Bibliographies thématiques / Electronic and cello music / Articles de revues

Articles de revues sur le sujet « Electronic and cello music »

Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Electronic and cello music.
Auteur : Grafiati
Publié le 26 juillet 2024
Mis à jour le 27 juillet 2024

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1

Cleman, Thomas, Robert Basart et Yehuda Yannay. « Kansas City Dump ; For Clarinet, Piano, Violin, Cello, and Electronic Tape ». Notes 44, no 2 (décembre 1987) : 367. http://dx.doi.org/10.2307/941598.

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2

Straebel, Volker. « Technological implications of Phill Niblock's drone music, derived from analytical observations of selected works for cello and string quartet on tape ». Organised Sound 13, no 3 (3 novembre 2008) : 225–35. http://dx.doi.org/10.1017/s1355771808000320.

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AbstractFour compositions for cello and string quartet on tape by American intermedia artist Phill Niblock originating from 1974 to 2003 are discussed. The interdependence of compositional approach and available technology is considered, leading to the observation that the electronic music composer's technique is considerably independent of the available technology. Where a dependence of artistic development on factors not originally musical has to be acknowledged, these nonmusical factors lie not so much in the technology but in Niblock's interpretation of it. This is discussed within the context of philosophical observations on art and technology by Theodor W. Adorno, Martin Heidegger and Ernst Cassirer.
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3

LIVINGSTON, HUGH. « Paradigms for the new string instrument : digital and materials technology ». Organised Sound 5, no 3 (décembre 2000) : 135–47. http://dx.doi.org/10.1017/s1355771800005045.

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The applications of technology in instrument design contribute to the resulting sound on many levels, particularly in the context of new evolutions representing the traditional instruments of our culture. Materials technology is seldom given consideration in the description of Western string instruments, but our choices of woods, metals and synthetics can dramatically alter the sound without altering the substance of instrumental performance. In the design of modified string instruments which mimic features of natural acoustic predecessors, new technology is applied on many levels. A taxonomy is proposed for the past, present and future of instrument design. Due consideration is given to the music which results from the new sound world, especially that involving interactive electronic processing. The advantages and disadvantages of directions in instrument design for the future are evaluated within the proposed schema. Some extended techniques on the cello are proposed to be further extended with electronics, and audio examples and descriptions are provided. A model for future collaborations between composer, performer and engineer is proposed.
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4

Berehova, Olena, et Mariia Kara. « Features of the individual interpretation of the cello sonata genre in the creation by Gyorgy Ligeti ». Музикознавча думка Дніпропетровщини, no 18 (16 novembre 2020) : 167–78. http://dx.doi.org/10.33287/222027.

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The purpose of this scientific article is characterization of the individual approach concerning the outstanding Austrian composer of Hungarian origin Gyorgy Ligeti to the genre of sonata for cello solo, which was successfully made by this composer. To achieve this goal, the role of this genre in the composer’s work is determined, the stylistic features of the only cello sonata in the composer’s work are discovered, and the composition of the work is analyzed. The methodology research as is in applying a holistic musicology analysis that allows deeply penetrate into the essence of the intonational drama of the work, to reveal the individual features of the author’s interpretation by the composer of the sonata genre for solo cello. The scientific novelty. The sonata of Gyorgy Ligeti, namely, the consideration of the features of the individual interpretation of the instrumental sonata genre, has not yet become the object of domestic musicological research, so addressing this topic is relevant and has a novelty factor. Conclusion. Throughout the long career of Gyorgi Ligeti, his composer style experienced a significant evolution from experiments in the field of electronic music and micropolyphony to a gradual return to classical romantic traditions. It was facilitated by the composer’s focus on the constant search for a new musical language and ways to express it. In the Sonata for cello solo, D. Ligeti pays great attention to the timbre features and technical characteristics of the instrument, seeks to diversify its sound by introducing modern techniques and means of sound extraction. A detailed examination of the artistic and technical techniques used by the composer along with analysis of performing difficulties will facilitate the work of artists on this work and its popularization in contemporary concert and performing practice.
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5

Tsaregradskaya, Tatiana V. « The Music of Fausto Romitelli : Concerning the Question of “Musical Material” ». Problemy muzykal'noi nauki / Music Scholarship, no 1 (2024) : 81–90. http://dx.doi.org/10.56620/2782-3598.2024.1.081-090.

