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Published: 26 July 2024

Last updated: 28 July 2024

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1

Gorodecki, Michael, Jonathan Harvey, Frances-Marie Uitti, John Casken, Heinrich Schiff, Andrzej Panufnik, Mstislav Rostropovich, et al. "Cello Concerto; Works for Cello." Musical Times 134, no. 1805 (July 1993): 408. http://dx.doi.org/10.2307/1003108.

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2

Anderson, Robert. "Cello." Musical Times 128, no. 1733 (July 1987): 391. http://dx.doi.org/10.2307/964540.

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3

Anderson, Robert. "Cello." Musical Times 128, no. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965018.

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Anderson, Robert. "Cello." Musical Times 126, no. 1714 (December 1985): 736. http://dx.doi.org/10.2307/965208.

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ANDERSON, ROBERT. "Cello." Musical Times 127, no. 1715 (January 1986): 36. http://dx.doi.org/10.2307/965360.

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Anderson, Robert. "Cello." Musical Times 128, no. 1732 (June 1987): 337. http://dx.doi.org/10.2307/1193748.

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7

Shenoy, Prashant J., and Harrick M. Vin. "Cello." ACM SIGMETRICS Performance Evaluation Review 26, no. 1 (June 1998): 44–55. http://dx.doi.org/10.1145/277858.277871.

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8

Anderson, Robert. "British Cello." Musical Times 129, no. 1740 (February 1988): 90. http://dx.doi.org/10.2307/964438.

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9

Anderson, Robert. "Modern Cello." Musical Times 127, no. 1718 (April 1986): 215. http://dx.doi.org/10.2307/964725.

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Anderson, Robert. "Modern Cello." Musical Times 128, no. 1731 (May 1987): 277. http://dx.doi.org/10.2307/965127.

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11

Anderson, Robert, and Julian Lloyd Webber. "Cello Birds." Musical Times 127, no. 1718 (May 1986): 280. http://dx.doi.org/10.2307/965464.

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12

Anderson, Robert. "Unaccompanied Cello." Musical Times 127, no. 1718 (May 1986): 282. http://dx.doi.org/10.2307/965471.

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13

Krüger, Michael. "Cello Suite." Grand Street, no. 71 (2003): 115. http://dx.doi.org/10.2307/25008653.

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14

Boruch, Marianne. "Bad Cello." Iowa Review 29, no. 3 (December 1999): 22–23. http://dx.doi.org/10.17077/0021-065x.5186.

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15

Wood, Graham. "Book Review: Jazzy ‘Cello, for ‘Cello and Piano." International Journal of Music Education os-26, no. 1 (November 1995): 91. http://dx.doi.org/10.1177/025576149502600126.

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16

Putra, Diki Pratama, Ibnu Sina, and Febri Yulika. "INTERPRETASI REPERTOAR: SEBUAH UPAYA KONSEPTUALISASI KARAKTER SOLIS." Laga-Laga : Jurnal Seni Pertunjukan 7, no. 1 (July 27, 2021): 23. http://dx.doi.org/10.26887/lg.v7i1.1536.

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The cello solis performance is an instrumental show that places great importance on the maturity of a solist in presenting the repertoires which he will present in the form of a recital examination. The cello is a stringed instrument just like the violin. The current cello is called the modern cello. The modern cello is a development of the previous Cello such as the viola da gamba, viola da spalla, viola da bracchio and bass viol. Initially, the Cello served as the bass in a musical foundation. In the 17th century, composers such as Domenico Gabrielli and Giuseppe Colombi created works for single Cello or Cello solo without accompaniment. This paper aims to inform the performance of a Solis Cello instrument, by using the interpretation, maturity and mastery of the presenter's skills to the techniques contained in each repertoire that is performed. Where a solist performs the repertoire, through the appearance of the individuality of the virtuosity of his instrument. The achievement of a presenter's skills is intended so that aesthetic values can be presented in a show.Key words: study analysis, recital, cello, repertoire.ABSTRAKPertunjukan solis cello merupakan sebuah pertunjukan instrumental yang sangat mementingkan kematangan bagi seorang solis dalam membawakan repertoar-repertoar yang akan disajikannya dalam bentuk ujian resital. Cello merupakan instrumen gesek sama seperti biola. Cello yang ada sekarang disebut modern cello. Cello modern merupakan pengembangan dari Cello yang sebelumnya hadir seperti viola da gamba, viola da spalla, viola da bracchio dan bass viol. Pada awalnya, Cello berfungsi sebagai bas dalam sebuah fondasi musik. Pada abad ke-17, komposer seperti Domenico Gabrielli dan Giuseppe Colombi membuat karya-karya untuk Cello tunggal atau solo Cello tanpa iringan. Tulisan ini bertujuan untuk menginformasikan permainan seorang Solis instrumen Cello, dengan menggunakan interpretasi, kematangan dan penguasaan skill penyaji terhadap teknik-teknik yang terdapat pada setiap repertoar yang dibawakan. Dimana seorang solis mempertunjukan repertoar tersebut, melalui penampilan individualitas virtuositas instrumen nya. Pencapaian skill seorang penyaji bertujuan, agar nilai estetis dapat dihadirkan dalam sebuah pertunjukan.Kata kunci: studi analisis, resital, cello , repertoar.

