DOCSLIB.ORG

A Musicology of Performance Theory and Method Based on Bach's Solos for Violin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Musicology of Performance Theory and Method Based on Bach's Solos for Violin A Musicology of Performance Theory and Method Based on Bach's Solos for Violin Dorottya Fabian Publisher: Open Book Publishers Year of publication: 2015 Published on OpenEdition Books: 1 June 2017 Serie: OBP collection Electronic ISBN: 9782821881723 http://books.openedition.org Printed version ISBN: 9781783741526 Number of pages: xxii + 342 Electronic reference FABIAN, Dorottya. A Musicology of Performance: Theory and Method Based on Bach's Solos for Violin. New edition [online]. Cambridge: Open Book Publishers, 2015 (generated 05 mai 2019). Available on the Internet: <http://books.openedition.org/obp/1852>. ISBN: 9782821881723. © Open Book Publishers, 2015 Creative Commons - Attribution 4.0 International - CC BY 4.0 A MUSICOLOGY OF PERFORMANCE A Musicology of Performance Theory and Method Based on Bach’s Solos for Violin Dorotya Fabian http://www.openbookpublishers.com © Dorottya Fabian Version 1.1. Minor edits made, October 2015. Version 1.2. Minor edits made, June 2016 This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Dorottya Fabian, A Musicology of Performance Theory and Method Based on Bachs Solos for Violin. Cambridge, UK: Open Book Publishers, 2015. http://dx.doi.org/ 10.11647/OBP.0064 Please see the list of images and audio examples for attribution relating to individual resources. Whenever a license is not specified, these resources have been released under the same license as the book. Every effort has been made to identify and contact copyright holders and any omission or error will be corrected upon notification to the publisher. In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/isbn/9781783741526#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active on 31/06/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web The Australian Academy of the Humanities has generously contributed to the publication of this volume. Digital material and resources associated with this volume are available at https://www. openbookpublishers.com/isbn/9781783741526#resources ISBN Paperback: 978-1-78374-152-6 ISBN Hardback: 978-1-78374-153-3 ISBN Digital (PDF): 978-1-78374-154-0 ISBN Digital ebook (epub): 978-1-78374-155-7 ISBN Digital ebook (mobi): 978-1-78374-156-4 DOI: 10.11647/OBP.0064 Cover image: Juan Gris, ‘Violin’ (1913), http://commons.wikimedia.org/wiki/File:Juan_Gris_-_ Violin.jpg All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative) and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. Printed in the United Kingdom and United States by Lightning Source for Open Book Publishers In memory of my father, Otto Somorjay. Your appreciation of performing musicians and your love of listening to music have been life-long inspirations. Thank you! Contents Acknowledgments i 1. Dancing to Architecture? 1 1.1 The Problems of Researching and Writing about Music 3 Performance Problems with Historical Investigations of Music Performance 7 Is HIP a Modern Invention/Aesthetic or Does it Have Historical 12 Grounding? Data versus Narrative–Letting Go of Dancing or Returning to the 13 Dance Floor? 1.2 Summary: Recordings, Aims and Method 17 2. Theoretical Matters 25 2.1 Cultural Theories 28 HIP and Modernism 28 Modernism versus Postmodernism 31 HIP as a Mirror of Cultural Change 35 Aesthetics and Value Judgment: Beauty and the Sublime 39 2.2 Analytical Theories 42 Music Performance Studies 42 Empirical and Psychological Studies of Performance 48 2.3 Music Performance and Complex Systems 51 Gilles Deleuze and Difference in Music Performance 52 Music Performance as Complex Dynamical System 56 2.4 Performance Studies, Oral Culture and Academia 61 Research Roles: Performing Music or Analysing Performance? 62 Oral Cultures and the Aurality of Music Performance 65 Keeping Music Performance in the Aural Domain 69 Academia Once More 71 2.5 Conclusion 73 3. Violinists, Violin Schools and Emerging Trends 75 3.1 Violinists 76 3.2 Violin Schools 87 3.3 The Influence of HIP on MSP 95 3.4 Diversity within Trends and Global Styles 106 3.5 Overall Findings and Individual Cases 116 Trends in Particular Movements 118 The Importance of Ornamentation 120 3.6 Conclusion 122 4. Analyses of Performance Features 127 4.1 Tempo Choices 130 4.2 Vibrato 137 4.3 Ornamentation 146 Problems of Aesthetics and Notation Practices 146 The Role of Delivery 149 The Performance of Embellishments 153 Diversity—Once More 166 Ornamenting or Improvising? 