DOCSLIB.ORG

Critical Success Factors in Cello Training – a Comparative Study

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Critical Success Factors in Cello Training – a Comparative Study Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London. The practical examination requires a public recital of approximately 90 minutes. Since the comparative study was conducted in four countries, namely Germany, Russia, the United Kingdom and the United States of America, it was decided to structure the recital to include works by composers of the four above-mentioned countries. The programme1 will include the following works: 1. L. van Beethoven Sonata for cello and piano in C major, Op.102 no.1 2. A. Rubinstein Sonata for cello and piano in D major, Op.18 3. B. Britten Sonata for cello and piano in C major, Op.65 4. G. Crumb Sonata for solo violoncello Apart from the fact that the composers originate from the four countries, various historic periods of cello technique development are reflected in the chosen repertoire. These works form part of the core cello repertoire in the international 2 arena, and is often prescribed for international cello competitions. It is interesting to note that the composers were influenced by contemporary cellists. It is known that Romberg and Beethoven as well as Rostropovich and Britten performed together and that these composers incorporated the virtuoso and expressive techniques displayed by the cellists, in their compositions. 1. A live recording of the examination recital can be found in Annexure D on a CD in the back cover. 2. The sonatas by Beethoven, Britten and Crumb appears in the repertoire lists of several international cello competitions, such as the International Tchaikovsky Competition and Unisa International Strings Competition. (v) The four composers above were prominent figures, both on national and international level. Beethoven: The prominence and independence given to the cello part in his sonatas was unprecedented. In the sonata Op. 102, no. 1, this independence, as also the freedom in the formal structure and musical idea, set new trends for the next generation of composers. Rubinstein: In his Sonata, Op. 18, the melodious, expressive qualities of the cello, are incorporated in the true romantic idiom. This sonata can be considered to be one of the first cello sonatas of the Russian romantic school. Rubinstein was also influence by an epoch when cello playing soared to new hights in Russia. He played a key role in the establishment of professional music education in Russia, and appointed prominent performing artists to teach at the Imperial Conservatory of which he was a founder. Britten: Inspired by the technical and expressive powers of cellist Mstislav Rostropovich, Britten composed the Sonata Op. 65 as the first of a series of works for Rostropovich. The sonata reflects a strong influence of works by Shostakovich. (The two composers shared a deep mutual respect.) As a prominent composer and performer, Britten performed with world-renowned artists, while his compositions reflect the technical virtuosity, rhythmic complexity and sound effects of the mid-twentieth century. Crumb: The solo cello sonata by Crumb reflects a compositional style of the 20th century, where new potentials are investigated by expanding the traditional technique. Crumb is still active as one of the foremost American composers. ______________________________ (vi) Acknowledgements I would like to express my sincere gratitude and appreciation to the following organisations and individuals: x My supervisor, Professor Alexander Ivashkin, for his encouragement and guidance and for opening new horizons. x My co-supervisor, Professor Natalia Shakhovskaya, for her expertise, support and sharing of knowledge. x The American String Teachers Association, the European String Teachers Association in Germany and the United Kingdom, as well as the Verband deutscher Musikschulen (Association for German Music Schools) which assisted with the distribution of my questionnaire. x The National Research Foundation, the National Arts Council and the Oppenheimer Memorial Trust in South Africa for their financial assistance. x Dr Lizelle Fletcher, for her expertise and assistance with the statistical analysis. x Moya Joubert, for the professional way in which she edited the dissertation. x Elna van Rensburg, for her excellent typing, encouragement and special care. x My parents, grandparents and my sister, for their tremendous support, encouragement and love which inspire me to broaden my vision of life. I love you dearly. x The Lord Almighty who blesses me with His love. ________________________________ (vii) Contents Page Declaration ......................................................................................................... (ii) Abstract .............................................................................................................. (iii) Preface .............................................................................................................. (iv) Acknowledgements ............................................................................................ (vi) CHAPTER 1 INTRODUCTION AND LITERATURE REVIEW 1.1 Background to the research problem ...................................................... 1 1.2 The research design ............................................................................... 3 1.2.1 The literature review ................................................................................ 