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17

Veneklasen, Paul S. "The monopole cello." Journal of the Acoustical Society of America 93, no. 4 (April 1993): 2381. http://dx.doi.org/10.1121/1.406114.

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18

Butt, John. "Bach cello suites." Early Music XXVII, no. 2 (May 1999): 340–42. http://dx.doi.org/10.1093/earlyj/xxvii.2.340.

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19

Johnson, David. "Bach cello suites." Early Music XXVIII, no. 4 (November 2000): 660–62. http://dx.doi.org/10.1093/earlyj/xxviii.4.660.

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20

Kumagai, Jean. "The illuminated cello." IEEE Spectrum 52, no. 8 (August 2015): 36–41. http://dx.doi.org/10.1109/mspec.2015.7164400.

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21

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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22

Shapiro, Philip E. "“Cello scrotum” questioned." Journal of the American Academy of Dermatology 24, no. 4 (April 1991): 665. http://dx.doi.org/10.1016/s0190-9622(08)80178-8.

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23

MA, YO-YO. "Behind The Cello." New Perspectives Quarterly 31, no. 2 (April 2014): 95–99. http://dx.doi.org/10.1111/npqu.11462.

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MA, YO‐YO. "Behind The Cello." New Perspectives Quarterly 36, no. 4 (October 2019): 60–65. http://dx.doi.org/10.1111/npqu.12232.

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25

Костикова, Наталья. "Раннее фортепианное трио Златы Ткач (1961): к проблеме трактовки виолончельной партии." Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 48, no. 2 (August 21, 2021): 99–105. http://dx.doi.org/10.46727/jshs.2021.v48.i2.p99-105.

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The purpose of this article is to reveal the peculiarities of the cello part in the piano trio written by Moldovan composer Zlata Tkaci, created in 1961. Based on the methods of musicological and performing analysis, the author formulates the main genre and style features of this opus, as well as formulates recommendations for overcoming the performing difficulties of the cello part. The conclusions note the influence on the musical language of the Trio of European chamber music traditions of the Romanticism era, the equal role of the cello within the chamber ensemble due to the enrichment of its expressive and constructive functions, the large role of polyphonic thinking.

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26

Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.

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27

Wirayudha, Asep Hidayat. "A Solution to the Fingering Problem of Brahms Cellos Sonata No. 1 Opus 38 and Shostakovich Cello Sonata Opus 40." Resital: Jurnal Seni Pertunjukan 15, no. 1 (November 10, 2014): 100–106. http://dx.doi.org/10.24821/resital.v15i1.803.

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The flexibility of fingers is one main factor of responsibility on their spread ability. Considering thecello playing, the spread ability of cellists’ fingers is very important since it has a direct correlation to theirability to play the octave interval. The short- fingers cellists would find difficulties to play the octave intervalsat the first, second, third, and fourth position. Nevertheless, short-fingers are not dead-end for cellist. Thespread ability of finger, up to some extent, might be increasing through practices and exercises. It is with thisspirit that the author proposes some stratagems, which may be used to increase the spread ability of a cellist’sfingers in this section - using the octave interval problems as a case of pint. The discussion on the types andstyles of problem show that even though the octave intervals in Brahms cellos sonata No. 1 opus 38 andShostakovich cello sonata opus 40 are different in details, but fundamentally they are similar: the problemscome from the difficulty of the first and the fourth fingers to reach the proper note when the size and lengthof the fingers are limited.Solusi dari Permasalahan Fingering dalam Brahms Cellos Sonata No.1 Opus 38 danShostakovich Cello Sonata Opus 40. Kemampuan penyebaran jari pemain cello sangat penting karenamemiliki korelasi langsung dengan kemampuan mereka untuk bermain interval oktaf. Jari-jari pendekpemain cello akan menemukan kesulitan untuk bermain interval-interval oktaf di posisi pertama,kedua, ketiga, dan keempat. Namun demikian, kemampuan penyebaran jari, bisa ditingkatkan melaluipraktik dan latihan. Hal tersebut menggugah penulis untuk mengusulkan beberapa siasat baru mengenaikemampuan teknis memainkan interval dan oktav dan persoalan jarak interval dalam konteks Sonatayang dapat digunakan untuk meningkatkan kemampuan penyebaran jari seorang pemain cello. Meskipuninterval oktaf di Brahms cello sonata No 1 opus 38 dan Shostakovich cello sonata opus 40 berbeda,tetapi pada dasarnya keduanya sama: masalah datang ketika kesulitan terjadi pada jari pertama dankeempat untuk mencapai nada yang tepat ketika ukuran dan panjang jari-jari terbatas.

