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Doctoral thesis recital (collaborative piano)Coleman, Jacob A. 10 April 2014 (has links)
Sieben fruhe Lieder / Alban Berg -- Duo concertante / Igor Stravinsky -- Sonata for viola and piano / George Rochberg. / text
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A better Bartók dilemmas and solutions in performing Bartók's Viola concerto /Wetzel, Minor Lewis, January 2010 (has links)
Thesis (D.M.A.)--UCLA, 2010. / Vita. Includes bibliographical references (leaf 154).
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The Viola da gamba music of the Berlin School, 1732-1772 /O'Loghlin, Michael. January 2002 (has links)
Thesis (Ph.D.) - University of Queensland, 2002. / Includes bibliography.
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Cantoria, para viola sertaneja e orquestra de cordas: desenvolvimento de processos composicionais referenciados na cantoria de violaLopes, José Nilson 26 January 2011 (has links)
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Previous issue date: 2011-01-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work deals with the principles and compositional techniques employed in Cantoria, for ten-string Viola Sertaneja and String Orchestra, composed of three movements, with approximate duration of 14 minutes. The work uses a compositional language developed from stylistic, melodic and rhythmic elements from Cantoria de Viola Nordestina. In the musical discourse of the first two movements, the viola sertaneja and the string orchestra are treated as distinct dramatis personae that interact with each other in several ways simulating certain acoustic effects through orchestration. In the third movement, they interplay according to the principle contained in the Desafio (kind of Cantoria de Viola). / Este trabalho se refere aos princípios e técnicas composicionais empregados na peça Cantoria, para Viola Sertaneja de 10 cordas e Orquestra de Cordas, composta de três movimentos, com duração total aproximada de 14min. A obra utiliza uma linguagem composicional desenvolvida a partir de elementos estilísticos, melódicos e rítmicos da Cantoria de Viola Nordestina. No discurso musical dos dois primeiros movimentos, a viola sertaneja e a orquestra de cordas são tratadas como dramatis personae distintas que interagem mutuamente de diversas formas simulando determinados efeitos acústicos através de recursos de orquestração. No terceiro movimento, elas se contrapõem baseadas no princípio da disputa contida no Desafio (modalidade da Cantoria de Viola).
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A Handbook to Bridge the Technical Demand from the Concerto in G Major for Viola and Strings by Georg Philipp Telemann to the Viola Concerto in D Major, Op. 1 by Carl StamitzJanuary 2018 (has links)
abstract: This handbook is aimed to develop a violist’s technique as they move from Georg Philipp Telemann’s Concerto for Viola, Strings, and Basso Continuo in G Major, TWV 51: G9 and begin the Carl Stamitz's Viola Concerto in D Major, Op. 1. Ten etudes and related exercises introduce and highlight various techniques, providing a comprehensive and methodical transition from one concerto to the next. These etudes are based on fragments of the Stamitz Concerto in an effort to directly relate technical development with performance skills. / Dissertation/Thesis / Doctoral Dissertation Music 2018
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Serenade for Viola and OrchestraRichardson, Sharon Lynne 05 1900 (has links)
The Serenade for Viola and Orchestra is a one-movement composition of three connecting sections with two main themes of contrasting character. The "relatedness" of the sections does not depend on common thematic material, but rather on a system whereby motives evolve out of the thematic material and from elements in preceding sections. The sonorous timbre of the viola is exploited and becomes the central tessitura for the piece. The title is representative of the lyrical nature of the composition as a whole, especially the first and third section.
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Excerpts for Viola Ensemble: An Alternative Pedagogical Method for the Aspiring Orchestral ViolistLiao, Chien-Ju 04 December 2009 (has links)
No description available.
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A Guide to the Pedagogy of Microtonal Intonation in Recent Viola Repertoire: Prologue by Gérard Grisey as Case StudyDeStefano, Dominic 03 August 2010 (has links)
No description available.
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A Performance Guide to Zili Li's Viola Concerto No. 1 (2010)Chen, Fang 12 1900 (has links)
The Viola Concerto No. 1 was commissioned in 2010 by Xidi Shen, a viola professor at the Shanghai Conservatory of Music, and composed the same year by Zili Li (b. 1938), a Chinese composer and violinist. For musical, cultural, and technical reasons, this little-known Chinese viola concerto strongly aroused my interest, leading me to use it as the research subject for my doctoral dissertation and to also introduce this work to Western violists.
This dissertation provides a performance guide to Zili Li's Viola Concerto No. 1. By analyzing the Mongolian music topics used in the work as well as addressing its typical Mongolian-style string performance techniques, the dissertation should provide a foundation for viola players who wish to play the work but are not familiar with this specific style. In addition, I hope that it can serve as an inspiration to other string players who are playing works based on Mongolian music.
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The viola works of Peter Racine Fricker, with emphasis on his Three movements for viola solo, op. 25 plus an overview of his Concerto for viola op. 18, and Fantasy for viola and piano, op. 44.Tábora Deras, Manuel Emilio 01 July 2015 (has links)
British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44.
Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never became a household name in America. Despite this, it is my contention that his music deserves study and a place in our repertoire.
The above-mentioned Concerto has remained available in print since its initial publication. Fantasy for Viola and Piano was published in 2014 by the American Viola Society. This essay gives an introduction to these two works which are currently in circulation. The Concerto is considered from the standpoint of viola technique and pedagogy, while the Fantasy is briefly analyzed in terms of Fricker’s stated compositional ideals. The culmination of this work is a performance edition of the Three Movements, to be published later this year by the American Viola Society.
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