavria. "The solo cello concertos of Antonio Vivaldi." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366973.

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Almeida, Tania Regina Lisboa de. "Children's action and thought in cello playing." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369968.

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Kleinmann, Johannes. "Polystylistic Features of Schnittke's Cello Sonata (1978)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30478/.

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Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.

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Shen, Shuo. "The Controlled Indeterminacy in Lutoslawski's Cello Concerto." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574713314501106.

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Thumpston, Rebecca Mary. "Agency in twentieth-century British cello music." Thesis, Keele University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.699672.

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Music's narrative qualities have received extended analytical scrutiny in recent years. Less attention has been focused on the characters that inhabit those narratives - the agents or personae within the stories music tells. This thesis synthesises and extends existing literature on musical agency in order to forge a new, analytically productive approach to the critical analysis of instances of agency in twentieth-century British cello music. Through analysis of Edward Elgar's Cello Concerto (1919), Benjamin Britten's Symphony for Cello and Orchestra (1963), John Tavener's The Protecting Veil (1987), Jonathan Harvey's Advaya (1994), Richard Ayres's No, 30 (NONcerto for Orchestra, Cello and High Soprano) (2001, rev. 2003), and Harrison Birtwistle's Tragoedia (1965), this thesis proposes a framework for sustained analysis of musical agency. Theorising the manner in which listeners construct virtual subjectivities in musical works, this thesis proposes a new approach to musical agency in which the subjective and embodied agential responses of listeners are privileged. Focus is directed towards exploring the manner in which musical representations of voice, gesture and volition engage the embodied agency of listeners through mandatory, virtually-mandatory and elective means. It is argued that listeners' subjective and embodied agential responses enable the attribution of virtual agents to musical works. These virtual agents can then partake in agential narratives for suitably inclined listeners. The thesis thereby hypothesises the existence of intra-agency: a conceptual space that blends the various agencies - composer, performer, persona, listener and context - at play in a musical work.

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Meyer, William Joseph. "THE CELLO WORKS OF ERNST VON DOHNÁNYI." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/99.

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This paper aims to draw attention to the oft neglected cello compositions of Ernst von Dohnányi. A prolific performer, composer, and pedagogue, Dohnányi has fallen into obscurity amongst the general population since his passing in 1960. Among the works discussed in this document are two unpublished sonatas from Dohnányi’s childhood, his Cello Sonata in B-flat, op.8 and his Konzertstück for Cello and Orchestra op.12. Each piece is given a historic background placing it among events of the composer’s life that led to its genesis and premier. This is followed by a formal and harmonic analysis and concludes with special considerations for the cellist in performing or teaching each work. Also included are complete editions of two previously unpublished works: Sonata for Cello and Piano in G-major composed in 1888 and a Grand Sonata for Cello and Piano in C-major composed in 1889. The manuscripts for both works are contained within the British Library’s Dohnányi Collections, from which I have compiled and edited the following performance editions. It is my hope that these two sonatas will enter the repertoire of student cellists supplementing the relatively small catalogue of music for the intermediate cellist.

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Draiblate, Yoni. "HISTORY, EVOLUTION AND PEDAGOGY OF CELLO VIBRATO." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/555692.

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Music Performance
D.M.A.
On 9 April 1860, seventeen years before Thomas Edison invented the phonograph, a Parisian inventor named Leon Scott de Martinville invented the “phonautograph,” the first device capable of recording sound. In the demonstration recording produced by de Martinville, the listener hears the inventor singing a short section of the song “Au clair de la lune.” The recording lasts about ten seconds and is not of very good audio quality—it is full of interference and white noise, making it hard to decipher words. Technology has since evolved and improved to the point where we can examine the evolution of vibrato with relative ease, simply by listening to different recordings. When examining the question of cello vibrato prior to the second half of the 19th century with its technological innovations, however, we are left with a somewhat paradoxical question: “How did vibrato sound?“ This question is important for two reasons. First, through exploring the history of cello vibrato we may be able to make clearer inferences or, at the very least, establish more educated hypotheses, pertaining to general questions of sound and musical aesthetics throughout the centuries. Second, examining early cello technique and how it evolved can greatly help us understand the evolution of the left hand’s role in performance, particularly in the creation of vibrato. I am well aware that when it comes to historical performances prior to the introduction of quality recording technology, we can only deal with probabilities, never certainties, and we have no way of knowing what soloists and orchestral musicians sounded like, nor do we have a way to know what composers wished to hear. Since it is not possible to draw conclusions based on audio recordings prior to the end of the 19th century, I will explore the evolution of cello vibrato through close examination of early cello performance practice, as outlined in treatises and texts, as well as accounts by musicians who were key figures in developing and advancing playing techniques. While it will never be feasible to go back in time and hear this evolution for ourselves, it is possible to construct a better understanding of the use of vibrato prior to the second half of the 19th century. My aim in this paper is to better understand the evolution of cello vibrato, its origins, early techniques for producing it, and the influence of technique on vibrato over the years, mainly throughout Europe, in order to better answer this question: when did vibrato become an integral part of the cellist’s sound? Have cellists always used vibrato, and if so, did they use it continuously on all possible pitches? For the performing artist and teacher, it is highly beneficial to know the history and evolution of vibrato, and its role in the development of the cello sound over the years. Having this knowledge can have a direct effect on interpretation. By way of background, I will first discuss the origins of both the instrument and vibrato itself, in separate chapters.
Temple University--Theses

