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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.

Paul Tortelier's How I Play, How I Teach (1975) is an invaluable addition to the limited amount of comprehensive cello methods written during the second half of the 20th century. Although Tortelier's influence on cello performance is still being felt today, the application of his method has not been sufficiently explored. An exceptional performer and devoted pedagogue, Paul Tortelier (1914-1990) can undoubtedly be ranked among the greatest cellists of the 20th century. Influenced by Pablo Casals' (1876-1973) approach to cello playing, How I Play, How I Teach develops his views on intonation, sound production, shifting, and articulation. However, Tortelier also introduces numerous daring inventions of his own into his method. These include playing with a flattened last joint of the finger for a more expressive vibrato, "rolling the stick of the bow" while playing for a wider palette of tone colors, new pizzicato and thumb position techniques, new legato fingerings for double stops, and the "pianistic passing of the thumb," among others. Due to their highly unorthodox nature and often condensed, minimalistic explanations, many of Tortelier's ideas have failed to gain acceptance since their publication and are regularly considered to be types of extended technique, mostly applicable to contemporary music performance. By examining Tortelier's innovations and by employing them in selected excerpts from the cello literature, this research proves that even his most radical ideas are applicable within the standard repertoire. If paired with the other methods, the visionary contents of How I Play, How I Teach serve as a useful resource of technical ideas to any aspiring cellist and pedagogue.

The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.

The music for cello duets was first composed in the Baroque period, later it was named the cello choir. Thus, these beginnings of cello choir compositions were primarily relegated to Baroque, with only a few pieces composed until the Romantic period. It was at this point in history that we find that musicians and composers began to develop interest in the unique sound of the cello choir. Since then, a great amount of operas and other musicals have been composed with the featuring of cello choir as a part their soundtrack. As a result, the music of the cello choir has moved forward to a new colorful era, with the nuances of the music branching into various types of associations with various professional playing techniques. Heitor Villa-Lobos is one of the most famous 20th century composers of the Brazil. During his maturation period, his works integrated the Brazilian style as a central theme of his music. The Bachianas Brasileiras, composed in the 1930¡¦s, had great profitable combination of the new-age national music with more traditional forms. In addition, this new trend of music successfully represented both educational and patriotic movements, as it required the uniqueness associated with the profound techniques that established the importance of cello choir in the piece. This study is proposed to discover the valuable information in playing the cello choir music based on analyzing the Bachianas Brasileiras No. 1. The study begins by describing the composer¡¦s life experiences and the background of the period in the 1930¡¦s. The research will emphasize how the Brazilian music has been amalgamated and how to interpret it in order to enhance performance.

The present thesis comprises a musical score and a set of specifications for a programmer to employ in the creation of a computer patch required to run the electronics. Scored for symphony orchestra and solo cello, the work also incorporates a computer operator and sound engineer who function as performers, following detailed instructions to store, activate, shape, spatialize, and regulate electronic material. The computer patch manifests two main components: the recording and playback of live sound (with the solo cello acting as the input source) and a virtual instrument feedback module. Electronic superimpositions of solo cello samples, ranging in density between a single layer and many simultaneous layers, intertwine with the live instrumentalist, forming timbrally distinct polyrhythmic contrapuntal lines. The feedback component allows for an interaction between the soloist and electronics, in which the computer operator manipulates faders connected to a series of feedback sub-patches, each employing a range of diverse delay parameters. The musical language of the work, which evolves from a series of expanding and contracting pitch clusters, continually transmutes, shifting back and forth from atonality, tonality, and polytonality. Formally, the work both opposes and espouses traditional paradigms; and it is this dichotomy, the tension created between old and new, which ultimately unifies the structure. Finally, the expansion of the role of the soloist, which entails not only the integration of multiple superimposed electronic layers but of the immersive diffusion of sound in multidimensional space, broadens the concerto form.

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abstract: Video conferencing applications, such as Skype, have long been used in classroom settings. Although musicians have been conducting online lessons for years, and institutions such as the Berklee School of Music and the Manhattan School of Music offer online music classes, scholarly research concerning online video conferencing music lessons is limited. Most studies of video conferencing lessons are based on subjective answers, making it difficult to yield conclusive results. As such, the only basis to evaluate the efficacy of video conferencing lessons are those from opinions. This study offers quantitative research on online video conferencing lessons. Between September and December 2017, 22 cello students from Muscatine High School received weekly private online lessons. Students filled out surveys using a Likert scale to rate these lessons and how they felt video and audio quality affected them. Students also received in-person lessons during October 23 or 24 to compare this experience to online lessons. The responses collected throughout the semester were compiled and sorted to reveal data trends. Using information derived from the data, this study concludes that online video conferencing lessons were less productive than in-person lessons but were still effective. In addition, average lesson ratings improved significantly after meeting in-person. In conclusion, this study found that online private lessons are feasible for high school students. / Dissertation/Thesis / Doctoral Dissertation Music 2019

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.