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Document Tzu Yun Chen 4-12 A Pedagogical Approach to Vibrato Styles for Advanced Cello Students and Their Teachers D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Tzu-Yun Chen Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Prof. Mark Rudoff, Advisor Dr. David Clampitt Dr. Paul Robinson Copyright by Tzu-Yun Chen 2013 Abstract Vibrato is an important technique that is often discussed in the learning process. At the advanced level, students need to form their own artistic sense of when to use vibrato, what kind of vibrato to use, and how to use the vibrato to enhance the music and achieve the composer’s intentions. The purpose of this study represents two big issues: the first, in chapter two, is a discussion of different types of vibrato. This chapter provides a classification of vibrato into different possibilities of vibrato expression. The second issue, in chapter three, discusses the approach to teaching vibrato. This chapter lists the potential problems that students might have and presents exercises to solve the problems. Chapter four presents a way to interpret music which gives both teachers and students a guide to approach the music which will equip them with more confidence to explore their interpretation. ii Dedication The document is dedicated to my family, my teachers, and all my friends. iii Acknowledgments I am very grateful to many people that have contributed in direct or indirect ways to this document. First of all, I would like to thank my advisor, Professor Mark Rudoff, who served as a model and inspiration for this document. At The Ohio State University, he has always supported and encouraged me in my performance and study. I believe those experiences will be important to me throughout my life. In addition, I would like to express my indebtedness to Dr. David Clampitt, Dr. Paul Robinson, and Dr. Kia-Hui Tan for their encouragement, advice and support throughout the recitals and examinations. Many thanks are owed to them for their assistance and patience. Also, I would like to express my appreciation to all my colleagues at The Ohio State University, especially the cello studio. Many thanks to those whose influence may not be so evident, but at the same they provided me an educational and emotional foundation. Finally, my deepest gratitude goes to my family and all my friends all over the iv world for their unconditional love and support during the entire study in the U.S. Thank you. v Vita June, 2005 ………………………………………… B.A., Music Education National Taipei University of Education Taipei, Taiwan May, 2008 …………………………………………..M.A., Cello Performance New York University New York, NY Fields of Study Major Field: Music vi Table of Contents Abstract............................................................................................................................... ii Dedication.......................................................................................................................... iii Acknowledgments.............................................................................................................. iv Vita..................................................................................................................................... vi List of Music Examples ................................................................................................... viii List of Figures................................................................................................................... xii List of Music Exercises.................................................................................................... xiii List of Pictures .................................................................................................................. xv List of Tables.................................................................................................................... xvi Chapter 1: Introduction....................................................................................................... 1 Chapter 2: A Discussion of the Different Types of Vibrato ................................................ 6 Chapter 3: Vibrato Exercises............................................................................................. 56 Chapter 4: Applying Vibrato Interpretation to Music ....................................................... 94 Chapter 5: Conclusion......................................................................................................116 References....................................................................................................................... 120 References Cited:........................................................................................................ 