B8533 Musical Instruments

Total Page:16

File Type:pdf, Size:1020Kb

B8533 Musical Instruments Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker 1/2 Size Cello, Eastman 80 and 200, please quote both, package preference: backpack pag, carboni bow, xeros endpin strap, tonica 1 strings, please list pricing for 1‐6 Base Each 1 $649.00 1/2 Size Cello, Eastman VC95, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, please list 1_Alt pricing for 1‐6 Alternate Each 1 $803.00 3/4 Size Cello, DMPS Sku N050102704, Eastman VC95, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, please list pricing for 1‐ 2_Alt 7 Alternate Each 1 $803.00 3/4 Size Cello, DMPS Sku N050102704, Eastman 80 and 200, please quote both, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, 2 please list pricing for 1‐7 Base Each 1 $649.00 Full Size Cello, Eastman 80 and 200, please quote both, package preference: backpack pag, carboni bow, xeros endpin strap, tonica 3 strings, please list pricing for 1‐6 cellos Base Each 1 $649.00 Full Size Cello, Eastman VC95, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, please list 3_Alt pricing for 1‐6 cellos Alternate Each 1 $803.00 Full Size Cello, Eastman VC95, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, please list 4_Alt pricing for 7‐11 cellos Alternate Each 1 $783.00 B8533 Muscial Instruments‐ Misc 1 6/17/2020 Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker Full Size Cello, Eastman 80 and 200, please quote both, package preference: backpack pag, carboni bow, xeros endpin strap, tonica 4 strings, please list pricing for 7‐11 cellos Base Each 1 $649.00 1/2 Size Bass, DMPS Sku N050101140, Eastman 80 and 200, please quote both, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, 5 please list pricing for 1‐3 sku's Base Each 1 $1,231.00 1/2 Size Bass, Eastman VB95, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, please list 5_Alt pricing for 1‐3 sku's Alternate Each 1 $1,694.00 3/4 Bass, Eastman VB95, package preference: backpack pag, carboni bow, xeros endpin strap, tonica strings, please list 6_Alt pricing for 1‐3 sku's Alternate Each 1 $1,694.00 3/4 Bass, Eastman 80 and 200, please quote both, package preference: backpack pag, carboni bow, xeros endpin strap, tonica 6 strings, please list pricing for 1‐3 sku's Base Each 1 $1,231.00 3/4 Violin, DMPS Sku N050101580, Eastman please quote 80 and 200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 7 list pricing for 1‐3 violins Base Each 1 $299.00 3/4 Violin, Eastman VL200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 7_Alt list pricing for 1‐3 violins Alternate Each 1 $530.00 B8533 Muscial Instruments‐ Misc 2 6/17/2020 Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker 3/4 Violin, Eastman VL200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 8_Alt list pricing for 4‐6 violins Alternate Each 1 $530.00 3/4 Violin, DMPS Sku N050101580, Eastman please quote 80 and 200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 8 list pricing for 4‐6 violins Base Each 1 $299.00 Full Size Violin, DMPS Sku N050101072, Eastman please quote 80 and 200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 9 list pricing for 1‐15 violins Base Each 1 $299.00 Full Size Violin, Eastman VL200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 9_Alt list pricing for 1‐15 violins Alternate Each 1 $530.00 Erwin Otto 8022A outfit Solid Spruce Top Flamed Maple Back, Sides and Neck Ebony Trim Red‐Brown Brown Varnish 1 String Adjuster D'Addario Zyex Strings Meisel 7202 Brazilwood Bow VN210 Oblong Case 9_Alt Available Sizes: 4/4, 3/4 Alternate Each 1 $295.00 B8533 Muscial Instruments‐ Misc 3 6/17/2020 Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker Erwin Otto 8033A Solid Spruce Top Flamed Maple Back, Sides and Neck Ebony Trim Shaded Red‐Brown Varnish 1 String Adjuster D'Addario Zyex Strings Meisel 7202 Brazilwood Bow VN210 Oblong Case 9_Alt Available Sizes: 4/4, 3/4 Alternate Each 1 $395.00 Solid Spruce Top Flamed Maple Back, Sides and Neck Ebony Trim Shaded Red‐Brown Varnish 1 String Adjuster D'Addario Zyex Strings Meisel 7202 Brazilwood Bow VN210 10_Alt Oblong Case Available Sizes: 4/4, 3/4 Alternate Each 1 $395.00 Erwin Otto 8022A outfit Solid Spruce Top Flamed Maple Back, Sides and Neck Ebony Trim Red‐Brown Brown Varnish 1 String Adjuster D'Addario Zyex Strings Meisel 7202 Brazilwood Bow VN210 Oblong Case 10_Alt Available Sizes: 4/4, 3/4 Alternate Each 1 $295.00 Full Size Violin, Eastman VL200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 10_Alt list pricing for 16‐31 violins Alternate Each 1 $516.00 Full Size Violin, DMPS Sku N050101072, Eastman please quote 80 and 200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 10 