Thèses : « Electronic and cello music »

1

Bielmeier, Douglass Christopher. « The Thief of Always ». Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1136924509.

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Schryer, Claude. « A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape] ». Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.
The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.
"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.
'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

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Cheng, Chien-Wen. « Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP / ». Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

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Bukvic, Ivica Ico. « Tabula Rasa ». University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1131065629.

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

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

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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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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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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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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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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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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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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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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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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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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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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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Cadieux, Marie-Aline. « The Cello and Piano Sonatas of Emilie Mayer (1821-1883) / ». The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu148818776384735.

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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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Son, Eunkyung. « A performance guide : new cello compositions by Serra Miyeun Hwang ». Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5639.

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Korean Canadian composer Serra Miyeun Hwang (1962-) has written three compositions for cello- Beckoning, Presence, and Hundredth View- inspired by Korean culture and traditional music. She infuses each piece with Korean elements, including special rhythmic patterns, text, and tone color, which are influenced and motivated by traditional Korean percussion music, religions, culture, combined with techniques of Western instrumental performance. The purpose of this study is to introduce Hwang’s music to other cellists and help them incorporate the historical and cultural aspects of Korean traditional music to their performance practices. By analyzing Hwang’s compositions in greater detail, this essay will provide cellists practice guidelines to achieve the desired tone and interpretive gestures of new cello repertoire. This essay contains Hwang’s biography and her philosophy of music and a description of the Korean influences on her music, including the genres of traditional music in Korea, their cultural background, music in Shaman ceremonies, Buddhist music, and p’ungmul (folk drumming and dance). There is also a performance guide of Beckoning for Cello and two Korean Drums; Presence for Soprano, Cello, and Piano; and Hundredth View for Solo Cello with my own interpretation. Learning Hwang’s pieces will bring cellists new experiences that are a mixture of music, culture, thoughts, and methods from Western and Eastern influences.

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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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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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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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Fetherston, Mary Davis. « Building Memory Structures to Foster Musicianship in the Cello Studio ». The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299594260.

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Lyszczarz, Joseph E. « Among the Voices Voiceless : Setting the Words of Samuel Beckett ». Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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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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SPAKAUSKAS, DARIJUS. « THE WHALE PROJECT ». University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1181655993.

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Suckling, Christopher Andrew. « The realisation of recitative by the cello in Handelian opera ». Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/18107/.

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This thesis examines the author’s practice of the chordal realisation of recitative by the cello in Handel opera. The realisation of recitative has a long pedagogical history from 1774–1877; it is, however, rarely part of current practice. The decline of realisation in the nineteenth century and its consequences for current practice is considered. The realisation of recitative first appears in cello pedagogy as a fully formed practice. Its origins are unclear. The first chapter demonstrates that the development of cello technique at the turn of the eighteenth century provided Italian émigré composer-cellists with the techniques to realise recitative. The use of the cello as a harmonising instrument is traced through its repertoire from the late seventeenth century to the unexpected pedagogical source of Geminiani’s The Art of Playing the Guitar. An analysis of this important and neglected source for the cello is offered. Opera manuscripts that appear to reveal traces of realisation by the cello are examined. Initially promising Handel sources are debunked. Handel harpsichord scores suggest that the continuo group was more homogeneous than in current recorded practice. This is considered alongside the poor acoustics of eighteenth-century theatres, suggesting a motive for the realisation of recitative by the cello. Cello methods from 1741–1877 are analysed. They reveal an increasingly elaborate practice of realisation of recitative by the cello in the early nineteenth century. Tensions emerge in the methods between Affekt, technique, and stagecraft. The author’s own practice is described. Common techniques between chordal realisation and current practice are examined. A method for acquiring a vocabulary of chords is offered that improves on those in the historical methods. Transcriptions of the author’s realisations together with a report from rehearsals and performances of Handel’s Agrippina at the Vlaamse Opera illustrate the author’s practice. The thesis concludes with a response to critical reception to the author’s practice.

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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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Beadell, Mary. « A comprehensive study, descriptive analysis and resulting catalog of opera-inspired repertoire for the cello ». Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280676.

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Opera-inspired cello repertoire is well suited for performance and educational purposes, but has not been systematically identified and evaluated. Currently, there are neither existing studies on this repertoire nor any published compilations. Through demonstration and analysis, this study will show the performance qualities and pedagogical merit of this repertoire through identification, review and analysis of each piece. The findings of this study will be used to create a catalog that will make this literature more visible and more accessible to performers, teachers and students in the schools and in the private sector. The study and resulting catalog will be limited to music that is currently in print.

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Chen, Tzu Yun. « A Pedagogical Approach to Vibrato Styles for Advanced Cello Students and Their Teachers ». The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365642147.

