Foundations of Modern Cello Technique
Foundations of Modern Cello Technique Creating the Basis for a Pedagogical Method Valerie Welbanks Submitted in partial fulfilment of the requirements for the degree of PhD in Music (Performance Practice) Department of Music Goldsmiths College, University of London July 2016 Supervisor Roger Redgate Declaration I, Valerie Welbanks, the undersigned, hereby declare that the work submitted in this thesis is my own and where the contributions of others are made they are clearly acknowledged. Signed………………………………………………. Date…………………….. Valerie Welbanks Page 2 Dedication This thesis is dedicated to the memory of Alexander Ivashkin. Page 3 Acknowledgements I would like to extend my most profound thanks to the following people, for their encouragement, assistance, advice and patience: Patrick Dawkins, Louise & Don Welbanks, the Dawkins family, Natalia Pavlutskaya, Roger Redgate, Helen Vidovich, Jon Hargreaves, Richard Shaw, Richard Jones, Mandhira de Saram, Nicola Price, Tom Green, Rohan & Rosie de Saram, Neil Heyde, Marie-France Mathieu, Attila László, Richard Meadows, Fei Ren, Naomi McLean, Leslie Snider, Jean-Hee Lee, Elaine Gould (Faber), Samuel Wilcock (Chester), Barry Truax, Stephen Wingfield (Canadian Music Centre), Sharon Kanach, Vivian Rehman and Anita Wilke (Breitkopf), Michael Bach, Russell Rolen, and anyone who ever patiently listened to me speak about this subject. Page 4 Abstract Throughout their studies, cellists use short technical exercises such as scales and études which, under the supervision of a teacher, provide the skills necessary to play the repertoire. Etudes in particular – this body of formal, pedagogical works that developed in tandem with the rise of the virtuoso – are designed to strengthen specific technical notions in musical context, providing access to more demanding repertoire.
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