169 Summary 170 4.4 Rhythm 172 Dotted Rhythms 173 Rhythmic Alteration 181 Rhythm and Musical Character 183 4.5 Bowing, Articulation and Phrasing 184 Bowing and Timbre 184 Multiple Stops 190 Phrasing and Dynamics 193 4.6 Conclusions 197 5. Affect and Individual Difference: Towards a Holistic Account 201 of Performance 5.1 Differences within the MSP and within the HIP Styles 202 The Loure 202 MSP Interpretations 203 HIP Interpretations 206 The Gavotte en Rondeau 207 HIP: Wallfisch and Huggett 208 MSP: Lev and Girngolts 210 Menuet I-II 211 5.2 Multiple Recordings of Violinists 217 Gidon Kremer 218 Rachel Barton Pine 221 Christian Tetzlaff 223 Sigiswald Kuijken 229 Viktoria Mullova 230 5.3 The Holistic Analysis of Interpretations 233 “Subjective” Aural Analysis: The D minor Giga 234 “Objective” Measures: 238 The A minor Grave and G minor Adagio Perception of Affect 241 5.4 Idiosyncratic Versions and Listeners’ Reactions 247 Thomas Zehetmair 247 Monica Huggett 251 The E Major Preludio 254 5.5 Conclusions 268 6. Conclusions and an Epilogue: The Complexity Model of Music 273 Performance, Deleuze and Brain Laterality 6.1 Summary 286 6.2 Where to from Here?—Epilogue 287 The Brain and its Two Worlds 288 List of Audio Examples 297 List of Tables 303 List of Figures 305 Discography 307 References 313 Index 333 Acknowledgments The publication of the book was assisted by subventions from the Australian Academy of Humanities and the School of the Arts and Media of UNSW Australia. This project has also been supported by an Australian Research Council Discovery Grant (DP0879616) and a UNSW Australia Faculty of Arts and Social Sciences Special Studies program in 2010, during which I took up a visiting fellowship at Clare Hall, Cambridge University which proved an ideal environment for focused work. In 2014 I received some tutoring and marking relief from the School of the Arts and Media at UNSW that contributed significantly to my ability to bring this project to a close. I would like to thank my research assistants Bridget Kruithof, Elizabeth Cooney, Hae-Na Lee and Amanda Harris for help with data collection and some measurements; Daniel Bangert, Jennifer Butler, Daniel Leech- Wilkinson, Eitan Ornoy, Sean Pryor, Dario Sarlo, and Emery Schubert for insightful and corrective comments on earlier drafts; Kumaran Arul for encouragement and Ellen Hooper for stimulating discussions about performance research and Deleuze; two anonymous reviewers for their valuable comments and suggestions; Rachel Barton-Pine for her generosity in providing me with recordings of her concerts; and Alessandra Tosi and Bianca Gualandi of the superb editorial team at Open Book Publishers who helped make the multi-media presentation possible. I thank Corin Throsby for preparing the index. Although I prepared a rough draft in 2011, due to other work commitments I could not return to it until 2014, so this book has had a long gestation and underwent substantial rethinking and re-writing. Sections, mostly on ornamentation and the interaction between period and mainstream playing styles have been presented at various academic ii A Musicology of Performance gatherings. I wish to note my gratitude to Jane Davidson (University of Western Australia, Perth), Gary McPherson (Music, Mind and Wellbeing, University of Melbourne, Australia), Clive Brown and David Milsom (Leeds University), Ingrid Pearson (Royal College of Music, London), Jane Ginsborg (Royal Northern College of Music Manchester) for the invitations. Thanks are also due to the organizers of conferences in Aveiro (Portugal) and at the Orfeus Institute (Ghent), for the opportunity to present, and to the audiences for valuable questions and comments. An article on ornamentation in recent recordings of J. S. Bach’s Solos for Violin was published in Min-ad, the Israeli Musicological Society’s peer-reviewed journal. I thank them for kindly allowing me to re-use some of that material in chapter four of this book. I would also like to record the generosity of John Butt, Janice Stockigt, Samantha Owens, and Neal Peres da Costa who wrote supporting letters to the Australian Academy of Humanities when I applied to them for a publications subvention. Thank you! I am grateful to Katalin Komlós for noting some additional misprints and notation errors in one of the score examples and thank Open Book Publishers, especially Bianca Gualandi, for their prompt action in correcting them for edition 1.2 (June 2016). 1. Dancing to Architecture? Framing all the great music out there only drags down its immediacy. […] Writing about music is like dancing about architecture—it’s a really stupid thing to want to do. Elvis Costello (b. 1954), singer-songwriter1 Starting this book with such a quote is not just a flippant rhetorical device. It flags my very strongly felt unease regarding the subject matter of the undertaking and my research in general.