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Löfberg, Anders. "Examensarbete : en studie i sväng och groove & En stilstudie av Torleiv H. Bjørgum." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2120.

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Schütt, Andreas [Verfasser]. "Ortsaufgelöste Charakterisierung in der Photovoltaik mit der CELLO-Technik (Solar Cell Local Characterization) / Andreas Schütt." Kiel : Universitätsbibliothek Kiel, 2015. http://d-nb.info/1067842004/34.

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Burkhardt, Rick. "Pipeline : for voice, bass flute, cello, and percussion /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

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Crossen-Richardson, Phyllis Jane. "Neglected cello repertoire of twentieth century English composers." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/1382.

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Turnbull, Catherine. "Performing the Bach cello suites on the viola /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19293.pdf.

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Callner, Anna. "A recital of works for cello and piano." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/1981.

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Suite No. 4 in E-flat major - J. S. Bach Prelude Courante Sarabande Gigue Sonata, Op. 102, No. 1 - Ludwig van Beethoven Andante-Allegro vivace Adagio Allegro vivace Concerto in A-minor, Op. 129 - Robert Schumann Nicht zu schnell Langsam Sehr lebhaft Requierbros - Gaspar Cassado

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Carpinteyro, Eduardo. "Pedagogical aspects in David Popper's four cello concertos." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1195506444.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: Lee Fiser. Title from electronic thesis title page (viewed Feb. 5, 2008). Includes abstract. Includes bibliographical references.

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Hong, Andrew C. (Andrew Choon-Ki). "Non-linear analysis of cello pitch and timbre." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/67119.

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Rabelo, Paulo César Martins. "The cello and piano works of Camargo Guarnieri." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342108311.

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CARPINTEYRO, EDUARDO. "PEDAGOGICAL ASPECTS IN DAVID POPPER'S FOUR CELLO CONCERTOS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195506444.

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Lim, Yekyung. "Neglected cello repertoire of twentieth century English composers." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9027.

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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. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Chuang, Hsiang-Chu. "The Use of Orchestral Excerpts in Cello Pedagogy and Daily Exercises." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157593/.

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Auditions often require performance of orchestral excerpts as part of the screening process because orchestral literature contains a wealth of technical challenges at different levels of difficulty; however, many cello teachers still only use etudes, sonatas, and concertos for musical development and technical application and do not use orchestral excerpts as pedagogical tools or daily exercises. This dissertation, in an effort to standardize orchestral excerpts as part of common technical exercises, includes the ten most popular major excerpts selected from thirty audition lists from major orchestras in the United States. Analysis of each excerpt highlights different technical elements, provides short exercises to overcome these challenges, and discusses the aspects of cello playing that will benefit most from practicing orchestral excerpts. In this way, these selections can be played in preparation for auditions, as well as incorporated into daily practice routines.

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Price-Brenner, Kevin. "Pedagogical transcriptions for teaching two advanced works for cello : Beethoven’s Sonata for cello and piano no. 3 in A major, op. 69 and Haydn’s Cello concerto no. 1 in C major, Hob.VIIb.1." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2131.