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The end of the 20th century demonstrates an expansion of horizons of the comprehension of musical sonorities, the conception of their transformation from music into “sound,” which radically changes the perception of timbre: this element becomes transformed from a peripheral component of sound to the primary element, thereby changing entirely the entire conception of musical material. Thus, the theory of music material developed by outstanding German philosopher Theodor Adorno in the middle of the 20th century has found its confirmation. The latter’s concept of the historicity of music material was upheld and further developed by Italian composer Luigi Nono, who fundamentally changed the sphere of perception of this phenomenon, which subsequently was testified by his German student Helmut Lachenmann. This required not only new combinations of sound, but a reevaluation of the attitude of working with them. Fausto Romitelli (1963–2004) pertains to the generation of composers that discovered new paths for work with sound. In his musical output sound becomes a complex multicomponent phenomenon presuming an interaction between acoustic instruments, electronic sounds and reverberation — the sound “aura” and the sound “halo,” both of which are also composed consciously (presenting “composed resonance”). Romitelli’s individuality demonstrates itself in the fact that he builds this component of his musical material, basing himself on sonar discoveries in the sphere of rock music, in particular, the Pink Floyd ensemble, which finds reflection in such of his works as EnTrance, Professor Bad Trip, etc. Romitelli characterized the “aura” of his sound as “dirty,” comprehending this as a specific resonance of the sound of the electric guitar in rock music. Romitelli’s “composed resonance” is not characteristic solely of him; “composed resonance” as an element of musical material may be discerned in the works of other composers, in particular, Kaija Saariaho in her Amers for solo cello and ensemble.
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6

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 (juillet 1993) : 408. http://dx.doi.org/10.2307/1003108.

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7

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

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8

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

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9

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

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10

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

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11

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

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12

Roland-Silverstein, Kathleen. « Music Reviews ». Journal of Singing 80, no 3 (janvier 2024) : 361–63. http://dx.doi.org/10.53830/sing.00016.

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Abstract: Four new song cycle publications are reviewed for this September 2023 submission: Michael Ching’s Arrangements and Derangements: Interpretations of Schubert for Soprano, Cello, and Piano ; Reinaldo Moya’s Ciudad Perdida ; Lori Laitman’s Into Eternity: A Letter by Vilma Grunewald , for mezzo-soprano and piano; and Marion von Tilzer’s Into Eternity , for mezzo soprano, solo cello, string quartet, and piano.
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13

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

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14

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

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15

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

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16

Anderson, Robert, et Julian Lloyd Webber. « Cello Birds ». Musical Times 127, no 1718 (mai 1986) : 280. http://dx.doi.org/10.2307/965464.

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17

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

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18

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

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19

Palmer, Peter. « Swiss Cello Concertos ». Tempo 60, no 235 (janvier 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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20

Frey, Elinor. « On Commissioning New Music for Baroque Cello ». Circuit 28, no 2 (12 septembre 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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21

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 (5 février 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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22

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

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23

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

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24

Lee, MyungJin. « A Study on the Audition Pieces of Music Colleges for the Cello Majors from 2007 to 2017 ». Korean Society of Music Education Technology 31 (16 avril 2017) : 99–120. http://dx.doi.org/10.30832/jems.2017.31.99.

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The purpose of this study is to analyze the audition requirements for the admission of the 8 music colleges for cello majors for last 10 years. In order to achieve this goal, 55 cello pieces were collected from 8 music colleges such as Kyunghee University, Seoul National University, Sookmyung Women’s University, Yonsei University, Ewha Womans University, Chungang University, Korea National University of Arts, and Hanyang University. Investigating the frequency of the repertoire presents that 8 music colleges are applying a uniform standard in their audition requirements. This results may illustrate that the cello audition repertoire is quite limited and many music colleges prefer to select the student in the early decision rather than the regular one.
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25

Miller, Malcolm. « Recent Cello Music by Graham Whettam ». Tempo, no 216 (avril 2001) : 31–36. http://dx.doi.org/10.1017/s0040298200008470.

