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Composed in 2020, this string quartet is fun and playful, for both the performers and audience to enjoy. Romp! is meant to get people's feet tapping and be a happy distraction. In rondo form, Romp! opens with a jaunty melody in the first violin. This rondo theme is interspersed with a wistful waltz, and then later with a hoe-down, and American-West inspired dance. String effects include glissandi and the cello being strummed as a guitar.The melodies are all original, and are supported by various harmonic structures to give the piece edge and vitality. Romp! builds in momentum to a rousing finish.

Detta arbete utforskar den historiska utvecklingen av pianotrion i sin roll som kammarmusiksättning och dess förhållande till det samtida perspektivet. Genom att undersöka instrumentens roller både individuellt och i sitt sammanhang med hjälp av olika historiska kontext ser vi hur pianotrions roll och funktion har förändrats. Med hjälp av både kvalitativa och historiska metoder presenterar studien ett urval representativa verk från olika epoker och kompositörer, vilket ger en insikt i pianotrions utveckling över tid. Vidare ges det nutida perspektivet i en intervju med den svenska tonsättaren Britta Byström samt en analys av hennes verk "Symphony in Yellow" (2003). Studien visar hur samtida kompositörer hanterar sättningens svårigheter genom att utmana historiskt etablerade normer och traditioner. Syftet med arbetet är att fördjupa förståelsen för den historiska utvecklingen av pianotrion och dess bestående relevans i dagens musikvärld., Ljudfil:B. Byström: Symphony in Yellow (2003)Albert Dahllöf, pianoJonna Simonsson, violinAstrid Hillerud, cello

I detta arbete har jag studerat Ludwig van Beethovens sju variationer i Ess-dur för cello och piano över ett tema från Trollflöjten. Jag har analyserat stycket och fördjupat mig i de karaktärsmässiga kontraster jag önskar förtydliga inför min examenskonsert den 29 maj 2024. Under min instudering med pianist har jag utvecklat min förståelse av samspel, musikalitet och tolkningssätt som verktyg till personligt uttryck., Ludwig van Beethoven – Sju variationer i Ess-dur över ett tema ur TröllflöjtenCarin Malmlöf-Forssling – LalendoClaude Debussy – Cellosonat i d-mollDimitri Kabalevsky – Cellokonsert no. 1 i g-moll, sats II, LargoPiano: Georg Öquist

This project explores the possibilities and challenges associated with writing for and performing with an unconventional, and for the composer new set of instruments. With the purpose of creating music out of intuitive, creative ideas rather than instrumentally based knowledge and habitual patterns I wrote and/or arranged six original songs for an ensemble consisting of lead vocals, accordion, trumpet/flugel horn, electric guitar, and a cellist and vocalist combined in one. We later performed the music at my bachelor’s recital which took place on the 3rd of April 2024 at the Royal College of Music in Stockholm. The analysis of the musical result highlighted two compositional structures which in turn effected the co-playing in the group and divided the role-based responsibilities differently. The structure which was based around homophonic voices led to a common phrasing being the most important focus in comparison to the other which divided the ensemble into smaller groups with different functions where a joint time feel was of most importance., Musik:Sinking into a DreamBuss 61Time and Places UtegymmetBotanical GardenPick Up Kompositioner och arrangemang av: Ellen Mansten BruchfeldMedverkande musiker:Anna Østerby – dragspelHannes Arason – trumpet och flygelhornLinnea Hildén – cello och sångSvante Qvennerstedt – elgitarrEllen Mansten Bruchfeld – sång

This project explores the possibilities and challenges associated with writing for and performing with an unconventional, and for the composer new set of instruments. With the purpose of creating music out of intuitive, creative ideas rather than instrumentally based knowledge and habitual patterns I wrote and/or arranged six original songs for an ensemble consisting of lead vocals, accordion, trumpet/flugel horn, electric guitar, and a cellist and vocalist combined in one. We later performed the music at my bachelor’s recital which took place on the 3rd of April 2024 at the Royal College of Music in Stockholm. The analysis of the musical result highlighted two compositional structures which in turn effected the co-playing in the group and divided the role-based responsibilities differently. The structure which was based around homophonic voices led to a common phrasing being the most important focus in comparison to the other which divided the ensemble into smaller groups with different functions where a joint time feel was of most importance., Musik:Sinking into a DreamBuss 61Time and Places UtegymmetBotanical GardenPick Up Kompositioner och arrangemang av: Ellen Mansten BruchfeldMedverkande musiker:Anna Østerby – dragspelHannes Arason – trumpet och flygelhornLinnea Hildén – cello och sångSvante Qvennerstedt – elgitarrEllen Mansten Bruchfeld – sång