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28

Kenneson, Claude, David Littrell, Mary Mayhew, and William Skidmore. "Cello Forum: Feats, Fetes and Feast—The Third American Cello Congress." American String Teacher 36, no. 4 (November 1986): 64–68. http://dx.doi.org/10.1177/000313138603600431.

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Even one glance at the program for the Third American Cello Congress held on the Indiana University campus at Bloomington June 3-7 instantly reveals what an exciting attraction it proved to be. Headed by Congress President Janos Starker and sponsored by the American Cello Council, the Congress days were jampacked with master classes, performances, seminars, panel discussions, exhibits, ensembles, and competitions. * The following reports are intended to offer our readers a small sampling of this great cello feast.[P.Y.]

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29

Bernstein, Matthew N., Zhongjie Ma, Michael Gleicher, and Colin N. Dewey. "CellO: comprehensive and hierarchical cell type classification of human cells with the Cell Ontology." iScience 24, no. 1 (January 2021): 101913. http://dx.doi.org/10.1016/j.isci.2020.101913.

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30

Kościukiewicz, Jakub. "Cello in the Baroque, part 2: Cello literature in the 17th century." Notes Muzyczny 2, no. 10 (December 20, 2018): 9–23. http://dx.doi.org/10.5604/01.3001.0012.9810.

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The present text is the second instalment of the cycle of articles based on its author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, prac-tice, and selected literature examples (Academy of Music in Łódź, 2017). It is an at-tempt to systematise the knowledge about the first cello literature creators and their compositions. The text includes descriptions (characterisations) of the first pieces writ-ten for the cello as early as in the 17th century along with short biographical sketches of their composers. The article characterises the main centres of development of cello mu-sic, such as Bologna and Modena, the places of work of Giovanni Battista Vitali, Do-menico Gabrielli, Petronio Franceschini, Giuseppe Jacchini, Bononcini brothers, Gio-vanni Battista Degli Antoni, Domenico Galii, Giuseppe Colombi, and others. These composers mainly focused around Bologna’s Accademia Filarmonica and Basilica of San Petronio, as well as the court of Francesco II d'Este in Modena. The article also pays attention to the circumstances in which the first attempts to write cello pieces were made. Moreover, it mentions singular historical items of early cello literature written in such centres as Rome, Venice or Naples, where Carlo Fedeli, Giovanni Lorenzo Lulier, Nicola Francesco Haym or other composers worked.

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31

Laird, Paul R., Ronald Caltabiano, Corey Field, and Frank La Rocca. "Sonata for Solo Cello." Notes 46, no. 3 (March 1990): 822. http://dx.doi.org/10.2307/941461.

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32

Anderson, Robert, Donald Tovey, Rebecca Rust, David Apter, and Frank Bridge. "Cello Sonata; Elegiac Variations." Musical Times 136, no. 1832 (October 1995): 554. http://dx.doi.org/10.2307/1003624.

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33

Situ, Zhiwen, and Charles Wendt. "The Cello in China." American String Teacher 38, no. 4 (November 1988): 80–81. http://dx.doi.org/10.1177/000313138803800432.

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34

Stevens, Paul, and Jeffrey Solow. "Comfortable Cello Set-up." American String Teacher 41, no. 1 (February 1991): 56–58. http://dx.doi.org/10.1177/000313139104100116.

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35

Sharp, Irene, and Linda King. "Cello Artistry by Design." American String Teacher 42, no. 3 (August 1992): 61. http://dx.doi.org/10.1177/000313139204200326.

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36

Novak, John. "Dvorak: Cello Concerto (review)." Notes 57, no. 1 (2000): 142–43. http://dx.doi.org/10.1353/not.2000.0046.

