Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations
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Explorations in Double-Stops: Three New Pieces for Expanding the Role of the Double Bass in the Jazz Ensemble
Edith Cowan University Research Online Theses : Honours Theses 2014 Explorations in double-stops: Three new pieces for expanding the role of the double bass in the jazz ensemble Ashley de Neef Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Composition Commons, and the Music Performance Commons Recommended Citation de Neef, A. (2014). Explorations in double-stops: Three new pieces for expanding the role of the double bass in the jazz ensemble. https://ro.ecu.edu.au/theses_hons/129 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/129 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Playing (With) Sound of the Animation of Digitized Sounds and Their Reenactment by Playful Scenarios in the Design of Interactive Audio Applications
Playing (with) Sound Of the Animation of Digitized Sounds and their Reenactment by Playful Scenarios in the Design of Interactive Audio Applications Dissertation by Norbert Schnell Submitted for the degree of Doktor der Philosophie Supervised by Prof. Gerhard Eckel Prof. Rolf Inge Godøy Institute of Electronic Music and Acoustics University of Music and Performing Arts Graz, Austria October 2013 Abstract Investigating sound and interaction, this dissertation has its foundations in over a decade of practice in the design of interactive audio applications and the development of software tools supporting this design practice. The concerned applications are sound installations, digital in- struments, games, and simulations. However, the principal contribution of this dissertation lies in the conceptualization of fundamental aspects in sound and interactions design with recorded sound and music. The first part of the dissertation introduces two key concepts, animation and reenactment, that inform the design of interactive audio applications. While the concept of animation allows for laying out a comprehensive cultural background that draws on influences from philosophy, science, and technology, reenactment is investigated as a concept in interaction design based on recorded sound materials. Even if rarely applied in design or engineering – or in the creative work with sound – the no- tion of animation connects sound and interaction design to a larger context of artistic practices, audio and music technologies, engineering, and philosophy. Starting from Aristotle’s idea of the soul, the investigation of animation follows the parallel development of philosophical con- cepts (i.e. soul, mind, spirit, agency) and technical concepts (i.e. mechanics, automation, cybernetics) over many centuries. -
20Th-Century Repertory
Mikrokosmos List 665. - 2 - January 2021 ....20TH-CENTURY REPERTORY 1 Adam, Claus: Vcl Con/ Barber: Die Natali - Kates vcl, cond.Mester 1975 S LOUISVILLE LS 745 A 12 2 Adams, John: Shaker Loops, Phrygian Gates - McCray pno, Ridge SQ, etc 1979 S 1750 ARCH S 1784 A 10 3 Baaren, Kees van: Musica per orchestra; Musica per organo/Brons, Carel: Prisms DONEMUS 72732 A 8 (organ) - Wolff organ, cond.Haitink , (score enclosed) S 4 Badings: Con for Orch/H.Andriessen: Kuhnau Var/Brahms: Sym 4 - Regionaal 2 x REGIONAAL JBTG A 15 Jeugd Orkest, cond.Sevenhuijsen live, 1982, 1984 S 7118401 5 Bax: Sym 3, The Happy Forest - London SO, cond.Downes (UK) (p.1969) S RCA SB 6806 A 8 6 Bernstein, Elmer: Summer and Smoke (sound track) - cond.comp S ENTRACTE ERS 6519 A 8 7 Bernstein, Elmer: The Magnificent Seven - cond.comp S LIBERTY EG 260581 A 8 8 Bernstein, Elmer: To Kill a Mockingbird (film music) - Royal PO, cond.E.Bernstein FILMMUSIC FMC 7 A 25 1976 S 9 Bernstein, Elmer: Walk on the Wild Side (soundtrack) - cond.comp S CHOREO AS 4 A 8 10 Bernstein, Ermler: Paris Swings (soundtrack) S CAPITOL ST 1288 A 8 11 Bolling: The Awakening (soundtrack) S ENTRACTE ERS 6520 A 8 12 Bretan, Nicolae: Ady Lieder - comp.pno & vocal (one song only), L.Konya bar, MHS 3779 A 8 F.Weiss, M.Berkofsky pno S 13 Castelnuovo-Tedesco: The Well-Tempered Guitars - Batendo Guitar Duo (gatefold) 2 x ETCETERA ETC 2009 A 15 (p.1986) S 14 Casterede, Jacques: Suite a danser - Hewitt Orch (light music) 10" DISCOPHILE SD 5 B+ 10 15 Dandara, Liviu: Timpul Suspendat, Affectus, Quadriforium III -
The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Articulation from Wikipedia, the Free Encyclopedia
Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. -
Dena Derose, Vocals and Piano Martin Wind, Bass • Matt Wilson, Drums with Sheila Jordan, Vocal • Jeremy Pelt, Trumpet Houston Person, Tenor Saxophone