I detta arbete har jag studerat Ludwig van Beethovens sju variationer i Ess-dur för cello och piano över ett tema från Trollflöjten. Jag har analyserat stycket och fördjupat mig i de karaktärsmässiga kontraster jag önskar förtydliga inför min examenskonsert den 29 maj 2024. Under min instudering med pianist har jag utvecklat min förståelse av samspel, musikalitet och tolkningssätt som verktyg till personligt uttryck., Ludwig van Beethoven – Sju variationer i Ess-dur över ett tema ur TröllflöjtenCarin Malmlöf-Forssling – LalendoClaude Debussy – Cellosonat i d-mollDimitri Kabalevsky – Cellokonsert no. 1 i g-moll, sats II, LargoPiano: Georg Öquist

Detta arbete utforskar den historiska utvecklingen av pianotrion i sin roll som kammarmusiksättning och dess förhållande till det samtida perspektivet. Genom att undersöka instrumentens roller både individuellt och i sitt sammanhang med hjälp av olika historiska kontext ser vi hur pianotrions roll och funktion har förändrats. Med hjälp av både kvalitativa och historiska metoder presenterar studien ett urval representativa verk från olika epoker och kompositörer, vilket ger en insikt i pianotrions utveckling över tid. Vidare ges det nutida perspektivet i en intervju med den svenska tonsättaren Britta Byström samt en analys av hennes verk "Symphony in Yellow" (2003). Studien visar hur samtida kompositörer hanterar sättningens svårigheter genom att utmana historiskt etablerade normer och traditioner. Syftet med arbetet är att fördjupa förståelsen för den historiska utvecklingen av pianotrion och dess bestående relevans i dagens musikvärld., Ljudfil:B. Byström: Symphony in Yellow (2003)Albert Dahllöf, pianoJonna Simonsson, violinAstrid Hillerud, cello

José Luis Greco, a New York composer who has been based in Madrid since 1994, is one of the most important figures in contemporary music today. In this article, I present a theoretical framework to bridge the artistic and scientific dimensions in performance research. To achieve this, I explore areas of knowledge that may seem unrelated to musical interpretation, in order to establish the foundation of my study. The second part of this article briefly explains the methodology used in my doctoral thesis to examine the instrumental language in José Luis Greco's cello composition, as well as my proposed interpretation of the piece One Fell Swoop., El compositor neoyorquino José Luis Greco, afincado en Madrid desde el año 1994, es uno de los creadores más importantes en el panorama actual de la música contemporánea. En este artículo dedico un primer bloque a proponer un marco teórico que permita conciliar la dimensión artística con la científica en la investigación interpretativa. Para ello indago en otras áreas del conocimiento, en principio lejanas a la interpretación musical, para poder fundamentar mi estudio. En el segundo bloque se expone brevemente la aplicación del método que he seguido en mi tesis doctoral para el estudio del lenguaje instrumental en la obra para violonchelo de José Luis Greco, así como para mi propuesta interpretativa de la pieza One Fell Swoop.

folio of original compositions for solo instruments and ensembles. The accompanying dissertation explores notational innovation, process versus intuition, and close composer-performer collaboration. The project offers new insights on the embedding, both overt and covert, of traumatic personal experience and difficult subject matter in musical composition.

The first pedagogical methods for cello appeared in the first half of the 18th century. However, these early works used varied terminology suchas treatise, exercise, etude or capriche. At the 19th centurythere was a significant development in the number of countries, which publised methods for teaching cello. The higher music conservatories of Andalusia and the teaching guides of Cello make a selection of the different methods. These conservatories only have seven methods in common, Los primeros métodos de enseñanza del violonchelo aparecieron en la primera mitad del siglo XVIII. Sin embargo, estas primeras obras utilizaban una terminología variada como tratado, ejercicio, capricho o estudio. En el siglo XIX se produjo un desarrollo significativo en el número de métodos y países que publicaron obras pedagógicas para el violonchelo. Los conservatorios superiores de música de Andalucía y las diversas guías docentes de la asignatura de Violonchelo realizan una selección de los distintos métodos. De todos ellos, solo siete métodos son comunes en los cinco conservatorios.