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37

Heath, W. G. "The cello; Dilsey; Psyche." World Literature Written in English 35, no. 1 (January 1996): 75–77. http://dx.doi.org/10.1080/17449859608589238.

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38

Tondi, Emanuele. "Giuseppe Cello (1946–2006)." Tectonophysics 476, no. 1-2 (October 2009): 1. http://dx.doi.org/10.1016/j.tecto.2009.06.005.

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39

Steensma, David P. "A Cello for Michayla." Journal of Clinical Oncology 28, no. 28 (October 1, 2010): 4400–4401. http://dx.doi.org/10.1200/jco.2010.30.0681.

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40

Kory, Agnes. "Boccherini and the cello." Early Music 33, no. 4 (November 1, 2005): 749–51. http://dx.doi.org/10.1093/em/cah182.

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41

Nurmusabih, Nandya Abror, Hari Martopo, and Ayu Tresna Yunita. "Studi Eksploratif Bahan Ajar Cello Berbasis Metode Suzuki." PROMUSIKA 5, no. 1 (November 25, 2018): 1–6. http://dx.doi.org/10.24821/promusika.v5i1.2281.

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Metode Suzuki merupakan metode pembelajaran musik yang menekankan pentingnya pendidikan bakat musik sedini mungkin untuk anak-anak dengan menggunakan bahasa ibu (mother tongue). Metode ini banyak disalahartikan oleh masyarakat hanya dengan menggunakan kurikulum buku saja, tanpa menerapkan filosofi dari penciptanya, Shinici Suzuki yaitu dididik dengan kasih sayang Nurtured by Love (dididik dengan kasih sayang) dan teorinya yaitu Talent Education (pendidikan bakat). Tujuan eksplorasi Metode Suzuki ini yaitu: (1) untuk memperkaya bahan ajar cello berbasis Metode Suzuki Cello menggunakan metode eksploratif yaitu metode penelitian yang digunakan untuk meneliti sesuatu yang belum diketahui, belum dipahami, dan belum dikenali dengan baik, (2) untuk mensosialisasikan Metode Suzuki dalam pembelajaran cello. Kesimpulan yang dapat diambil adalah: (1) pengayaan bahan ajar cello dalam Metode Suzuki menggunakan metode eksploratif, (2) metode eksploratif yang diterapkan pada pengayaan bahan ajar cello sebagai upaya mensosialisasikanera.

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42

Bhat, K. M., A. J. Hay, M. Claeyssens, and T. M. Wood. "Study of the mode of action and site-specificity of the endo-(1→4)-β-d-glucanases of the fungus Penicillium pinophilum with normal, 1-3H-labelled, reduced and chromogenic cello-oligosaccharides." Biochemical Journal 266, no. 2 (March 1, 1990): 371–78. http://dx.doi.org/10.1042/bj2660371.

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The modes of action of the five major endo-(1→4)-beta-D-glucanases (I, II, III, IV and V) purified from Penicillium pinophilum cellulase were compared by h.p.l.c. analysis, with normal, 1-3H-labelled and reduced cello-oligosaccharides and 4-methylumbelliferyl glycosides as substrates. Significant differences were observed in the preferred site of cleavage even when substrates with the same number of glycosidic bonds were compared. Thus, although endoglucanase I was unable to attack normal cello-oligosaccharides shorter than degree of polymerization 6, it hydrolysed reduced cellopentaose to yield cellotriose and cellobi-itol, and it produced cellotriose and 4-methylumbelliferyl glucoside from 4-methylumbelliferyl cellotetraoside. Endoglucanase IV hydrolysed [1-3H]cellotriose but did not attack either cellotri-itol or 4-methylumbelliferyl cellobioside. These and other anomalous results indicated clearly that modification of the reducing glycosyl residue on the cello-oligosaccharides induces in an apparent change in the mode of action of the endoglucanases. It is suggested that, although cello-oligosaccharide derivatives are useful for differentiating and classifying endoglucanases, conclusions on the mechanism of cellulase action resulting from these measurements should be treated cautiously. Unequivocal information on the mode of endoglucanase action on cello-oligosaccharides was obtained with radiolabelled cello-oligosaccharides of degree of polymerization 3 to 5. Indications that transglycosylation was a property of the endoglucanases were particularly evident with the 4-methylumbelliferyl cello-oligosaccharides. Turnover numbers for hydrolysis of the umbelliferyl cello-oligosaccharides were calculated, and these, along with the other analytical data collected on the products of hydrolysis of the normal, reduced and radiolabelled cello-oligosaccharides, suggested that the various endoglucanases had different roles to play in the overall hydrolysis of cellulose to sugars small enough to be transported through the cell membrane.