3 1.2.2 The research problem ............................................................................. 4 1.2.3 The research question ............................................................................ 4 1.2.4 The research methodology ...................................................................... 4 1.3 Factors that impact upon the effectiveness of cello training: a literature review .................................................................................... 5 1.3.1 Introduction ............................................................................................. 5 1.3.2 The quality of the teacher ........................................................................ 6 1.3.2.1 The teachers education ...................................................................... 9 1.3.2.2 The teachers experience .................................................................... 10 1.3.2.3 The teachers personality .................................................................... 13 1.3.2.4 The teachers attitude .......................................................................... 14 1.3.2.5 The teachers teaching ability .............................................................. 15 1.3.3 Acquired skills ......................................................................................... 16 1.3.3.1 Technique ........................................................................................... 17 1.3.3.2 Aural development .............................................................................. 30 1.3.3.3 Sight reading ....................................................................................... 33 1.3.3.4 Music theory ........................................................................................ 36 1.3.4 Talent and giftedness .............................................................................. 40 1.3.4.1 The students intellectual capacity ....................................................... 43 1.3.4.2 The students aptitude for the cello ..................................................... 46 1.3.4.3 Artistic performance abilities ............................................................... 48 1.3.4.4 Self-management ................................................................................ 49 1.3.4.5 Creativity ............................................................................................
Load more

Recommended publications
  • Journal of the American Viola Society Volume 9 No.2/3, 1993
    JOURNAL afthe AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 9 Nos. 2&3 1993 The Journal ofthe American Viola Society is a publication ofthat organization and is produced at Brigham Young University, © 1993, ISSN 0898-5987. The Journalwelcomes letters and articles from its readers. Editorial andAdvertising Office: BYU Music Harris Fine Arts Center Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 Editor: David Dalton Assistant Editor: David Day Production: Helen Dixon JAVS appears three times yearly. Deadlines for copy and art work are March 1, July 1, and November 1; submissions should be sent to the editorial office. Ad rates: $100 full page, $85 two-thirds page, $65 halfpage, $50 one-third page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to "American Viola Society" should be remitted to the editorial office. OFFICERS Alan de Vertich President School ofMusic University of So. California 830 West 34th Street Ramo Hall 112 Los Angeles, CA 90089 (805) 255-0693 Thomas Tatton Vice-President 2705 Rutledge Way Stockton, CA 95207 Pamela Goldsmith Secretary 11640 Amanda Drive Studio City, CA 91604 Ann Woodward Treasurer 209 w. University Ave. Chapel Hill, NC 27514 David Dalton Past President Editor, JA VS Brigham Young University Provo, Utah 84602 BOARD Mary Arlin J~ffery Irvine John Kella William Magers Donald !v1cInnes Kathryn Plummer Dwight Pounds
    [Show full text]
  • The Application of the Kinesthetic Sense: an Introduction of Body Awareness in Cello Pedagogy and Performance
    The Application of the Kinesthetic Sense: An Introduction of Body Awareness in Cello Pedagogy and Performance A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music March 2014 by Gustavo Carpinteyro-Lara BM, University of Southern Mississippi, 2001 MM, Bowling Green State University, 2003 Committee Chair: Lee Fiser, BM Abstract This document on cello pedagogy and playing focuses on the importance of the kinesthetic sense as it relates to teaching and performance quality. William Conable, creator of body mapping, has described how the kinesthetic sense or movement sense provides information about the body’s position and size, and whether the body is moving and, if so, where and how. In addition Craig Williamson, pioneer of Somatic Integration, claims that the kinesthetic sense enables one to sense what the body is doing at any time, including muscular effort, tension, relaxation, balance, spatial orientation, distance, and proportion. Cellists can develop and awaken the kinesthetic sense in order to have conscious body awareness, and to understand that cello playing is a physical, aerobic, intellectual, and musical activity. This document describes the physical, motion, aerobic, anatomic, and kinesthetic approach to cello playing and is supported by somatic education methods, such as the Alexander Technique, Feldenkrais Method, and Yoga. By applying body awareness and kinesthesia in cello playing, cellists can have freedom, balance, ease in their movements, and an intelligent way of playing and performing. ii Copyright © 2014 by Gustavo Carpinteyro-Lara.