list pricing for 16‐31 violins Base Each 1 $291.00 B8533 Muscial Instruments‐ Misc 4 6/17/2020 Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker 13" Viola, DMPS Sku N050103117, Eastman, please quote 80 and 200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 11 quote 1‐3 viola's Base Each 1 $391.00 13" Viola, Eastman VA200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 11_Alt quote 1‐3 viola's Alternate Each 1 $582.00 Meisel 7294VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Antique Oil Varnish Handmade in Romania Carpathian Spruce Ebony Fingerboard, Pegs and Chinrest Wittner Ultra Tailpiece 4 String Adjusters D'Addario Prelude Strings Glasser 301H or CFVA200 Carbon Graphite Bow Meisel 6373 Thermoplastic Case with 11_Alt Valance Available Sizes: 17" ‐ 12" Alternate Each 1 $319.00 Erwin Otto 8015VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Warm Brown Over Amber Finish Hand Carved in Romania 4 String Adjusters D'Addario Prelude Strings Meisel 6501R Brazilwood Bow VN210 Oblong Case Available Sizes: 16 11_Alt 1/2" ‐ 14" Alternate Each 1 $2,956.00 Erwin Otto 8015VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Warm Brown Over Amber Finish Hand Carved in Romania 4 String Adjusters D'Addario Prelude Strings Meisel 6501R Brazilwood Bow VN210 Oblong Case Available Sizes: 16 12_Alt 1/2" ‐ 14" Alternate Each 1 $295.00 B8533 Muscial Instruments‐ Misc 5 6/17/2020 Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker Meisel 7294VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Antique Oil Varnish Handmade in Romania Carpathian Spruce Ebony Fingerboard, Pegs and Chinrest Wittner Ultra Tailpiece 4 String Adjusters D'Addario Prelude Strings Glasser 301H or CFVA200 Carbon Graphite Bow Meisel 6373 Thermoplastic Case with 12_Alt Valance Available Sizes: 17" ‐ 12" Alternate Each 1 $319.00 13" Viola, Eastman VA200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 12_Alt quote 4‐6 viola's Alternate Each 1 $582.00 13" Viola, DMPS Sku N050103117, Eastman, please quote 80 and 200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 12 quote 4‐6 viola's Base Each 1 $391.00 14" Viola, DMPS Sku N050102635, Eastman, please quote 80 and 200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 13 quote 1‐5 viola's Base Each 1 $391.00 14" Viola, Eastman VA200, package preference: Everest shoulder rest, tonica strings, carboni bow, black cloth case, please 13_Alt quote 1‐5 viola's Alternate Each 1 $582.00 B8533 Muscial Instruments‐ Misc 6 6/17/2020 Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker Meisel 7294VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Antique Oil Varnish Handmade in Romania Carpathian Spruce Ebony Fingerboard, Pegs and Chinrest Wittner Ultra Tailpiece 4 String Adjusters D'Addario Prelude Strings Glasser 301H or CFVA200 Carbon Graphite Bow Meisel 6373 Thermoplastic Case with 13_Alt Valance Available Sizes: 17" ‐ 12" Alternate Each 1 $319.00 Erwin Otto 8015VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Warm Brown Over Amber Finish Hand Carved in Romania 4 String Adjusters D'Addario Prelude Strings Meisel 6501R Brazilwood Bow VN210 Oblong Case Available Sizes: 16 13_Alt 1/2" ‐ 14" Alternate Each 1 $295.00 Erwin Otto 8015VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Warm Brown Over Amber Finish Hand Carved in Romania 4 String Adjusters D'Addario Prelude Strings Meisel 6501R Brazilwood Bow VN210 Oblong Case Available Sizes: 16 14_Alt 1/2" ‐ 14" Alternate Each 1 $295.00 B8533 Muscial Instruments‐ Misc 7 6/17/2020 Des Moines Public Schools Bid Tabulation Ref # Description Type UOM Qty K&S Music Becker Meisel 7294VA Solid Spruce Top Maple Back, Sides and Neck Ebony Trim Antique Oil Varnish Handmade in Romania Carpathian Spruce Ebony Fingerboard, Pegs and Chinrest Wittner Ultra Tailpiece 4 String Adjusters D'Addario Prelude Strings Glasser 301H or CFVA200 Carbon Graphite Bow Meisel 6373 Thermoplastic Case
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • And Nineteenth-Century Viola Da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected]
    Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 4-19-2013 Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Recommended Citation Becker, Sarah, "Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices" (2013). Music Honors Theses. 6. http://digitalcommons.trinity.edu/music_honors/6 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF_________MUSIC______________AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/19/2013 ______ ____________________________ ________________________________ THESIS ADVISOR DEPARTMENT CHAIR __________________________________________________ ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S.