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Advanced cello students and their studio teachers have a wide range of literature to study and perform that spans approximately 400 years. Despite this wealth of repertoire, advanced music from the classical era is often understudied or overlooked due to difficulties of the accompanying part, written either for the piano or the orchestra. For example, Beethoven’s cello sonatas tend to be avoided by teachers of advanced young students because of the difficulties in securing a pianist. Additionally, Haydn’s cello concerti demand a great deal of rehearsal time with an experienced pianist in preparing the student to perform with a full ensemble. The purpose of this study is to provide pedagogical assistance to the cello studio teacher of advanced students. This detailed teaching edition reduces the original accompaniment into a single cello part to be played by the studio teacher during lessons. The transcriptions do not replace the music written for the piano, but functions as a three-part pedagogical bridge: teaching the student the solo; accompanying the student in the cello reduction; and preparing the student to play with the accompaniment as originally conceived. The two compositions presented in this aid are Beethoven’s Sonata for Cello and Piano No. 3 in A major, Op. 69 and Haydn’s Cello Concerto No. 1 in C major, Hob. VIIb.1. This practical study will refer to An Annotated Translation of Evegeny Shenderovich’s Overcoming Technical Difficulties in the Piano Transcriptions of Orchestral Scores by Marcelina Turcanu.

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Persson, Erika. "Från okänd not till levande dans : En självstudie i tolkning av Bachs cellosviter." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55324.

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Studien utforskar hur jag tolkar Prelude i d-moll ur Johan Sebastian Bachs andra svit för solocello. Syftet är att undersöka hur instuderingsprocessen sker, från okänd not till fri tolkning med avseende på att instrumentet ska ”sjunga”. Forskningsfrågorna berör en fungerande inlärningsmetod, hur jag påverkas av min lärares tolkning samt i vilken grad en publik upplever mitt sjungande instrument. Med hjälp av bland annat en barockcello, loggboksskrivande och videoinspelning under processen har jag, utifrån ett hermeneutiskt perspektiv, tolkat stycket på mitt sätt. Resultatet belyser hur jag gått tillväga för att studera in stycket, med hjälp av bland annat a-vistaläsning. Det berör också hur mottaglig jag är till att påverkas av min lärares tolkning av stycket, vilket inte visade sig vara i samma utsträckning som jag till en början trott. I resultatet beskrivs också hur min tolkningsprocess har gått tillväga och vilka mönster i musiken som uppenbarade sig med tiden. I resultatets senare del görs en sammanställning av enkätsvaren som bland annat visar på att jag och min cello, enligt publiken, frambringar en sjungande ton. Slutligen diskuteras resultatet i förhållande till tidigare litteratur och forskning inom det aktuella området.
The study explores how I interpret Prelude in D minor from Johan Sebastian Bach’s second suite for solo cello. The purpose is to examine how the rehearsal process is done, from the unknown note to free interpretation with respect to the instrument to “sing”. Research questions concern a workable method of learning, how I influenced by my teacher’s musical interpretation, and the degree to which an audience experiencing my singing instrument. With the help of including a baroque cello, logbook writing and recording during the process, I have, from a hermeneutic perspective, interpreted the paragraph in my direction. The result highlights how I proceeded to study the piece, with the help of sight-reading. It also affects how susceptible I am to be influenced by my teacher’s interpretation of the piece, which has not proved to be as much as I initially thought. The result also describes how my interpretation process has processed and the patterns in the music that appeared over time. In the later part of the result is a compilation of responses that shows that my cello and I, according to the audience, brings a singing tone. Finally, the results are discussed in relation to previous literature and research in the field.

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Moyer, Susan Elizabeth. "A Detailed Study of Selected Orchestral Excerpts for Cello." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/214.

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The purpose of this essay is to provide detailed information and instruction on the fifteen orchestral excerpts for cello most requested at orchestral auditions. The chosen excerpts were selected by compiling a master list of orchestral excerpts from the audition lists of all the Symphony Orchestras in ICSOM, ordering the list by the frequency in which the excerpts appear on the lists. The essay prepares an applicant to perform these excerpts at an orchestral audition. In the audition, each excerpt demonstrates the applicant's ability in one main area so that upon completion of the audition process, the audition committee has a clear picture of all aspects of the applicants' playing. This essay describes each excerpt in terms of that main focus, as well as the technical and musical elements that must be considered as part of the preparation toward a polished performance.

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Neece, Brenda Sue. "The cello in Britain : a technical and social history." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395236.

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Moseley, Ivan. "Scena for cello and piano : a portfolio of compositions." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/00bb1cc8-3bcd-112c-b0f7-2c7d18a0937f/8/.

