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21	Improvisação ao contrabaixo acústico com uso de arco na música popular brasileira instrumental (MPBI): estratégias de estudo e performance / Improvisational acoustic bass with the use of arc in Brazilian popular music instrumental (MPBI): study strategies and performance ASSIS, Paulo Dantas de Paiva 31 March 2010 (has links) Made available in DSpace on 2014-07-29T16:25:16Z (GMT). No. of bitstreams: 1 Preliminares.pdf: 153854 bytes, checksum: fe019cb49b69622b03ceb1a9cc8aa297 (MD5) Previous issue date: 2010-03-31 / This paper discusses the use of bowing technique in improvisation with the bass in the Brazilian Instrumental Popular Music (MPBI). The main objective is to develop study strategies through a brief literature review on the bowing technique, its application in North American jazz and the characteristics of improvisation in MPBI. Thus, the paper discusses the results and presents them in the form of suggestion implementation. The paper is organized into three parts: 1) Review of literature on the use of the bow on strings instruments, 2) MPBI improvisation and 3) strategies for improvisation study on double bass with the use of bowing technique in MPBI. It can be concluded that the processes involved in improvisation on the double bass with bowing technique in MPBI have some particularities that should be objects of attention and study. Moreover, there are similarities in the use of the bowing technique in Classical Music, particularly the technique preparation. It also follows that the greater the knowledge of the peculiarities of bowing technique in improvisation, preparing technical and stylistic knowledge of the bassist, the performance will be better. / O presente trabalho discute a utilização da técnica de arco na improvisação ao contrabaixo acústico na Música Popular Brasileira Instrumental (MPBI). O objetivo principal é desenvolver estratégias de estudo, através de uma breve revisão de literatura sobre a técnica de arco, sua aplicação no jazz norte americano e as características da improvisação na MPBI. Assim, o trabalho discute os resultados obtidos e os apresenta em forma de sugestão de aplicação. O artigo está organizado em três partes: 1) Revisão de literatura sobre o uso do arco nos instrumentos de cordas friccionadas; 2) A improvisação na MPBI e 3) Estratégias de estudo para a improvisação ao contrabaixo com uso de arco na MPBI. Pode-se concluir que os processos envolvidos na improvisação ao contrabaixo com uso de arco na MPBI apresentam particularidades que devem ser objetos de atenção e estudo. Por outro lado, há semelhanças quanto ao uso do arco na prática da música de concerto, sobretudo à preparação técnica. Conclui-se também que quanto maior for o conhecimento das particularidades do uso do arco na improvisação, o preparo técnico e conhecimento estilístico do contrabaixista, melhor será o resultado de sua performance. Contrabaixo Acústico Musica Popular Brasileira Instrumental Improvisação Arco no Contrabaixo Acústico Pedagogia da Performance Double Bass Brazilian Popular Instrumental Music Double Bass Bowing Improvisation Performance Pedagogy
22	Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760) Yapp, Francis Anthony January 2012 (has links) When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue. Yet notwithstanding its repertoire and the skill of its performers, this generation of French cellist-composers has remained undervalued and underexplored. To a large extent, this neglect has arisen because a succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing. This dissertation focuses exclusively on the early French cello school. It seeks to examine the rise of the solo cello in France within its socio- cultural and historical context; to provide biographies of those com- prising the early French cello school; to explore the repertoire with particular emphasis on the growth of technique and idiom, detailing features that may be described as uniquely French, and to assert the importance of and gain recognition for this school, not as a forerunner of the so-called Duport school but as an entity in itself. basse de violon violoncello violoncelle cello cellists eighteenth century concert spirituel salons opéra vingt-quatre violons du roi french france paris louis xv orleans angers stanislas leszczynski stück l'abbé barrière berteau patouart giraud spourny françois martin boismortier corrette masse bowing double stopping double stops thumb position boivin leclerc sonata sonatas baroque
23	String techniques, notation systems and symbols in selected 20th century string quartets Holdcroft, Z. T. ( Zillah Theresa) 06 1900 (has links) This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest times up to the mid-century. Part Two researches string techniques and notation from the turn of the century up to 1990. The historical perspective demonstrates that after World War n, with the emergence o f the electronic age and a changing social and intellectual climate, traditional concepts were being challenged. Composers facing the dilemma affecting music in general, and the string quartet in particular, had to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the developmental paths took shape from the problem itself and different approaches emerged to master the multi-faceted dimensions available to composers. Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems and string techniques. Quartets of the first half of the century show that both the dissolution and the extension o f traditional processes were contained, importantly, within the continued use of conventional notation. The impact and significance of these quartets within the context of 20th century development cannot be ignored. However, the quartets researched post-1960 demonstrate that composers have enlarged all parameters of the genre through the extension of traditional resources and by radical innovation. This research demonstrates that the emergence of new symbols and string techniques in the second half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these elements is undertaken. / Art History, Visual Arts and Musicology / D.Mus. (Musicology) Twentieth century Contemporary composers String Quartets Music syntax New notation systems New symbols Extension to - Rhythm Pitch Timbre Contemporary bowing techniques Innovative use o f staves and clefs 785.7194 Violin -- Performance Musical notation Tempo (Music) String quartet -- Analysis

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