    [Show full text]
  • Mahwah Public Library
    Mahwah Public Library Adelphi Chamber Ensemble Alison Brewster Franzetti (piano) Sylvia Rubin (violin), Melissa Macy (violin), Sally Fillmore (viola), Genevieve Jeuck Sallemi (violin) Martha Calhoun (cello ), and Anne Taylor (viola) Sunday February 23, 2014 at 2:00 PM Brahms: Sextet for Strings no 1 in B flat major, Op. 18 Melissa Macy (Violin); Sylvia Rubin (Violin); Sally Fillmore (Viola); Genevieve Jeuck Sallemi (Viola), Martha Calhoun (Cello); Anne Taylor (Cello) Intermission Fauré: Quartet for Piano and Strings no 2 in G minor, Op. 45 Alison Brewster Franzetti (Piano); Sylvia Rubin (Violin); Genevieve Jeuck Sallemi (Viola); Anne Taylor (Cello) MARTHA CALHOUN (CELLO) holds a B.A. and a Masters of Music from the State University of New York at Stony Brook where she was a student of Bernard Greenhouse. She has also studied with Raya Garbousova and Timothy Eddy. She is an avid devotee of contemporary music and has worked with a number of composers including Bulent Arel and Daria Semegen, whose music she has recorded for Opus One. She was a founding member of the Long Island Pro Musica and continues to be a passionate chamber musician. In her other life, she is a Senior Counsel with the New York City Law Department, where she defends the City in class action lawsuits. SALLY FILLMORE (VIOLA) is an active chamber and orchestra musician. She currently plays with the Adelphi Chamber Orchestra of New Jersey. She has recently played with the Park Avenue Chamber Orchestra and Lawyers Orchestra in New York City, the Livingston Symphony Orchestra, and the Metropolitan Orchestra in New Jersey.
    [Show full text]
  • Explore Unknown Music with the Toccata Discovery Club
    Explore Unknown Music with the Toccata Discovery Club Since you’re reading this booklet, you’re obviously someone who likes to explore music more widely than the mainstream offerings of most other labels allow. Toccata Classics was set up explicitly to release recordings of music – from the Renaissance to the present day – that the microphones have been ignoring. How often have you heard a piece of music you didn’t know and wondered why it hadn’t been recorded before? Well, Toccata Classics aims to bring this kind of neglected treasure to the public waiting for the chance to hear it – from the major musical centres and from less-well-known cultures in northern and eastern Europe, from all the Americas, and from further afield: basically, if it’s good music and it hasn’t yet been recorded, Toccata Classics is exploring it. To link label and listener directly we run the Toccata Discovery Club, which brings its members substantial discounts on all Toccata Classics recordings, whether CDs or downloads, and also on the range of pioneering books on music published by its sister company, Toccata Press. A modest annual membership fee brings you, free on joining, two CDs, a Toccata Press book or a number of album downloads (so you are saving from the start) and opens up the entire Toccata Classics catalogue to you, both new recordings and existing releases as CDs or downloads, as you prefer. Frequent special offers bring further discounts. If you are interested in joining, please visit the Toccata Classics website at www.toccataclassics.com and click on the ‘Discovery Club’ tab for more details.