120 References Consulted: ................................................................................................ 123 vii List of Music Examples Music Example 1: Lalo Cello Concerto the 1 st movement, beginning…………….…….15 Music Example 2: Lalo Cello Concerto the 3 rd movement, beginning..………………....16 Music Example 3: Prokofiev Cello Sonata the 1 st movement, beginning…..….…….….17 Music Example 4: Elgar Cello Concerto the 1 st movement beginning…………………..18 Music Example 5: Lalo Cello Concerto the 1 st movement, measures 11-13…………….19 Music Example 6: Lalo Cello Concerto the 1 st movement, measure 58…........................20 Music Example 7: Bloch Schelomo, beginning……………..……………………...........21 Music Example 8: Lalo Cello Concerto the 1 st movement, measure 65……....................22 Music Example 9: Saint-Saëns Cello Concerto No.1 the 2 nd movement, measures 34-37……………..………………………………………..23 Music example 10: Lalo Cello Concerto the 1 st movement, measure 21…………….….24 Music Example 11: Bloch Schelomo, beginning…………………………………...…...25 Music Example 12: Elgar Cello Concerto the 3 rd movement, measure 44………….......25 Music Example 13: Shostakovich Cello Sonata the 2 nd movement, measures 66-67.......................................................................……..27 viii Music Example 14: Franck Cello Sonata the 2 nd movement, measures 16, 18, 20, and 21……...…………….…..……………..27 Music Example 15: Saint-Saëns Cello Concerto the 1 st movement, measures 1, 4, 8, 10, and 12...………………………..……..…….28 Music Example 16: Shostakovich Cello Concerto No.1 the 1 st movement, measures 86–118……………………………..………..……..…....30 Music Example 17: Bloch Schelomo, measure 15…………………………….…….......32 Music Example 18: Debussy Cello Sonata the 2 nd movement, the last two note………..33 Music Example 19: Elgar Cello Concerto the 1 st movement, measures 15-33….............34 Music Example 20: Shostakovich Cello Concerto No.1 the 2 nd movement, measures 111-114…………………….…………..…..…………...35 Music Example 21: Elgar Cello Concerto the 1 st movement, measures 4-5…………….35 Music Example 22: Saint-Saëns Cello Concerto the 1 st movement, the last note....................................................................................36 Music Example 23: Shostakovich Cello Sonata the 3 rd movement, beginning……….....37 Music Example 24: Shostakovich Cello concerto No.1 the 2 nd movement, measure102………………..…………...……………..........……...38 ix Music Example 25: Brahms Cello Sonata Op. 99 the 1 st movement, measure 23……....39 Music Example 26: Brahms Cello Sonata Op. 99 the 2 nd movement, measure 31….…..40 Music Example 27: Bloch Schelomo, measure 266…………………………………......41 Music Example 28: Brahms Cello Sonata Op. 38 the 1 st movement, measures 34–35.....42 Music Example 29: Grieg Cello Sonata the 2 nd movement, measures 72–73…...............42 Music Example 30: Shostakovich Cello Concerto No.1 the 2 nd movement ending……..43 Music Example 31: Shostakovich Cello Concerto No.1 the 3 rd movement beginning..........................................................................................44 Music Example 32: Lalo Cello Concerto the 2 nd movement, measures 12-17…..............45 Music Example 33: Elgar Cello Concerto the 1 st movement, measure 26……................46 Music Example 34: Shostakovich Cello Sonata the 1 st movement, measure 95……..….47 Music Example 35: Rachmaninoff Cello Sonata the 1 st movement, beginning…………48 Music Example 36: Grieg Cello Sonata the 1 st movement, beginning………..…….…...48 Music Example 37: Fauré Elegy, measure 9………………….………………….…..…..49 Music Example 38: Shostakovich Cello Concerto No.1 the 3 rd movement, measures 5 and 9..………………......………………..……….…...50 Music Example 39: Brahms Cello Sonata op. 99 the 2 nd movement, x the last note …...............................................................................51 Music Example 40: Fauré Elegy, measure 6……………………………………..............51 Music Example 41: Elgar Cello Concerto the 3 rd movement, measure 44……………....52 Music Example 42: Dvo řák Cello Concerto full score , beginning……………...............96 Music Example 43: Dvo řák Cello Concerto full score, measures 56 – 70...………....97-98 Music Example 44: Dvo řák Cello Concerto solo part, measures 87-88 and 91-92................................................................102 Music Example 45: Dvo řák Cello Concerto solo part, measures 95-96…………….….104 Music Example 46: Dvo řák Cello Concerto solo part, measures 99 and 101..………...104 Music Example 47: Dvo řák Cello Concerto solo part, measures 115, 117 and 119………………………………………..105 Music Example 48: Dvo řák Cello Concerto solo part, measures 128-138..…………....106 Music Example 49: Dvo řák Cello Concerto
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