El calentamiento, entendido como un momento de preparación para la actividad física, debería estar incluido en la práctica diaria de cualquier músico. Sin embargo, entre intérpretes hay ideas bastante diversas acerca de qué es calentar, lo cual genera confusión y dificultades a la hora de diseñar e implementar una rutina de calentamiento. Por eso, para crear un esquema de calentamiento, es necesario primero aclarar qué tipo de actividades debe incluir, teniendo en cuenta que hay unas realidades comunes para los músicos en general, pero también que estas rutinas varían de acuerdo a los aspectos técnicos básicos de cada instrumento y a las particularidades de cada individuo. Ahora bien, no puede desconocerse que existen ya materiales cuyo objetivo es proporcionar rutinas y ejercicios específicos. No obstante, estos materiales no siempre son gratuitos y la mayoría están publicados únicamente en inglés, lo que representa una barrera de acceso para muchos. Por eso, este artículo busca brindar al lector herramientas para el diseño de rutinas de calentamiento basadas en dificultades técnicas del repertorio, específicamente desde la perspectiva de la interpretación del violonchelo., Every musician's daily practice should include a brief period of warming up in order to prepare for physical activity associated with musical practice. However, there are quite different ideas about what it means to warm up among performers, which causes confusion and challenges when developing and executing a warm-up scheme. Therefore, in order to develop a warm-up plan, it is first necessary to specify the types of exercises that should be included, keeping in mind that while there are some realities that apply to musicians in general, these routines may also vary depending on the essential technical aspects of each instrument and the unique characteristics of each player. On the other hand, the fact that there are existing publications whose goal is to offer specific exercises and routines should not be disregarded. However, these resources are not always free of charge, and the majority of them are only available in English, which makes them difficult for certain music students to obtain. This article aims to provide the reader with tools for the design of warm-up routines based on technical difficulties of the repertoire, all approached from the perspective of the cello interpretation.

El presente trabajo pretende dar voz a las nuevas estrategias educativas en torno al pensamiento visible en el territorio de la metodología y la evaluación que, tras la revisión de estudios realizados en torno a la evaluación en Conservatorios, demuestran que necesitan el impulso de una correcta adaptación y ejemplificación de su llevada a la práctica. Se ha realizado un estudio del proceso de evaluación y de estrategias metodológicas para comprender cómo se organizan estos procesos y adquirir las más beneficiosas para cada propuesta. En este trabajo se ha incluido una propuesta para los alumnos de violonchelo enfocada a las Enseñanzas Profesionales de Música que se centra en el uso del portafolio online como medio para un proceso de enseñanza-aprendizaje más integrador., This paper aims to give voice to the new educational strategies around visible thinking in the territory of methodology and evaluation which, after reviewing the studies carried out on evaluation in Conservatories, show that they need the impulse of a correct adaptation and exemplification of their implementation in practice. A study of the assessment process and methodological strategies has been carried out in order to understand how these processes are organised and to acquire the most beneficial ones for each proposal. This work has included a proposal for cello students focused on Professional Music Education that focuses on the use of the online portfolio as a means for a more inclusive teaching-learning process., Departamento de Didáctica de la Expresión Musical, Plástica y Corporal, Máster en Profesor de Educación Secundaria Obligatoria y Bachillerato, Formación Profesional y Enseñanzas de Idiomas