    [Show full text]
  • Andrzej Bauer
    Andrzej Bauer Winner of the first prize at the ARD International Competition in Munich, prizewinner at the Prague Spring International Competition and recipient of the prize awarded under the auspices of the European Parliament and the Council of Europe. Andrzej Bauer was born in Łódź, where he completed his studies under Kazimierz Michalik’s guidance. He continued his musical education, working with e.g. André Navarra, Miloš Sadlo and Daniel Szafran during numerous masterclasses. He also completed a two-year course in London, under William Pleeth, thanks to a scholarship funded by Witold Lutosławski. Andrzej Bauer has given recitals in Amsterdam, Paris, Hamburg and Munich, and performed with symphony orchestras, including the Munich Philharmonic Orchestra, RAI Naples Orchestra, Orchestre Philharmonique de Strasbourg, Stuttgart Radio Symphony Orchestra and Berlin Radio Symphony Orchestra. He has appeared in concert as a soloist with most Polish symphony and chamber orchestras, with ensembles like the National Philharmonic Orchestra and Sinfonia Varsovia inviting him to join them as a soloist on their European concert tours. Andrzej Bauer has recorded music for a number radio and television stations in Poland and other countries. He has taken part in international festivals, performing in most European countries as well as the United States and Japan. The artist’s recording with works by Schubert, Brahms and Schumann (Koch/Schwann) won the quarterly German Record Critics’ Award. His subsequent CDs featured works by Shostakovich, Prokofiev, Stravinsky, Messiaen, Panufnik as well as Witold Lutosławski’s Cello Concerto. 2000 saw the release of the first ever Polish recording (on two CDs) of all of Bach’s cello suites, recorded by Bauer for the CD Accord label, for which the artist won the 2000 Fryderyk Award of the Polish Academy of Phonography.
    [Show full text]
  • The Musical Partnership of Sergei Prokofiev And
    THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St.
    [Show full text]
  • The Inspiration Behind Compositions for Clarinetist Frederick Thurston
    THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing.
    [Show full text]
  • British Works for Cello and Piano, Volume 4
    4 E M British Works lU VO for Cello and Piano LUTYENS | HODDINOTT | LEIGHTON | BENNETT Paul Watkins cello Huw Watkins piano Personal collection of Josephine Leighton Josephine of collection Personal Kenneth Leighton, in his room at the University of Edinburgh, 1987 British Works for Cello and Piano, Volume 4 Kenneth Leighton (1929 – 1988) Partita, Op. 35 (1959) 20:20 for Cello and Piano 1 I Elegy. Lento, molto sostenuto – [ ] – Tempo I, quasi una marcia – 5:11 2 II Scherzo. Allegro molto e precipitoso 4:12 III Theme and Variations [10:59] 3 Theme. Adagio molto sostenuto – 2:06 4 Variation I. Allegro inquieto – 0:44 5 Variation II Ostinato. Largo maestoso, tempo giusto – 1:20 6 Variation III March. Allegro – 1:13 7 Variation IV. Appassionato (allegro molto) ma un poco più mosso – 1:05 8 Variation V Waltz – 1:28 9 Variation VI Chorale. Molto adagio e sostenuto 3:00 3 Elisabeth Lutyens (1906 – 1983) Constants, Op. 110 (1976) 12:43 for Cello and Piano 10 1 Introduction – 5:02 11 2 Lament – 4:21 12 3 Canticle 3:19 Alun Hoddinott (1929 – 2008) Sonata No. 2, Op. 96 No. 1 (1977) 14:43 for Cello and Piano 13 1 Moderato 5:25 14 2 Adagio 4:53 15 3 Allegro 4:23 4 Sir Richard Rodney Bennett (1936 – 2012) Sonata (1991) 19:47 for Cello and Piano Dedicated to Alexander Baillie 16 I Allegro – Molto vivo – Cadenza. [Scherzando] – Lento con fantasia – Tempo I, scherzando – Poco a poco più tranquillo – Tempo giusto al fine 6:15 17 II Allegretto leggero – Lento (doppio valore) – Tempo I (doppio movimento) – Lento – Tempo I 3:50 18 III Feroce – [Cadenza.] Poco largamente, rubato – Tempo I – Tempo giusto, mecanico – Presto 3:16 19 IV Andante – Pochissimo mosso – Ancora pochissimo più – Molto vivo – [ ] – Molto vivo – [Cadenza.] Declamato – Tempo giusto – Molto vivo 6:23 TT 67:35 Paul Watkins cello Huw Watkins piano 5 Elisabeth Lutyens Courtesy of University of York Music Press British Works for Cello and Piano: Volume 4 Introduction 1970.
