Global ETD Search

1	An Analysis of the Lower Posture's Effect on Leg and Knee Placement, and its Effect on the Sound Production of the Cello Buchholz, Theodore Oscar January 2013 (has links) Cellists are interested in ways to produce the largest sound possible in order to meet modern acoustic challenges. This research examined cellists' lower body posture, how lower posture affected the manner in which the cello was held, and ultimately, what effect this had on the instrument's sound. Lower posture is significant because it affects sound production. This research analyzed cello treatises, images of prominent cellists, and conducted sound lab tests. The treatise and image research investigated how foot placement, endpin length, angle, and tilt of the cello affected the amount of leg contact with the instrument. The sound lab research used a bowing apparatus and audio software to measure the effect of leg contact on sound production. The results of this study showed that lower posture affected the amount of contact made between the player and cello. The sound lab tests revealed that less leg contact led to larger amplitudes produced by the cello. This research also discovered that the contact from each leg uniquely affected certain frequencies. Research on lower posture's effect on sound may benefit performing cellists, pedagogues, luthiers, and researchers. Images Posture Sound Treatise Music Cellists Cello
2	Restoring the Malleable Inner Self: A Journey of Lifelong Transformation and Growth Through Musical Performance Han, Jungmin Grace January 2021 (has links) Classical music performance has long been perceived as the domain of people with talent. This pervasive way of thinking can inhibit individuals from reaching their true musical potential. I argue that this problem has to do with the habitual performing and teaching practices based upon the body-mind dualism, which ignores intrinsically connected qualities of the performing body and mind. In this project, I aimed to understand the intrinsic malleable capacity, or my terms, the malleable inner self, as the intrinsic measurement for lifelong learning and growth in the context of musical performance and its pedagogy. Through autoethnographic narrative inquiry with the life story interview method as a methodological lens, I used the Korean cellist Ms. Lim’s 30- year transformative journey as an essential testimony. This project arises from a way of knowing I have turned to, the move from practice to theory, which I came to believe opens up a mode of inquiry that offers continuous growth, as did Ms. Lim’s lifelong transformative journey. In my reimagination of Ms. Lim’s narrative—in which I redefine her transformative journey as a musical pilgrimage—the self is the “capacity within.” I cultivated the idea of the entirety of the musical self, underlying a sense of wholeness or a sense of the self as a musical whole, the pinnacle of the restored capacity that comes with the body-mind/self- music unity. In this sense, the malleable inner self or the malleable capacity within is the foundational condition to be restored to experience the entirety of the musical self or a sense of the self as a musical whole. I further reimagined, from the transformative learning perspective, how this restored self/capacity can reflect understanding of an essential pedagogy, breaking out of the extrinsic measurement-oriented pedagogical structure in the context of musical performance. I conclude that every individual musician at all levels retains an inherent, malleable musical capacity, which can be restored from the unified, liberated mind-body as the ultimate musical entity. With the capacity-building perspective, my study demonstrates that students and teachers can open their own doors for ultimate lifelong transformation and growth by restoring the malleable inner self, turning away from the long-standing perspectives in classical music performance and its pedagogy. Music--Instruction and study Performing arts--Study and teaching Spirituality Cellists
3	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

1

Page generated in 0.0325 seconds