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Doctoral thesis recital (violoncello)Cory, Julia 01 June 2011 (has links)
La folia / Marin Marais -- Seven variations on a theme from the Magic Flute / Ludwig van Beethoven -- Concerto in G minor / Georg Matthias Monn -- Sonata for cello and piano in C major / Sergei Prokofiev / text
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Doctoral thesis recital (violoncello)Lee, Elizabeth 07 June 2011 (has links)
Trois pieces / N. Boulanger -- Sonata op.8 / Z. Kodaly -- Pohadka / L. Janacek -- Sonata no.1, op.32 / C. Saint-Saens / text
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Doctoral thesis recital (violoncello)Cory, Julia 01 June 2011 (has links)
Suite in G major / Jean de Saint-Colombe / text
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Doctoral thesis recital (violoncello)Lee, Elizabeth S. 07 June 2011 (has links)
Kultaselle / Ferruccio Busoni -- Lecture: Kultaselle, Explorations into the piece, composer, and performance practice / text
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Doctoral thesis recital (violoncello)Wu, Yi-Hui 10 June 2011 (has links)
Lecture: Igor Stravinsky's Suite italienne for cello and piano: tradition and modernity -- Suite italienne for cello and piano / Igor Stravinsky / text
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Concertante : For Violoncello and Magnetic TapeHeadrick, Samuel Philip, 1952- 05 1900 (has links)
The composition is in one movement for cello and two-channel tape, requiring approximately twelve minutes for performance. The character of the work is aggressive and decisive in nature, with areas of repose occurring only at the beginning and before the conclusion. The title "concertante" is used to describe a concert-piece in which each of the two instruments.
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Selected orchestral excerpts for cello : analyzed and graded /Shay, Linda Jean January 1977 (has links)
No description available.
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Doctoral thesis recital (cello)Burch, James (Cellist) 26 November 2014 (has links)
Suite italienne / Igor Stravinsky -- Capriccio per Siegfried Palm / Krzysztof Penderecki -- From Jewish life / Ernest Bloch -- Sonata, op. 6 / Samuel Barber. / text
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Discriminating music performers by timbre : on the relation between instrumental gesture, tone quality and perception in classical cello performanceChudy, Magdalena January 2016 (has links)
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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Contemporary cello techniques from the twentieth-century repertoryMoore, Linda G. 03 June 2011 (has links)
There is no abstract available for this dissertation.
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