Load more

Recommended publications
  • ICMPC11 Schedule at a Glan
    Upadted 7/9/10 SCHEDULE AT A GLANCE 8/23-27/10 MONDAY 8/23 REGISTRATION REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby 8:00-9:00AM Kane 130 Kane 110 Gowen 301 Smith 120 KANE - Walker Ames Room Session Rooms Gowen 201 WELCOME/KEYNOTE ADDRESS: Welcome and Opening Singing: when it hurts, when it helps, Keynote 9-10:30AM and when it changes brains. Gottfried Schlaug BREAK: 10:30-11:00AM Break Break Break Break Break Break INVITED SYMPOSIUM: SESSION 1 Effects of Musical Experience on Development During MUSIC THERAPY 1 SOCIAL PSYCHOLOGY 1 TONAL PERCEPTION 1 11-12:30 Infancy Laurel Trainor PA 021 Modeling Musical Structure from the Audience: Emergent PA027 The Effect of Structure and Rate Variation on Key-Finding SYM31:Beat Induction as a Fundamental Musical Skill PA 025 A Theory of Music and Sadness: A Role for Prolactin? 11:00 Rhythmic Models from Spontaneous Vocalizations in Samba Culture Morwaread Farbood, Gary Marcus, Panayotis Mavromatis, David Henkjan Honing David Huron Luiz Naveda, Fabien Gouyon, Marc Leman Poeppel SYM32: New Perspectives on Consonance and Dissonance PA 018 Improvisational Psychodynamic Music Therapy for PA110 Influences of Minority Status and Social Identity on the PA057 Common and Rare Musical Keys Are Absolutely Different: 11:30 Judy Plantinga, Sandra E. Trehub Depression: Randomized Controlled Trial Elaboration of Unfamiliar Music by Adolescents Implicit Absolute Pitch, Exposure
    [Show full text]
  • Faculty Recital Piano Vs. Viola: a Romantic Duel Jasmin Arakawa, Piano Rudolf Haken, Five-String Viola ______
    Faculty Recital Piano vs. Viola: A Romantic Duel Jasmin Arakawa, piano Rudolf Haken, five-string viola ________________________________ Sonata in E-flat Major, op. 120, no. 2 (1894) Johannes Brahms Allegro amabile (1833-1897) Allegro appassionato Andante con moto; Allegro Grandes études de Paganini (1851) Franz Liszt No. 5 (1811-1986) No. 2 No. 3 “La Campanella” Caprices (ca. 1810) Niccolò Paganini (1833-1897) No. 9 arranged by Rudolf Haken No. 17 “La Campanella” from Violin Concerto No.2 (1826) INTERMISSION Concerto in F (2014) Rudolf Haken Possum Trot (b. 1965) Triathlon Hoedown Walpurgisnacht Le Grand Tango (1982) Ástor Piazzolla (1921-1992) ________________________________ The Fourth Concert of Academic Year 2014-2015 Tuesday, September 16, 2014 7:30 p.m. A charismatic and versatile pianist, Jasmin Arakawa has performed widely in North America, Central and South America, Europe, and Japan. Described by critics as a “lyrical” pianist with “impeccable technique” (The Record), she has been heard in prestigious venues worldwide including Carnegie Hall, Salle Gaveau (Paris) and Victoria Hall (Geneva). She has appeared as a concerto soloist with the Philips Symphony Orchestra in Amsterdam, and with the Piracicaba Symphony Orchestra in Brazil. Arakawa’s interest in Spanish repertoire grew out of a series of lessons with Alicia de Larrocha in 2004. She has subsequently recorded solo and chamber pieces by Spanish and Latin American composers (LAMC Record), under the sponsorship of the Spanish Embassy as a prizewinner at the Latin American Music Competition. An avid chamber musician, she has collaborated with such artists as cellists Colin Carr and Gary Hoffman, flutists Jean Ferrandis and Marina Piccinini, clarinetist James Campbell, and the Penderecki Quartet.