El presente trabajo pretende dar voz a las nuevas estrategias educativas en torno al pensamiento visible en el territorio de la metodología y la evaluación que, tras la revisión de estudios realizados en torno a la evaluación en Conservatorios, demuestran que necesitan el impulso de una correcta adaptación y ejemplificación de su llevada a la práctica. Se ha realizado un estudio del proceso de evaluación y de estrategias metodológicas para comprender cómo se organizan estos procesos y adquirir las más beneficiosas para cada propuesta. En este trabajo se ha incluido una propuesta para los alumnos de violonchelo enfocada a las Enseñanzas Profesionales de Música que se centra en el uso del portafolio online como medio para un proceso de enseñanza-aprendizaje más integrador., This paper aims to give voice to the new educational strategies around visible thinking in the territory of methodology and evaluation which, after reviewing the studies carried out on evaluation in Conservatories, show that they need the impulse of a correct adaptation and exemplification of their implementation in practice. A study of the assessment process and methodological strategies has been carried out in order to understand how these processes are organised and to acquire the most beneficial ones for each proposal. This work has included a proposal for cello students focused on Professional Music Education that focuses on the use of the online portfolio as a means for a more inclusive teaching-learning process., Departamento de Didáctica de la Expresión Musical, Plástica y Corporal, Máster en Profesor de Educación Secundaria Obligatoria y Bachillerato, Formación Profesional y Enseñanzas de Idiomas

This dissertation explores how various early-twentieth century British composers used the cello as an instrument of melancholy and mourning in response to loss. Through an analysis of the biographies, correspondence, music, and cultural dimensions of Edward Elgar, Frederick Delius, Frank Bridge, Herbert Howells, Gerald Finzi, E.J. Moeran, Gustav Holst, Edmund Rubbra, Ralph Vaughan Williams, and William Walton, all who composed significant cello works, this dissertation illuminates the legacy of melancholy that the cello came to symbolize. The first chapter surveys melancholia, what the sixteenth-century author, philosopher, and Anglican clergyman Robert Burton called the “English malady.” Identifying its causes within British history, religion, and literature, the chapter argues that the immense tragedies of the twentieth century compelled these composers to aestheticize grief through new cello works. Chapter two analyzes how Elgar's valedictory and influential cello concerto portrays the composer’s histrionic lament over the passing of the world he knew. Chapter three meditates on Delius's Double Concerto, Cello Concerto, Cello Sonata, Serenade, and Caprice and Elegie, revealing the paradoxical melancholy of his fervid musical pantheism. In a study of Bridge's Cello Sonata and Oration, Concerto Elegiaco, the fourth chapter argues that Bridge negotiated the national and continental musical trends in order to meet the emotional exigencies of his artistic development during and after the Great War. The fifth chapter provides a hiatus from melancholic musings by presenting five British cellists, all women, who contributed to the success of several of the works discussed in the dissertation. Chapter six, a comparison of Herbert Howells and Gerald Finzi in tandem with their respective cello concertos, posits that the loss of childhood innocence—literally in the death of Howells's son Michael and figuratively in Finzi's experience of early losses—informed their cello comp

Cellisten Linnea Vikström utforskar relationen mellan dans och musik genom ett videoverk i vilken hon både spelar cello och dansar sin egen koreografi. Musiken hon koreograferat till heter My heart is in the East och är skriven av cellisten Mats Lidström. Linnea har bakgrund som dansare och reflekterar kring likheter och skillnader mellan hur dansare och musiker arbetar med musik. Kan musiker använda dans skapande som ett verktyg för att få en djupare förståelse av en utvald musik? Sammanfattningsvis kommer hon fram till att det går att använda dans som ett verktyg för att fördjupa sin uppfattning av en utvald musik.

Denna studie är en analys av Claude Debussys Cellosonat skriven år 1915. Sonaten är ett av de sista verk som Debussy komponerade innan sin död, och tillhör de mästerverk som går att hitta i repertoaren för cello och piano. I min analys försöker jag hitta vilken form varje sats har, och bryta loss rytmiska och melodiska motiv för att se hur Debussy utvecklar och använder sig av sitt material. Trots att det är svårt att komma fram till ett fast resultat blev min slutsats att första satsen är i sonatform, med delar ABA & Coda. Andra satsen har jag valt att beteckna som ett rondo, med formen ABACA. Den tredje satsen innehåller både strukturen av sonatform och rondo och delas upp i ABACDAC (Coda). Sonaten hålls ihop med hjälp av hur de olika teman går mellan satserna istället för att luta sig på en fast struktur. Genom att framföra verket och söka efter klangfärgerna har jag slutligen fått en djupare förståelse för detta verk., J. S. Bach: Svit nr. 4 i Ess-dur, BWV 1010C. Debussy: Cello Sonat i d-mollS. Taneyev: Piano Trio i D-dur, Op. 22Övriga medverkande:Jonna Simonsson, violinAlbert Dahllöf, piano

