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This thesis seeks to familiarize the reader with a unigue personality of Wolfgang Boettcher. This is the first comprehensive text on this brilliant cellist.It analyzes his from a childhood to the present. Deals in detail with his family and portrays the details and the background of a musical growing up. Introduces the reader to all important milestones in the life of Wolfgang and to his meetings with important personalities, which were the most important of his professional growth. I am trying to introduce Wolfgang Boettcher not only as a musician, cellist and teacher, but also as a big heart and depthless love of music. In the second part of work is detailed history of the Berlin Philharmonic Orchestra as it has played very important role in his life.

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs contained both music written specifically for the trombone and transcriptions from various other instruments. The lecture recital, "J. s. Bach's Six Suites for Solo Violoncello, BWV 1007-1012? Their History and Problems of Transcription and Performance for the Trombone," was presented on June 20, 1983. The lecture was an attempt to illuminate the rationale and performance problems of transcribing the Bach 'cello suites to the modern tenor trombone with an F attachment and also to provide background information on the suites and the early solo emergence of the violoncello. The program included the performance of the Suite No. 2_ in d minor, BWV 1008, with the movements: Prelude, Allemande, Courante, Sarabande, Minuets I and II, and Gigue.

Der etwa sechsminütige Liederzyklus für Singstimme und Violoncello, komponiert 2019, verwendet drei Gedichte der Kölner Schriftstellerin Carola Moosbach.:1. Einsammlung 2. Sonntagsgebet 3. Urlaubsgebet

The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994.

The purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition. / School of Music

The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994. / Arts, Faculty of / Music, School of / Includes 1 sound cassette / Graduate

Thesis (M.M.)--East Carolina University, 1998. / Submitted to the faculty of the School of Music. Includes bibliographical references (leaf 13).

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Title: Muscle activity analysis during the violoncello play Objectives: This thesis focuses on analysing and comparing specific back muscles of a bowing violoncellist. The findings can help understanding pathologic mechanisms and back pain caused by violoncello playing. It may be useful in choosing suitable preventive compensatory exercise as well and for future research. Eventually, the analysis could be applied in playing ergonomics and designing a proper seat. The thesis also aims on evaluating suitability of the chosen measuring method in this branch. Methods: The theoretical part reviews contemporary knowledge about musculoskeletal system disorders linked with violoncello playing. The practical part aims on evaluating data obtained from 3D kinematic analysis and surface EMG of specific back muscles of professional violoncello player during playing. Several conditions are assessed. Results: The experiment has shown that when playing a violoncello there is an asymmetric loading of the back muscles. Loading of specific muscles has is affected by way of bowing, string location and the seat. The experiment was done on a single proband, so these conclusions may not be generally valid. Keywords: violoncello playing, musicians, surface electromyography, 3d kinematic analysis, violoncellists' diseases,...