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43

Halimah, Halimah, Gufran Ali Ibrahim, and Ninuk Lustyantie. "CELLO AS A LANGUAGE TEACHING METHOD IN INDUSTRIAL REVOLUTION 4.0 ERA." English Review: Journal of English Education 7, no. 1 (December 9, 2018): 75. http://dx.doi.org/10.25134/erjee.v7i1.1497.

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CELLO is derived from Community English Language Learning and Orai. It is a new teaching method developed especially in the community of English language learning based on the idea of Curran�s work on teaching method. CELLO is a combination between an innovative teaching method and media technology called Orai Application that is applied in teaching and learning of speaking especially in fostering students� fluency. Today, all graduates face a world transformed by technology, in which the Internet, cloud computing, and social media create different opportunities and challenges for formal education systems. This paper aims to explore the use of CELLO in assisting student�s speaking fluency. This classroom action research consists of three cycles in which each cycle consists of six stages, namely identify the problem, data gathering, data interpreting, action on evidence, evaluation, and revision. The obtained data showed that CELLO method could improve students� speaking fluency. �Based on the finding, implementing CELLO method is strongly recommended in teaching speaking especially at fostering students� speaking fluency.Keywords: CELLO; speaking fluency; technology 4.0; industrial revolution; action research.

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44

Tatarkin, D. Yu. "TO THE QUESTION OF THE ORIGINAL IDEA OF THE CELLO SUITES NO. 5 AND NO. 6 BY J. S. BACH." Arts education and science 4, no. 33 (2022): 53–62. http://dx.doi.org/10.36871/hon.202204053.

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This article analyzes the two final cello suites of the Bach cycle BWV 1007–1012 from the viewpoint of their original instrumental affiliation. The author conducted a textual study of the autograph of the Lute Suite g-moll BWV 995, which is considered to be the author's adaptation of the Cello Suite No. 5. The analysis of the nature of the corrections contained in the lute source made it possible to establish their compositional nature and to identify the manuscript itself as a non-calligraphic compositional manuscript, created in the process of composition. The article shows that the lute version of the Fifth Suite was created chronologically earlier than the cello version, and it is this version which is the primary source. The study considers which of the five-stringed instruments used in concert practice at that time, the Cello Suite No. 6 BWV 1012 could have been intended for, and argues for the hypothesis of a lost lute primary source of this work. The paper analyzes the reasons that forced Bach to disrupt the original plan and add two more non-standard cello suites to the four first extremely typed cello suites of the cycle. Finally, conclusions are drawn about the importance of referring to handwritten musical texts, first of all Bach's autographs, while working on a guitar arrangement of his cello suites in keeping with the composer's ideas.

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45

Frey, Elinor. "On Commissioning New Music for Baroque Cello." Circuit 28, no. 2 (September 12, 2018): 11–23. http://dx.doi.org/10.7202/1051289ar.

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In 2014, cellist Elinor Frey began commissioning new music for the five-string Baroque cello as a way to contribute to and expand the repertoire for the instrument. Her project grew to three new works for five-string cello, two works for the four-string cello, and one for cello and harpsichord. This article documents Frey’s close collaborations with six composers—Scott Godin, Isaiah Ceccarelli, Linda Catlin Smith, Maxime McKinley, Ken Ueno, and Lisa Streich—and reflects upon the ways in which her approaches to style and performance practice played a role in interpreting the new works. Frey also explores how she drew inspiration from Baroque stylistic qualities such as concealment and illusion.

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Wirayudha, Asep Hidayat. "The Secret of Brahms Cellos Sonata No. 1 Op. 38 and Shostakovich Cello Sonata Op. 40." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 35. http://dx.doi.org/10.24821/ijcas.v3i2.1843.

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This study aims to find a technique solution behind the Far interval and Octave interval in Brahms Cello sonata no.1 opus 38 and Shostakovich cello sonata op. 40 through literature and Discography approach. The fingering problems may poses special difficulties to any cellists. According to the author’s assessment, there are two problems that warrant special attentions of the cellist. Both intervals may cause serious problems on the performance of short fingers cellists. The size of the fingerboard on the cello as compared to other string instruments are longer, resulting in harder difficulties regarding obtaining tone (Stowell, 1999). From the results of the Far Interval and Octave Interval and active involvement of the researchers, the results show that, what is shown that every cellist are anatomically different. The fingers of the cellists are naturally very flexible. It cannot be converted to another cellists. So flexibly that it is possible to overcome the problem in a simple and convenient.