This dissertation explores how various early-twentieth century British composers used the cello as an instrument of melancholy and mourning in response to loss. Through an analysis of the biographies, correspondence, music, and cultural dimensions of Edward Elgar, Frederick Delius, Frank Bridge, Herbert Howells, Gerald Finzi, E.J. Moeran, Gustav Holst, Edmund Rubbra, Ralph Vaughan Williams, and William Walton, all who composed significant cello works, this dissertation illuminates the legacy of melancholy that the cello came to symbolize. The first chapter surveys melancholia, what the sixteenth-century author, philosopher, and Anglican clergyman Robert Burton called the “English malady.” Identifying its causes within British history, religion, and literature, the chapter argues that the immense tragedies of the twentieth century compelled these composers to aestheticize grief through new cello works. Chapter two analyzes how Elgar's valedictory and influential cello concerto portrays the composer’s histrionic lament over the passing of the world he knew. Chapter three meditates on Delius's Double Concerto, Cello Concerto, Cello Sonata, Serenade, and Caprice and Elegie, revealing the paradoxical melancholy of his fervid musical pantheism. In a study of Bridge's Cello Sonata and Oration, Concerto Elegiaco, the fourth chapter argues that Bridge negotiated the national and continental musical trends in order to meet the emotional exigencies of his artistic development during and after the Great War. The fifth chapter provides a hiatus from melancholic musings by presenting five British cellists, all women, who contributed to the success of several of the works discussed in the dissertation. Chapter six, a comparison of Herbert Howells and Gerald Finzi in tandem with their respective cello concertos, posits that the loss of childhood innocence—literally in the death of Howells's son Michael and figuratively in Finzi's experience of early losses—informed their cello comp

El presente trabajo pretende dar voz a las nuevas estrategias educativas en torno al pensamiento visible en el territorio de la metodología y la evaluación que, tras la revisión de estudios realizados en torno a la evaluación en Conservatorios, demuestran que necesitan el impulso de una correcta adaptación y ejemplificación de su llevada a la práctica. Se ha realizado un estudio del proceso de evaluación y de estrategias metodológicas para comprender cómo se organizan estos procesos y adquirir las más beneficiosas para cada propuesta. En este trabajo se ha incluido una propuesta para los alumnos de violonchelo enfocada a las Enseñanzas Profesionales de Música que se centra en el uso del portafolio online como medio para un proceso de enseñanza-aprendizaje más integrador., This paper aims to give voice to the new educational strategies around visible thinking in the territory of methodology and evaluation which, after reviewing the studies carried out on evaluation in Conservatories, show that they need the impulse of a correct adaptation and exemplification of their implementation in practice. A study of the assessment process and methodological strategies has been carried out in order to understand how these processes are organised and to acquire the most beneficial ones for each proposal. This work has included a proposal for cello students focused on Professional Music Education that focuses on the use of the online portfolio as a means for a more inclusive teaching-learning process., Departamento de Didáctica de la Expresión Musical, Plástica y Corporal, Máster en Profesor de Educación Secundaria Obligatoria y Bachillerato, Formación Profesional y Enseñanzas de Idiomas

El presente trabajo pretende dar voz a las nuevas estrategias educativas en torno al pensamiento visible en el territorio de la metodología y la evaluación que, tras la revisión de estudios realizados en torno a la evaluación en Conservatorios, demuestran que necesitan el impulso de una correcta adaptación y ejemplificación de su llevada a la práctica. Se ha realizado un estudio del proceso de evaluación y de estrategias metodológicas para comprender cómo se organizan estos procesos y adquirir las más beneficiosas para cada propuesta. En este trabajo se ha incluido una propuesta para los alumnos de violonchelo enfocada a las Enseñanzas Profesionales de Música que se centra en el uso del portafolio online como medio para un proceso de enseñanza-aprendizaje más integrador., This paper aims to give voice to the new educational strategies around visible thinking in the territory of methodology and evaluation which, after reviewing the studies carried out on evaluation in Conservatories, show that they need the impulse of a correct adaptation and exemplification of their implementation in practice. A study of the assessment process and methodological strategies has been carried out in order to understand how these processes are organised and to acquire the most beneficial ones for each proposal. This work has included a proposal for cello students focused on Professional Music Education that focuses on the use of the online portfolio as a means for a more inclusive teaching-learning process., Departamento de Didáctica de la Expresión Musical, Plástica y Corporal, Máster en Profesor de Educación Secundaria Obligatoria y Bachillerato, Formación Profesional y Enseñanzas de Idiomas

