Bibliografie tematiche / String orchestra

Letteratura scientifica selezionata sul tema "String orchestra"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 1 febbraio 2022

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Articoli di riviste sul tema "String orchestra"

1

Gillespie, Robert. "A New ASTA Product: Videotapes". American String Teacher 36, n. 1 (febbraio 1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer Orchestra Camp, he also reviews new music for the American String Teacher. Dr. Gillespie has developed a series of diagnostic videotapes for string teachers which are now available nationally through the American String Teachers Association.
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2

Pope, David A., e James P. Mick. "An Analysis of Ratings and Interrater Reliability at the American String Teachers Association’s National Orchestra Festival". String Research Journal 11, n. 1 (luglio 2021): 67–82. http://dx.doi.org/10.1177/19484992211021012.

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The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances ( N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both school level and instrumentation were not significant predictors of earning a I/Superior overall rating. Individual members of each three-judge adjudication panel assigned identical ratings to 61.82% of orchestra performances and possessed a mean internal consistency of .90. Orchestra teachers can use the results of this study to weigh the educational benefits of participating in the NOF.
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3

Kleszynski, Kenneth. "Orchestra string warm-up". Music Educators Journal 73, n. 9 (maggio 1987): 50. http://dx.doi.org/10.2307/3400371.

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4

Katsman, Shira. "The Conductorless String Orchestra". American String Teacher 68, n. 2 (maggio 2018): 20–24. http://dx.doi.org/10.1177/0003131318759908.

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5

Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, n. 50 (3 ottobre 2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.

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Abstract (sommario):
Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.
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6

Palmer, Peter. "Swiss Cello Concertos". Tempo 60, n. 235 (gennaio 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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Gembris, Heiner, Andreas Heye e Andreas Seifert. "Health problems of orchestral musicians from a life-span perspective". Music & Science 1 (1 gennaio 2018): 205920431773980. http://dx.doi.org/10.1177/2059204317739801.

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The profession of orchestral musician is often linked to musculoskeletal problems, hearing disorders, and struggles with stage fright. However, data on the prevalence of physical problems are very divergent because of different research methods and sampling procedures. It is to be expected that physical problems generally increase with age, but the literature on medical issues that affect musicians contains very few studies on this aspect. In light of this, the data produced by a cross-sectional study of 2,536 musicians from 133 professional symphony orchestras in Germany were analyzed with regard to a number of health aspects. The data from 894 female (36%) and 1,607 male (64%) professional orchestral musicians aged between 20 and 69 ( M = 45.5, SD = 9.52) were used to study physical problems, their duration and intensity, and psychological difficulties (such as pressure to perform in the orchestra and stage fright) in conjunction with variables such as age, gender, instrument family, position in the orchestra, and category of orchestra. The various health problems were also examined in relation to health behaviors, including preventative actions taken (nutrition, sleep, etc.). The results showed that more than one in two (55%) of the orchestral musicians who took part in the survey were suffering at the time from physical problems that affected their playing. The prevalence increased significantly with advancing age, and string players and harpists had an above-average frequency of experiencing physical problems. Interestingly, there was no significant correlation between the severity of problems and different health behaviors (including preventative action). Around half (49%) of the orchestral musicians said they felt the pressure to perform was intensifying, something that they partly attributed to an increase in artistic demands. The findings are discussed with reference to existing empirical results, potential methods of prevention and treatment, social aspects, and health-care policies.
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Sousa, Cláudia Maria, Jorge Pereira Machado, Henry Johannes Greten e Daniela Coimbra. "Playing-Related Musculoskeletal Disorders of Professional Orchestra Musicians from the North of Portugal: Comparing String and Wind Musicians". Acta Médica Portuguesa 30, n. 4 (28 aprile 2017): 302. http://dx.doi.org/10.20344/amp.7568.