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The recent spate of world premières, concerts and several newly-released and imminent CD recordings have indicated a renewed interest in the music of the British composer Graham Whettam, who celebrated his 70th birthday with a concert in 1998 (see review in Tempo 206) and is still busy producing new works. As recently as February he completed his Fifth Symphony, for chamber orchestra (a Sixth is in progress) and his String Quartet No.4 is scheduled for a première later this year.
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26

Raharja, Adi William. « ANALYSIS OF MUSIC FORM AND CELLO PLAYING TECHNIQUES SONATINE FOR CELLO & ; PIANO BY BUDHI NGURAH ». Repertoar Journal 1, no 1 (30 juillet 2020) : 94–113. http://dx.doi.org/10.26740/rj.v1n1.p94-113.

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This resesarch aims to describe the musical form, and cello techniques that include fingering and bowing techniques in the work of Budhi Ngurah. The research process is using descriptive analytic methods. Data in this research were obtained by observation, interviews, and documentation. And analyzed by reduction, presentation and inference. The results indicate that the Sonatine For Cello and Piano by Budhi Ngurah consists of 3 movements. Movement I has a sonata forms with moderate tempo consisting of exposition, development, and recapitulation. Movement II has a three parts music form, ABA. Movement III has a rondo music form. The cello playing technique in this repertoar is important for performance which includes tone color, phrase of the music, and interpretation.
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Brumbeloe, Joe, et Edward T. Cone. « Duo for Violin and 'Cello ». American Music 18, no 1 (2000) : 115. http://dx.doi.org/10.2307/3052396.

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Akbel, Burcu Avcı. « Students' and Instructors' Opinions on the Implementation of Flipped Learning Model for Cello Education in Turkish Music ». Journal of Education and Training Studies 6, no 8 (8 juin 2018) : 1. http://dx.doi.org/10.11114/jets.v6i8.3256.

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Flipped learning is based on more effective use of the time spent with the instructor in the classroom. This study is aimed at identifying students’ and instructors’ opinions on the use of flipped learning model in cello education in Turkish music. This is the first study whereby flipped learning model has ever been used in Turkish Music education and cello education. Opinions on the implementation of the model were obtained through semi-structured interviews separately prepared for students and instructors. The data were analyzed by using the content analysis method. According to the data from the interviews, it has been revealed that the flipped learning model can be used in cello education in Turkish Music and the ‘imitation’ element in mesk method, the most important teaching method in instrument education in Turkish music, can be supported by flipped learning model.
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Miller, Malcolm. « Jerusalem, Music Centre : Andre Hajdu ». Tempo 67, no 264 (avril 2013) : 78. http://dx.doi.org/10.1017/s004029821300017x.

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An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (1990) ‘in the French style’ performed with panache by the flautist Yossi Arnheim and cellist Amir Eldan. It is an elegantly written work radiating the spirit of Hajdu's teachers Milhaud and (less overtly) Messiaen, with whom he studied in Paris in the 1950s and 60s. Beneath the light-hearted veneer of polyphonic textures is a serious, plangent expressiveness. The first movement, libre et gai, moves from the chirpy, Poulenc-like delicacy of a cat-and-mouse imitative chase, building tension towards a final stretto. In the second movement, molto moderato, Arnheim wove a lyrical cantilena for flute over gentle cello accompaniments, giving way to rarified high cello registers shadowed by eloquent lower lines of the flute. An exuberant dance-like finale, Libre mais un peu rythmé, increased in drama before receding to a tranquil conclusion.
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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 (30 avril 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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31

Hewett, Ivan, Ligeti, Ensemble Modern, Peter Eotvos Miklos Perenyi et Ueli Wiget. « Cello Concerto ; Chamber Concerto ; Piano Concerto ». Musical Times 135, no 1818 (août 1994) : 515. http://dx.doi.org/10.2307/1003340.

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32

Schwartz, Manuela, et Mary Whittall. « Review : French Cello Sonatas 1871–1939 ». Music and Letters 83, no 4 (1 novembre 2002) : 641–44. http://dx.doi.org/10.1093/ml/83.4.641.