This performance dissertation explores solo cello repertoire with connections to the English pastoral style. Although pastoralism peaked in popularity between the two world wars, its essential features have been newly embraced by several twenty-first century British composers. Each work discussed here displays some or all of the following pastoral traits: references to the folk music traditions of the British Isles, musical depictions of nature, melodic or harmonic modalism, non-functional (“coloristic”) chordal writing, expressions of nostalgia, and references to historical British music. The performance programs are comprised of works for unaccompanied cello, works for cello and piano, a cello duo, and a cello concerto with string orchestra accompaniment.

This dissertation examines the formal structures, technical demands, and historical significance of 15 works for cello that take the form of theme and variations. The works featured are variations by Ludwig van Beethoven (Variations WoO 45, Variations Op. 66, and Variations WoO 46,) Felix Mendelssohn (Variations Concertantes), Jean Sibelius (Theme and Variations), Gioachino Rossini (Une Larme), Ferruccio Busoni (Kultaselle), Samuel Coleridge-Taylor (Variations), Donald Tovey (Elegiac Variations), Paul Hindemith (A frog he went a-courting), Bohuslav Martinů (Variations on a Slovakian Theme), Imogen Holst (Fall of the Leaf), Edison Denisov (Variations on a Theme of Schubert), Elena Ruehr (Prelude Variations), and Adolphus Hailstork (Theme and Variations on “Draw the Sacred Circle Closer”). These pieces are divided into two categories: works with existing themes and works with original themes. The discussion of each piece includes the historical context of the work, relevant biographical information on the composer, and description of the role of the theme and the use of specific compositional techniques to alter that theme. Through the examination of these pieces, this paper accomplishes three objectives: tracing the history of cello playing through the expansion of technical demands as observed in these works; following the evolution of variation form in this selection of music; and encouraging the increased inclusion of these compositions in cello recitals. The recitals were performed at the University of Maryland School of Music’s Gildenhorn Recital Hall and Tawes Recital Hall. Recordings can be found in the Digital Repository at the University of Maryland (DRUM).

Cellisten Linnea Vikström utforskar relationen mellan dans och musik genom ett videoverk i vilken hon både spelar cello och dansar sin egen koreografi. Musiken hon koreograferat till heter My heart is in the East och är skriven av cellisten Mats Lidström. Linnea har bakgrund som dansare och reflekterar kring likheter och skillnader mellan hur dansare och musiker arbetar med musik. Kan musiker använda dans skapande som ett verktyg för att få en djupare förståelse av en utvald musik? Sammanfattningsvis kommer hon fram till att det går att använda dans som ett verktyg för att fördjupa sin uppfattning av en utvald musik.

Denna studie är en analys av Claude Debussys Cellosonat skriven år 1915. Sonaten är ett av de sista verk som Debussy komponerade innan sin död, och tillhör de mästerverk som går att hitta i repertoaren för cello och piano. I min analys försöker jag hitta vilken form varje sats har, och bryta loss rytmiska och melodiska motiv för att se hur Debussy utvecklar och använder sig av sitt material. Trots att det är svårt att komma fram till ett fast resultat blev min slutsats att första satsen är i sonatform, med delar ABA & Coda. Andra satsen har jag valt att beteckna som ett rondo, med formen ABACA. Den tredje satsen innehåller både strukturen av sonatform och rondo och delas upp i ABACDAC (Coda). Sonaten hålls ihop med hjälp av hur de olika teman går mellan satserna istället för att luta sig på en fast struktur. Genom att framföra verket och söka efter klangfärgerna har jag slutligen fått en djupare förståelse för detta verk., J. S. Bach: Svit nr. 4 i Ess-dur, BWV 1010C. Debussy: Cello Sonat i d-mollS. Taneyev: Piano Trio i D-dur, Op. 22Övriga medverkande:Jonna Simonsson, violinAlbert Dahllöf, piano