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Abstract (sommario):
Introduction: It is well known that musicians are a group prone to suffer from playing-related musculoskeletal disorders. Professional orchestra musicians play for several hours a week and have to fight against pain caused by their profession. The aim of this study was to explore and describe self-reported complaints among professional orchestra musicians and to compare its intensity and the prevalence between string and wind instruments.Material and Methods: Hundred and twelve professional orchestra musicians from the three main professional orchestras from the North of Portugal were individually interviewed about the prevalence and the intensity (measured by verbal numerical scale for pain) of their playing-related musculoskeletal disorders.Results: About two third (62.5%) of the interviewed musicians presented playing-related musculoskeletal disorders during the time of the interview. Despite there are no significant statistic values between groups, results suggested that playing-related musculoskeletal disorders are more common in string players and more intense in wind players.Discussion: Referring to the prevalence of playing-related musculoskeletal disorders, our data is in line with other studies from different countries. More than half of professional orchestra musicians in the North of Portugal are playing with a mild to moderate pain.Conclusion: Future studies focusing on working-related problems among professional orchestra musicians in Portugal would be useful to better describe the problem of occupational diseases among performing artist.
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9

Anderson, Martin. "Lindberg, Concerto for Orchestra, Barbican, London". Tempo 58, n. 227 (gennaio 2004): 60–61. http://dx.doi.org/10.1017/s0040298204260053.

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There would hardly seem to be a composer better placed to write a concerto for orchestra than Magnus Lindberg: his complete mastery of orchestral texture – demonstrated in a string of modern classics, Joy (1989–90), Arena (1994–95), Feria (1997) and Cantigas (1998–99) among them – makes it a wonder he hasn't tackled the genre before now. Indeed, he quietly billed the magnificent Aura (1994–95) as a concerto for orchestra, although in reality it's as good a symphony as anyone has written this past half-century – my suspicion is that the label allowed him to dodge the issue.
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Gillespie, Robert. "Producing String Teachers for Tomorrow's School String Orchestra Programs". American String Teacher 48, n. 1 (febbraio 1998): 32–37. http://dx.doi.org/10.1177/000313139804800106.

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Tesi sul tema "String orchestra"

1

Park, Soonhee. "Music for String Orchestra". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc1038813/.

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Music for String Orchestra is a work of approximately sixteen minutes duration for chamber orchestra. The work is scored for eight first violins, six second violins, four violas, four to six cellos and two to four double basses. The work is in three movements. Movement I is in a large three-part form, movement II a simple three-part form and the last movement is in a large three-part form. The first and last movements are unified by several aspects, while the second movement employs material that is independent of the first and last movements. The main difference between the three movements is that the first and last movements are based on a western music idiom and the second movement is rooted in a Korean music idiom.
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2

Stark, Bradley. "Seraph for piano and string orchestra". Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44148.

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Seraph is a fifteen minute composition for piano and string orchestra. In addition to traditional musical techniques such as variation and passacaglia, the work employs a distinctive approach to phrase structure, form, harmony, and compositional technique. An ascending natural minor scale serves as the main theme while other melodies, textures, harmonies, and motives interact in counterpoint with the theme. In addition, the theme undergoes its own developmental transformations and modifications, and it influences a distinctive harmonic language featuring extended, non-traditional chords and progressions that rarely repeat. Musical phrases and secondary melodies are unusual in length and mostly avoid expectations of cadence, while metric instability occurs through frequent meter changes. In addition to variation technique, the musical structure features episodes that contrast in compositional design through the development of less prominent motives and differences in approach to harmony. The piano part was partly composed through the use of transcribed improvisation, which serves as a basis for the harmonic and motivic structures heard throughout the composition. The piano part also features complex rhythmic divisions and technical demands for the performer while interacting with the orchestra in a variety of textures. As a whole, the work possesses several features which contribute to an original style and aesthetic.
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Winders, Christopher. "Concerto grosso for string quartet and orchestra /". Digitized version, 2008. http://hdl.handle.net/1802/7635.

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Thesis (Ph. D.)--University of Rochester, 2008.
Duration: ca. 15:00. Includes program and performance notes. Accompanied by: Cycle of cycles : ordering principles suggested by George Perle's twelve-tone tonality / by Christopher Clay Winders (x, 45 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7635
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Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.

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Abstract (sommario):
Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.
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Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /". Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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Tseng, Su-ling. "Gerald Finzi's Concerto for clarinet and string orchestra /". Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983130.

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Kimbler, Chad. "CONCERTO FOR AMPLIFIED MANDOLIN, STRING ORCHESTRA, AND PERCUSSION". Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143068097.

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Williams, Blair A. "Rural School String/Orchestra Programs: Profile and Recommendations". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461086972.

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McBride, Michael A. (Michael Anthony). "Sinfonia". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501150/.

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Abstract (sommario):
Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.
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Real, Nicolas. "Concerto No. 1 for Flute, String Orchestra and Percussion". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252765.