    [Show full text]
  • A Pedagogical Analysis of Dvorak's Cello Concerto in B Minor, Op
    A Pedagogical Analysis of Dvorak’s Cello Concerto in B Minor, Op. 104 by Zhuojun Bian B.A., The Tianjin Normal University, 2006 M.Mus., University of Victoria, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Cello) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2017 © Zhuojun Bian, 2017 Abstract I first heard Antonin Dvorak’s Cello Concerto in B Minor, Op. 104 when I was 13 years old. It was a memorable experience for me, and I was struck by the melodies, the power, and the emotion in the work. As I became more familiar with the piece I came to understand that it holds a significant position in the cello repertory. It has been praised extensively by cellists, conductors, composers, and audiences, and is one of the most frequently performed cello concertos since it was premiered by the English cellist Leo Stern in London on March 19th, 1896, with Dvorak himself conducting the Philharmonic Society Orchestra. In this document I provide a pedagogical method as a practical guide for students and cello teachers who are planning on learning this concerto. Using a variety of historical sources, I provide a comprehensive understanding of some of the technical challenges presented by this work and I propose creative and effective methods for conquering these challenges. Most current studies of Dvorak’s concerto are devoted to the analysis of its structure, melody, harmony, rhythm, texture, instrumentation, and orchestration. Unlike those studies, this thesis investigates etudes and student concertos that were both precursors to – and contemporary with – Dvorak’s concerto.
    [Show full text]
  • The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
    Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No.
    [Show full text]
  • The Search for Consistent Intonation: an Exploration and Guide for Violoncellists
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS Daniel Hoppe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.380 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hoppe, Daniel, "THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS" (2017). Theses and Dissertations--Music. 98. https://uknowledge.uky.edu/music_etds/98 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 2018 A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, C.(2018). A Guide for Playing the Viola Without a Shoulder Rest. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5036 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Guide for Playing the Viola Without a Shoulder Rest by Chin Wei Chang Bachelor of Music National Sun Yat- sen University, 2010 Master of Music University of South Carolina, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Daniel Sweaney, Major Professor Kunio Hara, Committee Member Craig Butterfield, Committee Member Ari Streisfeld, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Chin Wei Chang, 2018 All Rights Reserved ii DEDICATION This dissertation is dedicated to my dearest parents, San-Kuei Chang and Ching-Hua Lai. Thank you for all your support and love while I have pursued my degree over the past six years. iii ACKNOWLEDGMENTS I truly appreciate the director of the dissertation, Dr. Daniel Sweaney, for his advice, inspiration, and continuous encouragement over the past four years.
    [Show full text]
  • Meet the String Family
    Quapaw Quartet Presents Meet the String Family Instruments of the String Family There are three string instruments played by the four members of the Quapaw Quartet: Two violins, one viola, and one cello. The full orchestra includes two additional string instruments, the double bass and the harp. Except for the harp, these instruments are played by the right hand, either with a bow or plucking the strings with your fingers. [See short examples of all five instruments on YouTube played by college students at the University of Texas: String instruments of the orchestra www.youtube.com/watch?v=RxFNHeXKmrY May 22, 2011.] The violin, sometimes called the fiddle, is the smallest of the instruments in the The String Family string quartet. It is played by resting the belly of the instrument on your left shoulder, placing your chin on the chinrest, and holding the neck, or the skinnier part, of the violin in your left hand. Violins play the highest notes because its strings are the shortest and thinnest of all string instruments. The viola is the medium-sized instrument endpin in the string quartet and plays lower notes than the violin. This is because its strings The cello and double bass are actually much larger are longer and thicker than those on the compared to the violin and viola than it looks like in this violin. It is held the same way as a violin illustration. and looks exactly like a violin except for that fact that it is slightly larger. The cello (also called the violincello) is the largest instrument in the string quartet and plays the lowest notes.
    [Show full text]
  • Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations
    Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations Thomas Botting This thesis is submitted in partial requirement for the degree of Doctor of Philosophy. Sydney Conservatorium of Music The University of Sydney 2019 i Statement of Originality This is to certify that, to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Thomas Botting November 8th, 2018 ii Abstract This research focuses on the development of a personal musical idiolect for solo double bass through the assimilation of extended techniques and preparations. The research documents the process from inception to creative output. Through an emergent, practice-led initial research phase, I fashion a developmental framework for assimilating new techniques and preparations into my musical vocabulary.The developmental framework has the potential to be linear, reflexive or flexible depending on context, and as such the tangible outcomes can be either finished creative works, development of new techniques, or knowledge about organisational aspects of placing the techniques in musical settings. Analysis of creative works is an integral part of the developmental framework and forms the bulk of this dissertation. The analytical essays within contain new knowledge about extended techniques, their potential and limitations, and realities inherent in their use in both compositional and improvisational contexts. Video, audio, notation and photos are embedded throughout the dissertation and form an integral part of the research project.