In this dissertation, I explore the unique musical interests of Victor Herbert’s Cello Concerto No. 2, Op. 30 (1894) with the intent to promote the piece from its ‘fringe’ repertory status. The research presented synthesizes historical information, traditional analysis, and material surveys with a physical exploration from the solo cellist’s point of view to show effective methods for maximizing drama without sacrificing clarity, promoting a singing, vocal quality of the solo cello, and creating a unique duality of tone combining romantic gravitas with the lightheartedness of operetta. In addition, I track the concerto’s reception and repertory status from its premiere in 1894 to 2021 using a survey of existing reviews, articles, public discourse, and recordings. This research aims to encourage more concert programming of the Op. 30, and in the process, makes the argument that canonization and the related false dichotomy between ‘light’ and ‘serious’ music styles have been detrimental forces in the consolidation of the cello concerto repertoire.

This master project addresses the problem of stage fright in a musical performance context. To meet my personal, uncomfortable feelings of stage fright, I decided to “prepare” my body for such situations by doing breathing exercises developed by Ilse Middendorf (The Perceptible Breath). With help and support of the Berliner Centrum für Musikermedizin at the Charité the project became a pilot study about how Ilse Middendorf's breathing exercises could minimize bodily stress of a non-wind instrument player in a stress situation. Following method was applied. I did breathing exercises over a period of six weeks. I made three recordings of the same cello piece that I know well (Josef Haydn’s Cello Concerto in D-major, 1. movement, exposition): before the six-week period, in the middle of it and at the end. The recordings represent the stress situations. The impact of breathing exercises on my cello practice and recordings were evaluated in three ways. I documented my subjective perceptions of my personal development with a questionnaire and a report. The objective results were then documented in two ways. The three recordings were sent out to professional audience members who did not know in which order recordings were done. They listened and rated them in order of their quality. Finally, I measured a series of body parameters which indicate the level of stage fright (e.g. heart rate, finger temperature, blood pressure) before and after the recordings. The results of my project are quite encouraging. On the subjective level, I felt less stress, more musicality and a new body awareness. The recordings were rated by audience members in exactly the order in which I recorded them which indicates a musical quality improvement. The body measurements showed that breathing exercises lead to a decrease in bodily stress symptoms (blood pressure and heart rate).

In this dissertation, I explore the unique musical interests of Victor Herbert’s Cello Concerto No. 2, Op. 30 (1894) with the intent to promote the piece from its ‘fringe’ repertory status. The research presented synthesizes historical information, traditional analysis, and material surveys with a physical exploration from the solo cellist’s point of view to show effective methods for maximizing drama without sacrificing clarity, promoting a singing, vocal quality of the solo cello, and creating a unique duality of tone combining romantic gravitas with the lightheartedness of operetta. In addition, I track the concerto’s reception and repertory status from its premiere in 1894 to 2021 using a survey of existing reviews, articles, public discourse, and recordings. This research aims to encourage more concert programming of the Op. 30, and in the process, makes the argument that canonization and the related false dichotomy between ‘light’ and ‘serious’ music styles have been detrimental forces in the consolidation of the cello concerto repertoire.

Dokumentation:partitur, Pietari Kaasinen - Memory Fragments, 2021film (video & musik), Memory Fragments, 2021; musiker, cello: Pietari Kaasinen; video: Tatu Heinämäki