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33

Wilkinson, Carlton. « Robert Moevs's "Heptáchronon" for Solo Cello ». Perspectives of New Music 35, no 1 (1997) : 231. http://dx.doi.org/10.2307/833686.

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34

Fallowfield, Ellen. « CELLO MULTIPHONICS : TECHNICAL AND MUSICAL PARAMETERS ». Tempo 74, no 291 (19 décembre 2019) : 51–69. http://dx.doi.org/10.1017/s0040298219000974.

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AbstractThis article presents selected results from a research project on cello multiphonics at the Hochschule für Musik Basel within which I am producing updated fingering charts in a smartphone application and affiliated online repository. The article details work that has informed this resource and illustrates results that reveal critical questions and point to future areas of interest. I begin by introducing cello multiphonics and contextualising my previous findings, then discuss pitch content, ‘chain’ multiphonics and the balance and intonation of multiphonic components.
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35

Fokkens, Robert. « Tracing Lines for violin and cello ». Journal of Musical Arts in Africa 6, no 1 (1 décembre 2009) : 59–60. http://dx.doi.org/10.2989/jmaa.2009.6.1.3.1055.

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36

Ward, Matthew J. C. « Perspectives on the early cello repertory ». Early Music 48, no 1 (février 2020) : 127–29. http://dx.doi.org/10.1093/em/caz090.

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37

Nelson, Mac. « The Cello Music Cataloger as Program Builder ». Cataloging & ; Classification Quarterly 48, no 6-7 (25 août 2010) : 634–44. http://dx.doi.org/10.1080/01639374.2010.496310.

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SCHMID, CAITLIN. « Ice(d) Music/Cello/Bodies : Re-staging Charlotte Moorman's Ice Music (1972–2018) ». Twentieth-Century Music 17, no 2 (8 avril 2020) : 213–45. http://dx.doi.org/10.1017/s1478572220000067.

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Abstract1972: Charlotte Moorman walked onto a concert hall stage – nude – and played a cello made of ice until it melted. 2001: Joan Jeanrenaud re-staged Moorman's piece wearing a wetsuit and brandishing a pitchfork. 2017: Seth Parker Woods performed a ‘protest’ version on an obsidian-coloured ice instrument. In this article, I argue that Ice(d) Music/Cello/Bodies has become a musico-political palimpsest, a measure of the way Moorman and her art have been recuperated through performative historiography. Through a reconstruction of the historical circumstances under which Moorman, Jeanrenaud, and Parker Woods realized their performances, I show how contemporary discourses of gender and race are materialized through the physical and metaphorical resonances of human bodies in proximity to an unusual musical instrument. I explore the ‘palimpsest’ both as a theoretical lens that insists on texts as simultaneously overwritable and recoverable and as a methodology providing an analytic framework for broader study of avant-garde re-enactment.
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Wallace, Helen, Roger Sessions, Curtis Macomber, Joel Krosnick et Barry David Salwen. « Duo for Violin and Cello ; Six Pieces for Cello ; Duo for Violin and Piano ; Sonata for Violin ». Musical Times 136, no 1824 (février 1995) : 107. http://dx.doi.org/10.2307/1193644.

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40

Geringer, John M., Rebecca B. MacLeod et Michael L. Allen. « Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors ». Journal of Research in Music Education 57, no 4 (4 novembre 2009) : 351–63. http://dx.doi.org/10.1177/0022429409350510.

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The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean frequency of the vibrato for cello and violin tones. Although means were similar, string players exhibited significantly less deviation in tuning judgments than non-string players for both violin and cello tones. Results appear consistent with earlier perceptual research as well as performance research indicating that string performers vibrate both above and below the intended pitch.
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41

Topaloğlu, Taner, et Şebnem Yıldırım Orhan. « Instructor Opinions on the Use of Turkish Folk Music of Syncopated Style in Cello Training ». Journal of Education and Learning 7, no 6 (23 octobre 2018) : 165. http://dx.doi.org/10.5539/jel.v7n6p165.