    [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]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • Joseph Kuipers Is One of the Rare Musical Voices of Today: the Fresh Sincerity of His Playing, Combined with Technical Sovereignty Over the Instrument
    “Joseph Kuipers is one of the rare musical voices of today: the fresh sincerity of his playing, combined with technical sovereignty over the instrument. He draws a dark, singing sound out of his Ceruti Cello, and creates lines that seem to float effortlessly.” Berliner Abend Post American cellist Joseph Kuipers is renowned for his creativity and versatility in his captivating performances on both modern and gut strings. Appearing at festivals and music centers around the globe, he has performed at the Ravinia Music Festival, Aspen Music Festival, Les Festival International du Domaine Forget, Kronberg Academy, Ascoli Piceno Festival, Carl Orff Festival, and the World Cello Congress. Equally at home with modern and baroque performance styles, and often juxtaposing them in concert programs, Joseph has worked extensively with living composers, among them Robert Cogan, Heinz Holliger, Helmut Lachenmann and Arvo Part: and has performed with the Ensemble für Neue Musik Basel, Neue Musik Ensemble Mannheim, Second Instrumental Unit, New York, and the Callithumpian Consort of Boston. Joseph is the Artistic Director of the Fredericksburg Music Festival where world renowned European classical musicians gather in historic Fredericksburg TX for a week of music making. In 2010 Joseph founded the Marinus Project an international collective of chamber musicians dedicated to the tradition of classical music in our time. Marinus is the “Ensemble in Residence” at Washington and Lee University and Eastern University. In April 2011 the Marinus Ensemble received a $200,000 unrestricted artist development grant to further the Marinus Project. Joseph completed his undergraduate studies at the New England Conservatory of Music in Boston, where his primary teachers were Paul Katz for cello and Pozzi Escot for composition.
    [Show full text]
  • Library of Congress Rule Interpretations for Aacr 2, Revision 2002
    LIBRARY OF CONGRESS RULE INTERPRETATIONS FOR AACR 2, REVISION 2002 Basic cumulation updated through Cataloging Service Bulletin No. 128 Compiled by Alan Boyd and Elaine Druesedow OBERLIN COLLEGE LIBRARY OBERLIN, OHIO January, 2012 [This page intentionally left blank] Chapter 1 General Rules for Description 1.0:CSB124 Decisions Before Cataloging Table of Contents What is Being Cataloged? Type of Issuance Monograph vs. Serial Situations Requiring Further Consideration 1) Electronic resources 2) Resources issued in loose-leaf format 3) Conference publications 4) Supplements 5) Republications 6) Printed travel guides 7) Certain other printed resources Edition or Copy of Monograph Change in Cataloging Decision: Monograph/Serial Change in Type of Issuance Initial Articles ____________________________________________________________________________________ What is Being Cataloged? This section represents LC/PCC practice. Before creating a bibliographic record, determine what is being cataloged. Answer these two questions: OBERLIN LCRI CUMULATED 1-2 rev. 12-10 1) What aspect of the bibliographic resource will the bibliographic record represent? a) A resource may not be part of a larger resource and so the bibliographic record can represent only that resource. b) A resource may be part of a larger resource (one part of a multipart item, one analytic of a monographic series, one of several separate resources on a Web site, etc.). The bibliographic record could represent the “smaller” or the “larger” resource. c) A resource may not be part of a larger resource but local cataloging policies may specify creating a bibliographic record for a made-up larger resource of materials that are not published, distributed, or produced together.1 2) What is the type of issuance of that aspect? a) See both the definitions from AACR2 appendix D and the diagram in “Type of Issuance” below.
    [Show full text]