    [Show full text]
  • Editorial: Embodiment in Music
    i Editorial: Embodiment in Music Editorial Andrea Schiavio1 & Nikki Moran2 1 Centre for Systematic Musicology, University of Graz, Austria 2 Reid School of Music, The University of Edinburgh, UK This special issue of the Journal of Interdisciplinary Music Studies (JIMS) focuses on the theme “Embodiment in Music”, reflecting the main topic of the latest Conference of Interdisciplinary Musicology held in Graz (CIM19). The present volume involves empirical and conceptual contributions exploring embodied music cognition from a variety of angles, combining selected papers presented at this conference with original submissions. The period of time since CIM19 took place has been marked by disruption. This is a period that has seen dramatic shifts in western consciousness towards globally impactful issues: the mass human crisis of forced migration and displacement; burgeoning awareness brought about through social justice campaigns; our climate- altered reality and the imminent, accelerating consequences. Our state of being under Covid-19 seems to have rendered existing disproportions of wealth, health and opportunity more apparent. What was previously subconscious, remote knowledge of prejudice and bias – aggressions concerning race, culture, gender, nature – seem now to have risen closer to the surface of daily life than perhaps at any previous point in living memory. As editors, we have taken particular care to respond to these issues as they pertain to academic research. We have been most grateful to all authors for their collaboration in decisions regarding stylistic language choices and the reduction of scientific bias. We are also grateful to the conference organizing committee in Graz, all authors, reviewers, and assistants who helped make this special issue possible.
    [Show full text]
  • Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HARMONIC EXPECTATION IN TWELVE-BAR BLUES PROGRESSIONS By BRYN HUGHES A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2011 The members of the committee approve the dissertation of Bryn Hughes defended on July 1, 2011. ___________________________________ Nancy Rogers Professor Directing Dissertation ___________________________________ Denise Von Glahn University Representative ___________________________________ Matthew Shaftel Committee Member ___________________________________ Clifton Callender Committee Member Approved: _____________________________________ Evan Jones, Chair, Department of Music Theory and Composition _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii To my father, Robert David Moyse, for teaching me about the blues, and to the love of my life, Jillian Bracken. Thanks for believing in me. iii ACKNOWLEDGEMENTS Before thanking anyone in particular, I would like to express my praise for the Florida State University music theory program. The students and faculty provided me with the perfect combination of guidance, enthusiasm, and support to allow me to succeed. My outlook on the field of music theory and on academic life in general was profoundly shaped by my time as a student at FSU. I would like to express my thanks to Richard Parks and Catherine Nolan, both of whom I studied under during my time as a student at the University of Western Ontario and inspired and motivated me to make music theory a career.
    [Show full text]
  • Maud Powell As an Advocate for Violinists, Women, and American Music Catherine C
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 "The Solution Lies with the American Women": Maud Powell as an Advocate for Violinists, Women, and American Music Catherine C. Williams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “THE SOLUTION LIES WITH THE AMERICAN WOMEN”: MAUD POWELL AS AN ADVOCATE FOR VIOLINISTS, WOMEN, AND AMERICAN MUSIC By CATHERINE C. WILLIAMS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2012 Catherine C. Williams defended this thesis on May 9th, 2012. The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis Michael Broyles Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For Maud iii ACKNOWLEDGMENTS I would like to thank my parents and my brother, Mary Ann, Geoff, and Grant, for their unceasing support and endless love. My entire family deserves recognition, for giving encouragement, assistance, and comic relief when I needed it most. I am in great debt to Tristan, who provided comfort, strength, physics references, and a bottomless coffee mug. I would be remiss to exclude my colleagues in the musicology program here at The Florida State University. The environment we have created is incomparable. To Matt DelCiampo, Lindsey Macchiarella, and Heather Paudler: thank you for your reassurance, understanding, and great friendship.