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My objectives in pursuing this course of study were to widen my knowledge of other composers' music, with a view to: developing my techniques of composition, in terms of application of compositional models to the immediate process of writing (and of notating) music; extending that to works which were more ambitious in scope, duration and cohesion; and producing works which recognise performers' skills and limitations and exploit the former. This involved firstly analytical study of existing works in different genres written using a range of compositional techniques, and an assessment of how I might selectively assimilate what I had learnt about the composers' methods into my own work. This study extended beyond the genres in which I was myself composing or are reflected in my portfolio. Secondly, in addition to work with my tutors, I attended group tutorials (during my first year) and, whenever possible, participated in workshops, seminars and discussion groups not only at Royal Holloway, but also in other centres, including The Royal College and the Royal Academy of Music, King's College, London, the University of Cambridge and the Royal Northern College of Music. One of the pieces in this portfolio was composed expressly for and another was first played at a Royal Holloway workshop. Other workshop pieces are listed in Appendix I. Workshops and other discussions, more Of less formal, with players and singers enriched my understanding of instrumental and vocal techniques. Lastly, I sought performances of my music, and engaged in active collaboration and discussion with the performers as regards notation, precision in indicating technique, etc. The chapters which follow document my activities. In Chapter 1 I discuss my analytical processes, and in the following chapters indicate how I applied what I had learnt and identify some of the works in the repertoire which I found most instructive, in relation to each of the pieces submitted for consideration. I suggest that the major works submitted show clear stylistic development.

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Gerber, Anzél. "Critical success factors in cello training : a comparative study." Thesis, Goldsmiths College (University of London), 2008. http://research.gold.ac.uk/8055/.

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The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared.

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Twillert, Hendrik Van. "Bach's cello suites transcription and interpretation for baritone saxophone." Doctoral thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12351.

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Doutoramento em Música
Bach’s Suites for unaccompanied cello are a masterpiece of the Classical Western canon for their singularity and their creator’s mastery. A myriad of transcriptions were made throughout the centuries with bigger or lesser freedom. This thesis aims at revealing insights from the art of linear polyphony and its performance on a monophonic instrument such as the baritone saxophone. The study of the musical structure is supported by examples from the visual domain that help us to understand the notion of linear polyphony as a third-dimension object. The particularity of this study, in relation to the multiple existing literature about Bach’s music, is its focus on a wind player’s point of view, a saxophonist, which, given the restriction of the polyphonic possibilities of the instrument, reveals some discerning solutions on the performance, analysis and elaboration of the polyphonic thinking in Bach’s Suites. Similar to the relative novelty of the cello at Bach’s time, my work aims at giving as close as possible the same perspective of the music through a new vision and instrument. I analysed the art of linear polyphony and the techniques of elaboration of the melody in the Cello Suites, notably as a means to support the interpretation (e.g. articulation, phrasing, dynamics, vibrato, fingerings, etc.) and to devise a transcription of the Suites for the baritone saxophone. My choice felled on a transcription for baritone saxophone based on the manuscript from Anna Magdalena Bach, wishing to provide detailed guidelines for saxophonists who want to create a more informed interpretation. I hope to offer a better understanding of these works and to provide a reference to build and develop an individual interpretation, especially on the baritone saxophone.
As Suites para violoncelo solo são uma obra-prima do cânone musical ocidental pela sua singularidade e mestria do seu autor. Várias transcrições foram feitas ao longo dos séculos, com maior ou menor grau de liberdade desta obra. Esta tese foca-se na arte de polifonia linear e na sua interpretação num instrumento monofónico, como o saxofone barítono. O estudo da estrutura musical é suportado por exemplos no domínio visual que ajudam a compreender o conceito de polifonia linear como um objecto tridimensional. A particularidade deste estudo, em relação à vasta literatura existente sobre o assunto, é o ponto de vista de um saxofonista, que, devido à restrição das possibilidades polifónicas do seu instrumento, revela algumas soluções na interpretação, análise e elaboração do pensamento polifónico nas Suites de Bach. De forma análoga à relativa novidade do violoncelo no tempo de Bach, o meu trabalho visa dar a mesma perspectiva das Suites através da sua interpretação no saxofone barítono São apresentadas várias análises do ambiente da arte da polifonia linear e das técnicas de elaboração da melodia, como forma de desenvolver uma interpretação (por exemplo, articulação, fraseado, dinâmica, vibrato, dedilhações, etc.) e de apoiar a elaboração de uma transcrição das Suites para saxofone barítono. A minha contribuição foi realizar uma reedição do manuscrito de Anna Magdalena Bach, e fornecer orientações detalhadas para os saxofonistas que querem criar uma interpretação mais informada, oferecendo uma melhor compreensão dessas obras e fornecendo uma referência para construir e desenvolver uma interpretação.