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Sharp, Barry Shelton. « Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion ». Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

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Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work involves two or more players of either ilk. In reference to the work presented here, Sizhu is a metaphor for the western instruments (flute and clarinet as “bamboo,” and violin and cello as “silk”) that are employed within the piece. It also refers to my use of a Chinese melody in the compositional process. The song, Er Quan Ying Yue (The Moon Reflected In Second Spring), was composed and performed regularly on the streets by the blind erhu player A Bing. The song has been fragmented, stretched, and varied to the point of near inscrutability, though it becomes more comprehensible following the mid-point. It inspires both structural and local events. The work also employs aspects of the spectral style. The first section is a slow distortion and transformation of the A harmonic spectrum; specific partials are emphasized as the spectrum expands and contracts. Additionally, fragments of the Chinese melody appear within the confines of each specific harmonic structure. The second part completely diverges utilizing assimilated pentatonic scale permutations. Finally, the third section synthesizes these two elements of musical material within the piece as the instruments morendo into silence.

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Sloan, Steven Ernest. « The Seasons : 30 Haiku for Flute, Clarinet, Violin, Cello, Mezzo-Soprano, and Baritone ». Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491382981518334.

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Ko, Ching-Shin. « Cellists and the Dvořák cello concerto : the labyrinth of interpretation / ». Thesis, Connect to this title online ; UW restricted, 2000. http://hdl.handle.net/1773/11202.

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Bebe, David Martin. « A Logical and Comprehensive Sequence of Skills for Teaching Children the Cello ». Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/227.

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The main purpose of this essay is to develop the most effective and logical sequence of skills for teaching children how to play the cello. This essay deals with the questions "When does one introduce specific skills for playing the cello?" and "Is there a sequence of skills that is universally the most beneficial for learning how to play the cello?" The chapters include a detailed examination of the existing cello methods currently available to cello teachers, and explore whether the ideal comprehensive cello sequence exists. It is important for teachers to have a complete plan for the young cellist and to have the proper repertoire that will make this thorough education a possibility. Many teachers use multiple scale and method books that do not fit into a sequence. These books are not designed to be used with each other, and it can be inconvenient to have numerous books in every lesson. I have created a method that contains a logical sequence of skills, spans from the very beginning stages of learning to the most advanced stages of learning, has corresponding scales and exercises for each piece, and avoids confusion and clutter of multiple books by placing scales, exercises, and pieces side by side. This study is meant to assist young teachers by providing a clearly progressive and comprehensive cello method with a corresponding instructional website.

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Abubakr, Mukryan. « Maqam - orientalisk improvisation : att utforska maqam-baserad improvisation på solocello ». Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4234.

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Bogert, Nathan Bancroft. « Transcribing string music for saxophone : a presentation of Claude Debussy's Cello Sonata for baritone saxophone ». Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2442.

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The saxophone has a rich tradition of performing transcriptions. In recent years, saxophonists have begun exploring the performance of transcriptions that would have previously been believed to be outside of the capabilities of the saxophone. In general, this new wave of transcriptions has been drawn from the repertoire of string instruments. Through the arrangement of Claude Debussy's Cello Sonata of 1915, this document provides a step-by-step explanation of how saxophonists can effectively transcribe string music for the saxophone.

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Kwon, Sae Rom. « Basic Principles of the Alexander Technique Applied to Cello Pedagogy in Three Case Studies ». University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337288926.

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Chudy, Magdalena. « Discriminating music performers by timbre : on the relation between instrumental gesture, tone quality and perception in classical cello performance ». Thesis, Queen Mary, University of London, 2016. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18378.

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Classical music performers use instruments to transform the symbolic notationof the score into sound which is ultimately perceived by a listener. For acoustic instruments, the timbre of the resulting sound is assumed to be strongly linked to the physical and acoustical properties of the instrument itself. However, rather little is known about how much influence the player has over the timbre of the sound - is it possible to discriminate music performers by timbre? This thesis explores player-dependent aspects of timbre, serving as an individual means of musical expression. With a research scope narrowed to analysis of solo cello recordings, the differences in tone quality of six performers who played the same musical excerpts on the same cello are investigated from three different perspectives: perceptual, acoustical and gestural. In order to understand how the physical actions that a performer exerts on an instrument affect spectro-temporal features of the sound produced, which then can be perceived as the player's unique tone quality, a series of experiments are conducted, starting with the creation of dedicated multi-modal cello recordings extended by performance gesture information (bowing control parameters). In the first study, selected tone samples of six cellists are perceptually evaluated across various musical contexts via timbre dissimilarity and verbal attribute ratings. The spectro-temporal analysis follows in the second experiment, with the aim to identify acoustic features which best describe varying timbral characteristics of the players. Finally, in the third study, individual combinationsof bowing controls are examined in search for bowing patterns which might characterise each cellist regardless of the music being performed. The results show that the different players can be discriminated perceptually, by timbre, and that this perceptual discrimination can be projected back through the acoustical and gestural domains. By extending current understanding of human-instrument dependencies for qualitative tone production, this research may have further applications in computer-aided musical training and performer-informed instrumental sound synthesis.