19 juin, 2020. June 19, 2020. MAN MAN DREAM HUNTING IN THE VALLEY OF THE IN-BETWEEN CD / 2XLP / CS / DIGITAL SP 1350 RELEASE DATE: MAY IST, 2020 TRACKLISTING: 1. Dreamers 2. Cloud Nein 3. On the Mend 4. Lonely Beuys 5. Future Peg 6. Goat 7. Inner Iggy 8. Hunters 9. Oyster Point 10. The Prettiest Song in the World 11. Animal Attraction 12. Sheela 13. Unsweet Meat 14. Swan 15. Powder My Wig 16. If Only 17. In the Valley of the In-Between GENRE: Alternative Rock Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. 0 9 8 7 8 7 1 3 5 0 2 209 8 7 8 7 1 3 5 0 1 5 CD Packaging: Digipack 2xLP Packaging: Gatefold jacket w/ custom The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the with poster insert dust sleeves and etching on side D Includes mp3 coupon Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus NON-RETURNABLE Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol. -
To the New Owner by Emmett Chapman
To the New Owner by Emmett Chapman contents PLAYING ACTION ADJUSTABLE COMPONENTS FEATURES DESIGN TUNINGS & CONCEPT STRING MAINTENANCE BATTERIES GUARANTEE This new eight-stringed “bass guitar” was co-designed by Ned Steinberger and myself to provide a dual role instrument for those musicians who desire to play all methods on one fretboard - picking, plucking, strumming, and the two-handed tapping Stick method. PLAYING ACTION — As with all Stick models, this instrument is fully adjustable without removal of any components or detuning of strings. String-to-fret action can be set higher at the bridge and nut to provide a heavier touch, allowing bass and guitar players to “dig in” more. Or the action can be set very low for tapping, as on The Stick. The precision fretwork is there (a straight board with an even plane of crowned and leveled fret tips) and will accommodate the same Stick low action and light touch. Best kept secret: With the action set low for two-handed tapping as it comes from my setup table, you get a combined advantage. Not only does the low setup optimize tapping to its SIDE-SADDLE BRIDGE SCREWS maximum ease, it also allows all conventional bass guitar and guitar techniques, as long as your right hand lightens up a bit in its picking/plucking role. In the process, all volumes become equal, regardless of techniques used, and you gain total control of dynamics and expression. This allows seamless transition from tapping to traditional playing methods on this dual role instrument. Some players will want to compromise on low action of the lower bass strings and set the individual bridge heights a bit higher, thereby duplicating the feel of their bass or guitar. -
Founding a Family of Fiddles
The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard. -
A Performer's Guide to Hertl's Concerto for Double Bass
A Performer's Guide To Frantisek Hertl's Concerto for Double Bass Item Type text; Electronic Dissertation Authors Roederer, Jason Kyle Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 15:16:02 Link to Item http://hdl.handle.net/10150/194487 A PERFORMER’S GUIDE TO HERTL’S CONCERTO FOR DOUBLE BASS by Jason Kyle Roederer ________________________ Copyright © Jason Kyle Roederer 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Jason Kyle Roederer entitled A Performer’s Guide to Hertl’s Concerto for Double Bass and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: April 17, 2009 Patrick Neher _______________________________________________________Date: April 17, 2009 Mark Rush _______________________________________________________Date: April 17, 2009 Thomas Patterson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Hamilton's Celebrated Dictionary, Comprising an Explanation of 3,500
B ornia lal y * :v^><< Ex Libris C. K. OGDEN THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES i4 ^}^^^D^ /^Ic J- HAMILTON'S DICTIONAIiY 3,500 MUSICAL TERMS. JOHN BISHOP. 130th EDITION. Price One Shilling. ROBERT COCKS & CO., 6, NEW BURLNGTON ST. JiJuxic Publishers to Her Most Gracious Majesty Queen Victoria, and H.R.H. the Prince of Wales. ^ P^ fHB TIME TABLE. or ^ O is e:iual to 2 or 4 P or 8 or 1 6 or 3 1 64 fi 0| j^ f 2 •°lT=2,«...4f,.8^..16|..52j si: 2?... 4* HAMILTON 8s CELEBRATED DICTIONARY, ooMrkiRiKo XM izpLAKATioa or 3,500 ITALIAN, FRENCH, GERMAN, ENGLISH, AMJ> OTHBK ALSO A COPIOUS LIST OF MT7SICAL CHARACTERS, 8U0H AS ARB FOUND IN THB WOWS OT Adam, Aguado, AlbreehUberger Auber, Baeh (J. S.), Baillot, Betthoven, Bellini, JJerbiguier, Bertini, Burgmuller, Biikop (John), Boehia-, Brunntr, Brieeialdi, Campagnoli, Candli, Chopin, Choron, Chaidieu, Cherubini, Cl<irke (J.y dementi, Cramer, Croisez, Cxemy, De Beriot, Diatedi, Dcehler, Donizetti, Dotzauer, Dreytehoek, Drouec, Dutsek. Fetis, Fidd, Fordt, Gabrieltky, Oivliani, Ooria, Haydn, Handd, Herald, Hert, Herzog, Hartley, Hummel, Hunt^n, Haentel, Htntelt, Kalkbrenner, Kuhe, Kuhlau, Kreutzer, Koeh, Lanner, Lafoitzky, Lafont, Ltmke, Lemoine, Liszt, l^barre, Marpurg, Mareailhou, Shyteder, Meyerbeer, Mereadante, MendeUtohn, Mosehelet. Matart, Musard, NichoUon, Nixon, Osborne, Onslow, Pacini, Pixis, Plachy. Rar'^o, Reicha, Rinck, Rosellen, Romberg (A. and B.), Rossini, Rode. 6st iau, Rieci, Reistiger, SehmiU (A.), Schubert (C), Sehulhoff. Sar, Spohr. 8f, .jss, Santo$ (D J. Dot), Thalberg, Tulou, ViotU, WMaet (W. F.). W«^ ren, WcOdtier, Webtr, Wetley (S. S.), Ac. WITH AN APPENDIX, OOKSISTIMO OF A RBPRIKT OF /OHH TIKCTOR'S " TERMINORUM MUSIC^E DIFFIlTlTORIUlh,- The First Kusical Dictionary known.