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The ability of the music teacher to provide a more qualified education in the professional life and to express himself musically is directly proportional to the quality of the previous instrument training. Studies revealed that the Turkish music products are not used sufficiently in the instrument training given by the institutions of music education and the inadequacy of the customized Turkish music products for use in education. From this point of view, the aim of this study is to determine the usage status of works and studies of Turkish folk music of syncopated style arranged for cello training and the effects of theoretical knowledge, technical and musical readiness on performing works with syncopated method and to determine the effects of their level and to reveal the problems experienced by the students and to offer solutions for these problems in the direction of the opinions of the instructors who give cello training to music teacher education undergraduates. The data were collected through a semi-structured interview form developed by the researcher. In the analysis of the collected data, descriptive analysis method was used from qualitative research methods. When the data were analyzed, it can be concluded that Turkish folk music works and studies of syncopated style used in cello education are numerically inadequate, that the limited available resources are higher than the levels of the students, and that the students have a good theoretical knowledge level about the subject but the levels of readiness in terms of cello techniques in practice are insufficient to perform these tunes. The most important problems experienced by students in performing these melodies are level difficulty, sight-reading, left hand position shifts and use of bows.
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42

Brumbeloe, Joe, et Stefan Wolpe. « Quartet for Oboe, Cello, Percussion, and Piano ». American Music 14, no 1 (1996) : 132. http://dx.doi.org/10.2307/3052471.

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Purton, Alice. « Ellen Fallowfield and Keitaro Takahashi, Cello MApp. » Tempo 75, no 297 (28 juin 2021) : 97–98. http://dx.doi.org/10.1017/s0040298221000152.

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44

Terey-Smith, M. « Review : The Cambridge Companion to the Cello ». Music and Letters 83, no 4 (1 novembre 2002) : 621–22. http://dx.doi.org/10.1093/ml/83.4.621.

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45

MacLeod, Rebecca B. « A Comparison of Aural and Visual Instrument Preferences of Third and Fifth-Grade Students ». Bulletin of the Council for Research in Music Education, no 179 (1 janvier 2009) : 33–43. http://dx.doi.org/10.2307/40319328.

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Abstract Instrument preferences of third and fifth-grade students (N = 90) were investigated for eight instruments commonly found in orchestra and band: flute, clarinet, saxophone, violin, cello, trumpet, French horn, and trombone. Participants were divided into two groups and asked to identify their favorite and least favorite instrument from a list of the eight instruments. One class each of third and fifth-grade students, Group A, listened to aural examples of the instruments and rated preferences for each instrument. The other two classes, Group B, rated pictures of each instrument. Overall ratings placed the eight instruments in the following order of preference: violin, flute, cello, saxophone, clarinet, trumpet, trombone, and French horn. A significant interaction between grade, gender, and instruments indicated little difference between genders in instrument preference at the third-grade level, but in fifth-grade, females preferred flute, violin, and cello more than males. No significant difference was found between the two methods of testing.
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46

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

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47

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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48

Speck, Christian. « Boccherini as cellist and his music for cello ». Early Music 33, no 2 (1 mai 2005) : 191–210. http://dx.doi.org/10.1093/em/cah066.

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Rickards, Guy. « Further reviews ». Tempo 60, no 238 (octobre 2006) : 47. http://dx.doi.org/10.1017/s0040298206300319.

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Harley, James. « The String Quartets of Iannis Xenakis ». Tempo, no 203 (janvier 1998) : 2–10. http://dx.doi.org/10.1017/s0040298200049470.

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He clung to the few experiences he had shared with her: the gift of a flute whose sounds had astonished him, her wish that he should enjoy music and especially play the cello. He refused to let her go.If the tenderness of Anton Webern's musical expression at the loss of his mother is difficult for some listeners to hear in his scores, how much more so for the iconoclastic music of Iannis Xenakis? Be that as it may, Matossian's revelation of this intimate memory from his childhood provides a clue to the composer's attraction to the cello, and, by extension, to the chamber string genre, particularly the string quartet. This perhaps surprising personal inspiration is reinforced in the recently published interviews with Bálint András Varga.
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