    [Show full text]
  • Carnal Musicology in a New Edition of Luigi Boccherini's ​Cello Concerto
    Carnal Musicology in a New Edition of Luigi Boccherini’s Cello Concerto in D major G. 478 ​ D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Samuel Converse Johnson, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Committee: Professor Mark Rudoff, Advisor Dr. Kristina MacMullen Dr. Juliet White-Smith Dr. David Clampitt Copyright by Samuel Converse Johnson 2020 Abstract The music of Luigi Boccherini has experienced a slow and steady revival over the last half century, yet few of his twelve cello concertos are widely published. This document presents a newly engraved edition of Boccherini’s Cello Concerto in D major G. 478, including solo parts ​ ​ and full score. I use carnal musicology to support a historically informed editorship of the cello part. In doing so I critique the anachronistic ways in which Boccherini’s music has been edited and published, particularly by Friedrich Grützmacher in his late 19th century Boccherini concerto mash-up. Grützmacher’s widely accepted version compromises the techniques that would have been implicit in Boccherini’s music, such that these inventions are lost in modern cello pedagogy and performance. My approach offers a new way of teaching and historicizing music that is faithful to Boccherini and caring toward the cello playing body. This project provides resources for the well-being of musicians and their bodies through a musicology that re-centers practice as community rather than isolation. The primary historical contributions I make to what we know of Boccherini are embodied and transcribed into the performance edition itself.
    [Show full text]
  • History of the Violin
    History of the Violin Batchelder violin (USA) The earliest stringed instruments were mostly plucked (the Greek lyre). Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the erhu in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The modern European violin evolved from various bowed stringed instruments from the Middle East and the Byzantine Empire. It is most likely that the first makers of violins borrowed from three types of current instruments: the rebec, in use since the 10th century (itself derived from the Byzantine lyra and the Arabic rebab), the Renaissance fiddle, and the lira da braccio (derived from the Byzantine lira).
    [Show full text]
  • Digibooklet Paul Tortelier
    PAUL TORTELIER Berlin, 1949-1964 Lothar Broddack | Klaus Billing RIAS RECORDINGS LUDWIG VAN BEETHOVEN (1770-1827) Cello Sonata No. 5 in D major, Op. 102 No.2 I. Allegro con brio 7:00 II. Adagio con molto sentimento d‘affetto 9:11 III. Allegro – Allegro fugato 4:34 Lothar Broddack, piano recording: February 25, 1964 • RIAS Funkhaus, Berlin – Studio 7 FELIX MENDELSSOHN (1809-1847) Cello Sonata No. 2 in D major, Op. 58 I. Allegro assai vivace 8:17 II. Allegretto scherzando 5:58 III. Adagio 5:04 IV. Molto allegro e vivace 7:18 Lothar Broddack, piano recording: February 25, 1964 • RIAS Funkhaus, Berlin – Studio 7 JOHANNES BRAHMS (1833-1897) Cello Sonata No. 1 in E minor, Op. 38 I. Allegro non troppo 10:58 II. Allegretto quasi Menuetto 6:09 III. Allegro 7:01 Klaus Billing, piano recording: February 13, 1949 • RIAS Funkhaus, Berlin – Studio 6 JOHANN SEBASTIAN BACH (1685-1750) Cello Suite No. 6 in D major, BWV 1012 I. Prélude 5:40 II. Allemande 6:34 III. Courante 2:39 IV. Sarabande 4:53 V. Gavotte 1-II 3:41 VI. Gigue 4:05 recording: September 9, 1949 • RIAS Funkhaus, Berlin – Studio 6 GABRIEL FAURÉ (1845-1924) Cello Sonata No. 2 in G minor, Op. 117 I. Allegro 6:18 II. Andante 7:52 III. Allegro vivo 4:45 Lothar Broddack, piano recording: January 30, 1962 • RIAS Funkhaus, Berlin – Studio 7 Papillon in A major, Op. 77 Lothar Broddack, piano recording: February 25, 1964 • RIAS Funkhaus, Berlin – Studio 7 NICCOLÒ PAGANINI (1782-1840) / LUIGI DI SILVA (1903-1961) Introduction and Variations on ‘Dal tuo stellato soglio’ from Rossini’s ‘Moses in Egypt’, MS 23, ‘Mose-Fantasia’ I.
    [Show full text]