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Abstract (sommario):
Music Performance
D.M.A.
A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.
Temple University--Theses
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Libri sul tema "String orchestra"

1

Smallman, Jeff. Air: String orchestra. Hensall, ON: Lighthouse Music Publications, 2008.

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2

Shipley, Edward. Nocturne for string orchestra. London: Fentone Music, 1997.

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3

Bridge, Frank. Suite for string orchestra. Boca Raton, Fla: E.F. Kalmus, 1996.

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4

Wuorinen, Charles. Grand bamboula: String orchestra. New York: C.F. Peters, 1993.

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5

Mackay, Lucinda. Orchestra sketch-book: Edinburgh University String Orchestra. Edinburgh: [Edinburgh University String Orchestra], 1997.

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6

Filtz, Johann Anton. String symphony no. 2, C major, string orchestra. [New York]: Henmar Press, 1987.

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7

Mayer, Frederick R. The string orchestra super list. A cura di Music Educators National Conference (U.S.). Reston, VA: Music Educators National Conference, 1993.

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8

Copland, Aaron. Two pieces for string orchestra. [New York]: Boosey & Hawkes, 1994.

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9

Goddard, Mark. Fiddledy-jig: For string orchestra. Oxford: Spartan Press, 1992.

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10

Carlo, Menotti Gian. Nocturne, soprano, harp, and string quartet (or string orchestra). New York, NY: G. Schirmer, 1990.

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Capitoli di libri sul tema "String orchestra"

1

Koopman, Bert. "The Amsterdam Concertgebouw Orchestra: Guardian of Symphonic Music". In Guardians of Public Value, 161–83. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51701-4_7.

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AbstractThe Amsterdam Concertgebouw Orchestra, founded in 1888, has consistently been rated among the world’s best symphonic orchestras. This chapter describes how the orchestra evolved into a public institution with an adventurous repertoire and international allure. Over the years, the orchestra had to deal with an ageing public and changing audience demands. It describes how growing pressure on subsidizing authorities have made the orchestra increasingly dependent on sponsors and donors. It discusses the artistic leadership of conductors and the commercial strategizing of business managers—the key actors in shaping the institution. It analyses how the institution eventually found a productive way to channel the perennial conflicts into its governance. The chapter shows how a balance was found between financial pressures and artistic demands, preserving this cultural institution in the face of strong headwinds.
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Penhallurick, Rob. "Strange Orchestras". In Studying the English Language, 106–18. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-03621-6_7.

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MacLeod, Rebecca B. "An Introduction to the Orchestra Classroom". In Teaching Strings in Today’s Classroom, 3–9. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351254144-1.

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"Recording String Quartet". In Recording Orchestra and Other Classical Music Ensembles, 186–91. New York; London: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-28.

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Butz, Karel. "Assessment". In Achieving Musical Success in the String Classroom, 149–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190602888.003.0006.

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The chapter describes why orchestra students must understand the “what,” “how,” and “why” involved with assessment procedures in order to attain musical success. Examples of how differentiation, which allows every student to receive valuable feedback from the director about strengths and areas for improvement, applies to orchestra assessment are provided. The author discusses how a director can determine when and if assessment is necessary and whether it will prove rewarding, informative, and valid, as it must for students to attain an independent functioning level of lifelong musicianship. Informal and formal orchestra assessment procedures are described in detail. Sample grading rubrics are provided as well.
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Pejrolo, Andrea, e Richard DeRosa. "Writing and Sequencing for the String Orchestra". In Acoustic and MIDI Orchestration for the Contemporary Composer, 98–155. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-52021-6.50006-4.

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Manning, David. "Elgar, Introduction and Allegro for String Orchestra". In Vaughan Williams on Music, 410–12. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0099.

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"– Writing and Sequencing for the String Orchestra". In Acoustic and MIDI Orchestration for the Contemporary Composer, 114–71. Routledge, 2009. http://dx.doi.org/10.4324/9780080551067-9.

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"—Writing and Sequencing for the String Orchestra". In Acoustic and MIDI Orchestration for the Contemporary Composer, 129–92. Second edition. | New York ; London : Routledge, 2016. | "2016 |: Routledge, 2016. http://dx.doi.org/10.4324/9781315754932-10.