    [Show full text]
  • Newsletter 1
    The instruments of choice for the best players in the world... MARK WOOD MARK WOOD, award winning composer, interna- Magazine, among others. tional recording artist, and electric violinist, is widely Mark is currently starring in a national TV ad campaign acknowledged as the premier electric rock violinist of for Pepsi. The music track is a Kanye West produced his generation. Mark studied under maestro Leonard hip hop version of “The Devil Went Down to Georgia” Bernstein at Tanglewood and attended the Juilliard (featuring the rapper Nas). School of Music on full scholarship, which he left Mark won an Emmy award for his music for the Tour to pursue his vision of bringing rock violin into the De France bike race on CBS-TV and received three mainstream. His first release “Voodoo Violince” is widely additional Emmy nominations. As an inventor, Mark hailed as the quintessential rock violin record. In addi- established Wood Violins, a company whose mission is tion to his own band, The Mark Wood Experience, he to make Mark’s incredible instruments available to the has received two platinum and gold records from his general public. work with Trans-Siberian Orchestra, and has toured Mark’s Electrify Your Strings!™ series of music educa- and performed with Dee Snider’s Van Helsing’s tion programs have become enormously successful Curse, Celine Dion, Billy Joel, Lenny Kravitz, and and in demand with hundreds of schools participating Jewel. Mark has been a featured guest on The Tonight around the country. Show with Jay Leno, and has had articles written His definitive electric violin method book by the about him in the New York Times, USA Today, and Time same name is a must-have for all string players.
    [Show full text]
  • NEA-Annual-Report-1992.Pdf
    N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992.
    [Show full text]
  • B E R N S T E I N @ 1
    BERNSTEIN @ 100 2018-19 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES Pacific Symphony Bernstein PRELUDE, FUGUE AND RIFFS Prelude for the Brass Carl St.Clair, conductor Fugue for the Saxes Pacific Chorale—Robert Istad, artistic director Riffs for Everyone Augustin Hadelich, violin Joseph Morris Angel Garcia, vocalist SERENADE (AFTER PLATO’S “SYMPOSIUM”) Celena Shafer, soprano Phaedras; Pausanias (Lento – Allegro) Aristophanes (Allegretto) Joseph Morris, clarinet Eryximachus (Presto) Agathon (Adagio) Socrates; Alcibiades (Molto tenuto - Allegro molto) Augustin Hadelich Intermission Bernstein CHICHESTER PSALMS Psalm 108:2 Psalm 100 Psalm 23 Psalm 2:1-4 Psalm 131 Psalm 133:1 Pacific Chorale, Angel Garcia SELECTIONS FROM ARIAS AND BARCAROLLES “Greeting” “Little Smary” Celena Shafer “A LITTLE BIT IN LOVE” FROM WONDERFUL TOWN Celena Shafer SELECTIONS FROM CANDIDE “Glitter and Be Gay” Celena Shafer “Make Our Garden Grow” Preview talk with Alan Chapman at 7:00 PM Pacific Chorale Thursday, October 25, 2018 @ 8:00 PM Augustin Hadelich’s performances have been generously underwritten Saturday, October 27, 2018 @ 8:00 PM by a gift from Sam and Lyndie Ersan. Segerstrom Center for the Arts Saturday’s concert will be recorded for later broadcast on 91.5 KUSC Renée and Henry Segerstrom Concert Hall on February 10, 2019. Official Hotel Official Classical Music Station Official TV Station 12 OCTOBER BERNSTEIN: CROSSING BOUNDARIES CLASSICAL KUSC AT PACIFIC SYMPHONY Carl St.Clair, conductor Bernstein PRELUDE, FUGUE AND RIFFS Pacific Chorale—Robert
    [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]
  • Rachel Barton Pine
    Rachel Barton Pine Heralded as a leading interpreter of the great classical masterworks, international concert violinist Rachel Barton Pine thrills audiences with her dazzling technique, lustrous tone and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, Pine transforms audiences’ experiences of classical music. During the 2015-16 season, Pine will perform concertos by Beethoven, Brahms, Bruch, Dvorak, Fairouz, Mozart, Sibelius and Vivaldi, with orchestras including the Santa Rosa Symphony, the New Mexico Philharmonic, and the Flagstaff, Windsor, and Gainesville Symphony Orchestras. She will continue her recital tour of the Six Bach Sonatas and Partitas for Unaccompanied Violin in Gainesville, FL and Washington, D.C. In April, 2016 Avie Records will release Pine’s performance of J.S. Bach’s Six Sonatas and Partitas for Violin. Pine recently celebrated the release of her debut album on Avie: Mozart: Complete Violin Concerto, Sinfonia Concertante, with conductor Sir Neville Marriner and The Academy of St Martin in the Fields. In September 2015 Cedille Records releases her recording of Vivaldi: The Complete Viola D’Amore Concertos with Ars Antigua. This season a high-definition, life size video of Pine playing and being interviewed will be the culminating installation of “Stradivarius: Origins and Legacy of the Greatest Violin Maker,” a new exhibit of treasures made by master violin makers including Andrea Amati, Guarneri del Gesù, and Antonio Stradivari debuting at the Musical Instrument Museum in Phoenix, AZ. Pine has appeared as soloist with many of the world’s most prestigious ensembles, including the Chicago Symphony; the Philadelphia Orchestra and the Royal Philharmonic; and the Netherlands Radio Kamer Filharmonie.