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Yalong, Yu. "DEVELOPMENT OF CELLO SCHOOL IN CHINA. CREATIVE AND PEDAGOGICAL ACTIVITIES OF WANG LIANSAN AND SITU ZHIWEN." Arts education and science 1, no. 2 (2021): 113–20. http://dx.doi.org/10.36871/hon.202102014.

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The article traces the development of Chinese cello tradition, the process of its formation in interaction with national European schools (Spanish, French, Russian, etc.) and the appearance of the first national musicians-performers who became founders of Chinese cello pedagogical system. The significance of the first major cello composition San Tung's Fantasia for Cello and Orchestra, was also emphasized. Presented are the portraits of outstanding instrumentalists — Wang Liansan and Situ Zhiwen, whose creative and pedagogical experience allowed not only to significantly renew the system for training young people, but also to enrich the performing repertoire of contemporary Chinese cellists, to improve their artistic and technical abilities. Wang Liansan's activity was not limited to teaching or performing. He was also active as a composer, considering the composing of national music for the cello as one of his main tasks. Some of his cello pieces were widely known and enjoyed great success not only in China, but far beyond. The work of Situ Zhiwen, known as an orchestral performer and soloist, was very important too. She also created many manuals and playbooks for musicians of all ages based on her great pedagogical experience.

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OLIVIERI, GUIDO. "THE EARLY HISTORY OF THE CELLO IN NAPLES: GIOVANNI BONONCINI, ROCCO GRECO AND GAETANO FRANCONE IN A FORGOTTEN MANUSCRIPT COLLECTION." Eighteenth Century Music 18, no. 1 (February 5, 2021): 65–97. http://dx.doi.org/10.1017/s1478570620000457.

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ABSTRACTThe analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practice of continuo realization at the cello, as well as on the connections with partimento practice. This collection is thus of critical importance for a discussion of the technical achievements and developments of the cello repertory in Naples before the emergence of the celebrated generation of Neapolitan cello virtuosi in the early years of the eighteenth century.

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Pittenger, Elise. "Perspectives on Beethoven’s Middle and Late Periods: Developments in his Writing for Cello in the Op. 69 and Op. 102 Sonatas." Revista Música 20, no. 2 (December 20, 2020): 223–38. http://dx.doi.org/10.11606/rm.v20i2.176085.

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This article explores the developments in Beethoven’s writing for the cello in the Op. 69 and Op. 102 sonatas, with the premise that they reflect the overall shift in his style from his Middle to Late Periods. In order to place the cello sonatas in context, the traditional framing of Beethoven’s work into three phases is described and well as the current state of cello writing at the turn of the century. The cello part in the Op. 69 sonata is then discussed, with attention to the role of the cello as compared to the piano and to the interaction between the two instruments. The Op. 102 sonatas are presented, also with attention to the interaction between the instruments. The suggestion is made that these sonatas illustrate Beethoven’s increasingly radical treatment of form, a treatment that results in challenging instrumental writing that, while not as gratifying as that of his Middle Period, nonetheless allows him to attain a new kind of expressivity as well as formal complexity.

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Çiftçibaşı, Mehmet Can. "Development of a cello performance measurement tool: Validity and reliability study." Cypriot Journal of Educational Sciences 16, no. 2 (April 30, 2021): 859–68. http://dx.doi.org/10.18844/cjes.v16i2.5688.

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The aim of this study was to develop a new performance measurement tool with proven validity and reliability to be used in the semester final exams of the individual instrument (cello) courses in institutions in which music teachers are trained. The study has a descriptive nature and a documentary scan was made during the preparation of the items to be included in the measurement tool. The participants of the study comprised 17 instructors who teach cello in 17 different universities in Turkey and a total of 50 students from 4 different music teaching programmes. In the study, two different data collection tools were used, namely the opinion form applied to the instructors of the cello lesson and the measurement tool developed by the researcher, in order to determine the importance of the criterion skills in the tool. Internal consistency was examined for the reliability of the tool and Cronbach's alpha and Cohen's kappa formulas were used. The Cronbach’s alpha reliability coefficient was determined to be .94 and the statistical significance level was determined to be .05. As a result of the study, a valid and reliable measurement tool for measuring cello performance was developed. Keywords: Cello education, Measuring cello performance, Performance measurement tool

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