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Fiala, Michele. "Gordon Hunt". In Great Oboists on Music and Musicianship, 100–109. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0011.

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Abstract (sommario):
Gordon Hunt is currently principal oboe of the London Chamber Orchestra, and formerly of the Philharmonia and London Philharmonic Orchestras. In this interview, he discusses his early career, tone, reeds, vibrato, and the application of the string concept of louré to oboe. He shares his ideas on breathing, air support, and making a musical plan. He closes with reminiscences of great concerts.
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Atti di convegni sul tema "String orchestra"

1

Matias, Ferry. "Teaching Music Musically (Study of Animé String Orchestra Bandung, Indonesia)". In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.015.

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Alvarez, Beth Woodward, e Ramon Palau. "The Performance Effects of Online Video Tutorials on Secondary School String Orchestra Students". In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.21.

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”". In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Abstract (sommario):
Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the structure of Khmer melodic percussion orchestras. The analysis of some graphic details, related to other frescoes and bas-reliefs of Angkor Wat, also makes it possible to propose a dating. The study embodies one of an anthropological ethnomusicology, while also incorporating a discourse analysis, so to frame the uncovering of new historiographers of music and instrumentation, so to re describe musical discourses, more so to shed new light on melodic percussion of Angkorian music.
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Y.W., Liu. "China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century". In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-54.

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The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the ability of the Russian composer to penetrate into the essence of the characteristic modes of Chinese music and create a large symphonic work with a national flavor in the absence of direct quotation of Chinese folk melodies is noted.
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Mitrică, Bianca, Irena Mocanu, Ines Grigorescu e Monica Dumitraşcu. "CULTURAL TOURISM IN ROMANIA – A GENERAL OUTLINE OF THE CONCEPTUAL FRAMEWORK". In GEOLINKS International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/geolinks2020/b2/v2/28.

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At the international and national level there is a strong connection between culture and tourism, tourism representing an important factor of the economic development by capitalizing the tourist potential of the cultural elements. Romania has a rich and valuable heritage potential with tourist attractions included on the map of European cultural routes. The challenge for Romania is the weak promotion of the cultural tourism due to the difficulties in developing a better infrastructure for a high accessibility to cultural attractions. The literature offers a wide range of definitions of cultural tourism which emphasize the complexity of this phenomenon. The Romanian literature lacks a thorough documentation on the cultural tourism as a whole, most of studies being concentrated on general approaches i.e. introduction to cultural tourism, analysis of the cultural tourism trends, sustainable development and perspectives, Romanian heritage, promoting strategies. Some papers are concentrated on specific areas of Romania such as Transylvania, with the medieval cities, fortresses and castles, Bucovina, with the painted monasteries and traditional artefacts, Maramureş, with the rural tourism and cultural heritage, as well as Black Sea Coast and Danube Delta. Other papers are related to cultural attractions like museums, orchestra performances, restaurants, hotels in some developed areas, and to traditional or religious rituals, popular art or folklore events in some less developed areas and how they could promote and revive the Romanian tourism or other areas with a low or medium level of capitalization of cultural attractions. Within this broader context, the paper aims to review and discuss the definitions and concepts of cultural tourism in Romania and identify the main types of cultural tourism practiced and addressed by the literature.
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6

Shadden, Shawn C., e Sahar Hendabadi. "Potential Pathways for Platelet Activation". In ASME 2012 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/sbc2012-80474.

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As platelets are transported they are continuously stretched, compressed and sheared by local gradients in the flow. Exposure to elevated gradients can cause platelets to actively react with conformational, chemical and enzymatic responses, i.e. becoming activated. Once switched to the activated state, platelets perform multifaceted roles to orchestrate clotting. Mechanically-induced platelet activation under pathological conditions has been studied since the late 1970s. This work builds on [1], which introduced a trajectory-based level of activation parameter for platelets, and [2] describing coherent structures in cardiovascular flow. We introduce a new direction-independent Lagrangian measure. This measure is introduced as an activation potential in two senses. First, it provides a measure of mechanical strain, which has been shown to have the potential to activate platelets. Second, it is plotted at the initial location of the platelets. This latter condition is subtle, but it enables us to uncover an interesting observation that locations of highest activation potential tend to occur along structures that have important implications to the transport topology.
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Rapporti di organizzazioni sul tema "String orchestra"

1

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, agosto 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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2

Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, agosto 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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