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Rann, Thomas. « Defining an Israeli school of cello pedagogy and performance through an analysis of the teaching of Professor Uzi Wiesel ». Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8954.

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This research enquiry seeks to define a contemporary Israeli school of cello pedagogy and performance that has evolved out of numerous influences, and particularly the teaching of Wiesel. In analysis of the elements that define this school, a survey of the components that comprise Israeli cello playing is achieved. This adds to the body of knowledge, as this branch of cello pedagogy has not previously been investigated to this extent. The researcher used the Grounded Theory method to analyse and collate interviews from important cellists connected to the Israeli school. A questionnaire format was employed, which addressed the scope of issues concerning cello playing which help to define a school. These responses were analysed in juxtaposition with more detailed responses and source material from Wiesel. Important works on cello technique and literature that connect to Israel’s pedagogical development are also discussed in support of the argument for a distinct school. While opinions on cellistic matters varied between participants, most cellists displayed significant application of Wiesel’s methods. These results aided this researcher’s thesis that a distinct school of Israeli cello pedagogy and performance can be defined, and is in thriving existence.

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Meilstrup, Sharon. « Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky : A Critical Edition ». BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2309.

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The Czech composer Paul Wranitzky (1756–1808) worked primarily in Vienna during the height of musical Classicism. He was well-respected among the higher artistic circles during his day as a composer, violinist, and conductor. His excellence in conducting was recognized by Haydn and Beethoven. His compositions were favored by Empress Marie Therese. Despite his contemporary fame and esteem, his works are relatively unknown today. His works are being revived today, bringing these once popular compositions back to the public. This thesis presents a critical edition of Wranitzky's cello concerto in C Major, appearing for the first time in a scholarly edition. This will allow for its study and performance, and allow musicologists to determine Wranitzky's influence on Viennese string and orchestral music.

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Ericsson, Sara-Rebecka. « Schelomo : Rhapsodie Hébraïque ». Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3227.

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Neary, Fay Damaris. « Symbolic structure in the music of Gubaidulina ». Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1120157817.

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Dube, Michelle Claire. « Prelude of Suite V for cello solo by J. S. Bach : Options for performance ». Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.

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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, significant and pertinent information can be gained from this manuscript. Chords, intervals, differing sequence patterns, and differing pitches are all evident when comparing the lute version with the manuscript copies. Many of the added notes from the lute version are playable on the cello and add to the resulting harmony. These playable notes are included in the Appendix in the author's own edition of the Prelude to Suite V based upon the lute score. While a cellist may not choose to follow the lute score, many questions stemming from the variances found in the manuscript copies can be made clearer. The Prelude to Suite V was written in the French overture form. There is much controversy as to the manner in which a French overture should be performed. Thus, the performance practice of the French overture style is discussed and presented. Proponents of the style feel it pertained to music of the Baroque period, irregardless if it was written by a French composer, while others feel that no such style existed and there was no basis to include Bach's music in the use of the French overture style. Both sides of the French overture style are presented and related to the performance, specifically, to the Prelude of Suite V for cello solo.

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Silver, Noreen. « Nineteenth century music for cello and piano in the British Library Collection : an annotated catalogue / ». Thesis, Connect to this title online ; UW restricted, 1994. http://hdl.handle.net/1773/11364.

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Malchow, William R. « String Quartet in Three Movements ». ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2572.

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Moon, JeeHyung. « Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1 : an analysis and a performance edition ». Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4881.

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Yun, Mi Yeon. « A New Vision for the Genre| The Five Cello Sonatas of Ludwig van Beethoven and the Striving Towards Instrumental Equality ». Thesis, University of Cincinnati, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3599334.

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Mainstream scholarship teaches that Beethoven's five cello sonatas follow his progression as a composer. The Op. 5 sonatas are considered to belong to the Classical tradition of keyboard domination and cello subordination, and the Op. 69 sonata is held as an important transitional work in which the cello and the piano are first treated as equals. The Op. 102 sonatas, appearing in Beethoven's increasingly chromatic and contrapuntal late period, further integrate the cello into the music making, but many scholars see the cello here as more of an independent voice than a matching partner. A closer look at the sonatas reveals a composer who was more consistent in his thinking. This document will study the relationship between the cello and the piano in each of the five cello sonatas of Ludwig van Beethoven and demonstrate that the equal treatment of both instruments, so widely praised in the Op. 69 sonata, is present in all five works.

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Thèses sur le sujet « Electronic and cello music »

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