    [Show full text]
  • Elmer Bernstein Elmer Bernstein
    v7n2cov 3/13/02 3:03 PM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV V OLUME 7, NUMBER 2 OSCARmania page 4 THE FILM SCORE HISTORY ISSUE RICHARD RODNEY BENNETT Composing with a touch of elegance MIKLMIKLÓSÓS RRÓZSAÓZSA Lust for Life in his own words DOWNBEAT DOUBLE John Q & Frailty PLUS The latest DVD and CD reviews HAPPY BIRTHDAY ELMER BERNSTEIN 50 years of film scores, 80 years of exuberance! 02> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n2cov 3/13/02 3:03 PM Page c2 composers musicians record labels music publishers equipment manufacturers software manufacturers music editors music supervisors music clear- Score with ance arrangers soundtrack our readers. labels contractors scoring stages orchestrators copyists recording studios dubbing prep dubbing rescoring music prep scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year. Film & TV Music Spring Edition: April 23, 2002 Film & TV Music Summer Edition: August 20, 2002 Space Deadline: April 5 | Materials Deadline: April 11 Space Deadline: August 1 | Materials Deadline: August 7 Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24 LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n02 issue 3/13/02 5:16 PM Page 1 CONTENTS FEBRUARY 2002 departments 2 Editorial The Caviar Goes to Elmer. 4News Williams Conducts Oscar, More Awards.
    [Show full text]
  • The Music of Randall Thompson a Documented
    THE MUSIC OF RANDALL THOMPSON (1899-1984) A DOCUMENTED CATALOGUE By Carl B. Schmidt Elizabeth K. Schmidt In memory of RANDALL THOMPSON ' for VARNEY THOMPSON ELLIOTT (†) CLINTON ELLIOTT III EDWARD SAMUEL WHITNEY THOMPSON (†) ROSEMARY THOMPSON (†) RANDALL THOMPSON JR. HAROLD C. SCHMIDT (†) and for E. C. SCHIRMER MUSIC COMPANY a division of ECS Publishing Group © 2014 by E. C. Schirmer Music Company, Inc., a division of ECS Publishing 1727 Larkin Williams Road, Fenton, MO 63026-2024 All rights reserved. Published 2014 Printed in the United States of America ISBN 978-0-911318-02-9 Library of Congress Cataloging-in-Publication Data Schmidt, Carl B. The music of Randall Thompson (1899-1984) : a documented catalogue / by Carl B. Schmidt [and] Elizabeth K. Schmidt. pages cm Includes bibliographical references and index. ISBN 978-0-911318-02-9 1. Thompson, Randall, 1899-1984--Bibliography. I. Schmidt, Elizabeth K. II. Title. ML134.T42S36 2015 016.78092--dc23 2014044640 Since I first went to Rome in 1922, Italian culture, the Italian people and the Italian language have been the strongest single influence on my intellectual and artistic development as a person and as a composer. So true is this that I cannot imagine what my life would be without all the bonds that bind me in loyalty and devotion to Italy and to my Italian friends. 13 June 1959 letter from Thompson to Alfredo Trinchieri Thompson always makes you think there is nothing as beautiful, as rich, or as varied as the sounds of the human voice. Alfred Frankenstein, San Francisco Chronicle (24 May 1958) It is one of the lovely pieces our country has produced, that any country, indeed, has produced in our century.
    [Show full text]