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43

Sowdon, Nancy, and Nancy Sowdon. "Mendelssohn's works for cello: a musical and technical analysis." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/624869.

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Felix Mendelssohn was a many-faceted individual. While known now primarily as a composer, in his time he was also important as a virtuoso pianist and conductor. His contribution to the musical life of his time and to posterity is significant. As well as composing for nearly every genre (see Table 1) Mendelssohn was a popular soloist and dominated German conducting from 1830 until his death in 1847. Over the years his popularity has waxed and waned. The works of Mendelssohn were highly regarded during his lifetime and remained popular until about 1900. Around 1900, however, there was a major shift in opinion. At this time, his music was considered to be mediocre. The rise of anti-Semitism in Germany during the twentieth century caused a further underrating of Mendelssohn's music in his homeland. It is hoped that this, and other present-day studies, will offer a more objective view of his music. As is true with most composers, in the body of Mendelssohn's compositions, one can find individual pieces to support either greatness or mediocrity. The music which is most familiar to the public: Italian and Scottish symphonies, the Hebrides and Overture and Incidental Music to A Midsummer Night's Dream orchestral overtures, and the String Octet in E-flat Major are undoubtedly some of Mendelssohn's best. On the other hand, his operas never have been effective. Even at the end of his life, he was still searching for the perfect libretto. But it is inconsistent writing within individual pieces which is the most frustrating aspect of Mendelssohn's music. The first cello sonata is one such example. Here a solid first movement is followed by two weak ones. Included in the total number of pieces of chamber music on Table 1, are the four pieces that Mendelssohn composed for cello and piano. They consist of two short pieces and two sonatas, and were written over a sixteen year span (see Table 3, page 8). This paper aims to familiarize the reader with these cello works, investigate them in terms of the criticisms leveled at Mendelssohn's music, and examine their contribution and place in today's literature for the violoncello.

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44

Becker, Karen Andrews. "Selected cello works of Ernest Bloch : a descriptive essay /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Thesis (D.M.A.)--University of Texas at Austin, 1999.
Vita. Discography: leaves 77-79. Includes bibliographical references (leaves 80-83). Available also in a digital version from Dissertation Abstracts.

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45

Flesher, Eric. "Wandering rocks : for flute, clarinet, violin, cello and piano /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11331.

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46

Wang, Ying-Tsui, and 王瑩翠. "Research of Teaching for Cello Beginner by Suzuki Cello School." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/v945h3.

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47

Seo, Jun. "Doctoral thesis recital (cello)." 2014. http://hdl.handle.net/2152/26545.

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Karakousoglou, Nora. "Doctoral thesis recital (cello)." 2014. http://hdl.handle.net/2152/26596.

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Cello concerto in D major, op. 101. Allegro moderato / Joseph Haydn ; cadenza by Nora Karakousoglou -- Sonata for piano and cello in B-flat major, op. 45 / Felix Mendelssohn -- Diptychom : for solo cello / Georgios Kassoglou -- From Carnival of the animals. The swan ; Allegro appassionato : op. 43 / Camille Saint-Saens -- Sicilienne / Maria-Theresia von Paradis -- Sicilienne, op. 78 / Gabriel Faure -- Mazurka, op. 11, no. 3 ; Gnomentanz : op. 50, no. 2 ; Tarantella, op. 33 / David Popper.
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49

Burch, James (Cellist). "Doctoral thesis recital (cello)." 2014. http://hdl.handle.net/2152/27668.

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Xin, Yi. "Doctoral thesis recital (cello)." 2014. http://hdl.handle.net/2152/28459.

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Cello suite no.6 in D major, BWV 1012 / Johann Sebastian Bach -- Sonata for solo cello / Gyorgy Ligeti -- From the Bohemian forest, op.68 / Antonin Dvorak -- Cello sonata no.1 in E minor / Johannes Brahms.
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Dissertations / Theses on the topic 'And cello'

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