El presente artículo da cuenta del proceso de creación de ejercicios que faciliten la ejecución técnica de la mano izquierda en el violonchelo, basados en cuatro obras colombianas del maestro Deiner Hurtado, para nivel intermedio. También se pretende resaltar la importancia de la música tradicional en el desarrollo instrumental del violonchelo, específicamente el valioso potencial pedagógico de la música tradicional colombiana en el ámbito técnico del instrumento. Esto se realizó mediante un análisis técnico de cada pieza, identificando las problemáticas asociadas al desarrollo propio de la mano izquierda, lo cual permitió desarrollar ejercicios previos a las obras que faciliten su ejecución, además de apropiar la técnica para futuros montajes en cualquier esfera y estilo musical. Es importante recalcar que la apropiación de la música tradicional colombiana permite desarrollar la técnica instrumental desde un panorama más cercano al ejecutante, para así interiorizar el conocimiento y ponerlo en función de una ejecución más apropiada, que posteriormente se refleja en la ejecución musical., This article gives an account of the process of creating exercises that facilitate the technical execution of the left hand on the cello, based on four Colombian works by Deiner Hurtado, for an intermediate level. It is also intended to highlight the importance of traditional music in the instrumental development of the cello and the valuable pedagogical contribution that the breakdown of traditional colombian music in the technical field of the cello entails. This was done through a technical analysis of each piece, identifying the problems associated with the development of the left hand, which allows perform exercises prior to the works that facilitate their execution, in addition to appropriating the technique for future assemblies in any sphere and musical style. It is concluded that the technical development of traditional Colombian music is an indispensable axis for the appropriation of the technique on the cello.

This paper describes the creative process and makes a brief analysis of the work for cello and tape A world without mouths and with the smell of disinfectant by the composer Diana Pérez Custodio. This is part of the Women Composers Workshop of the Spanish Music Festival of Cádiz Manuel de Falla in its 2020 edition., El presente artículo describe el proceso creativo y realiza un somero análisis de la obra para violonchelo y cinta Un mundo sin bocas y con olor a desinfectante de la compositora Diana Pérez Custodio. Esto se enmarca en el Taller de Compositoras del Festival de Música Española de Cádiz Manuel de Falla, concretamente en su edición del año 2020.

Dokumentation:partitur, Pietari Kaasinen - Memory Fragments, 2021film (video & musik), Memory Fragments, 2021; musiker, cello: Pietari Kaasinen; video: Tatu Heinämäki

This master project addresses the problem of stage fright in a musical performance context. To meet my personal, uncomfortable feelings of stage fright, I decided to “prepare” my body for such situations by doing breathing exercises developed by Ilse Middendorf (The Perceptible Breath). With help and support of the Berliner Centrum für Musikermedizin at the Charité the project became a pilot study about how Ilse Middendorf's breathing exercises could minimize bodily stress of a non-wind instrument player in a stress situation. Following method was applied. I did breathing exercises over a period of six weeks. I made three recordings of the same cello piece that I know well (Josef Haydn’s Cello Concerto in D-major, 1. movement, exposition): before the six-week period, in the middle of it and at the end. The recordings represent the stress situations. The impact of breathing exercises on my cello practice and recordings were evaluated in three ways. I documented my subjective perceptions of my personal development with a questionnaire and a report. The objective results were then documented in two ways. The three recordings were sent out to professional audience members who did not know in which order recordings were done. They listened and rated them in order of their quality. Finally, I measured a series of body parameters which indicate the level of stage fright (e.g. heart rate, finger temperature, blood pressure) before and after the recordings. The results of my project are quite encouraging. On the subjective level, I felt less stress, more musicality and a new body awareness. The recordings were rated by audience members in exactly the order in which I recorded them which indicates a musical quality improvement. The body measurements showed that breathing exercises lead to a decrease in bodily stress symptoms (blood pressure and heart rate).

When the Soviet Union asserted power over Uzbekistan in 1925, music was used as one of Russia’s tools in reshaping the Uzbek society. Ironically, since Uzbekistan’s independence in 1991, music became Uzbekistan’s way of finding its own identity and voice. During this period of Russian rule and later independence, Uzbekistan cultivated many musicians and composers whose works were influenced by the unique blend of the east and the west. Among these works are the two cello sonatas by Muhammad Otajonov. The purpose of this document is to introduce these sonatas to western audiences. In doing so, the document first sets the scene by tracing Uzbekistan’s musical history and exploring characteristics of its traditional music. Then, the work examines the two cello sonatas in detail, drawing the reader’s attention to the unique blend of the western and eastern cultures. Finally, a performance guide is provided to explore the technique and style of the two sonatas.

The purpose of this document is to study prominent and influential literature on cello pedagogy and combine the most useful aspects of each method along with additional research and my personal experience to create a comprehensive new teaching method. Investigative research spans from the earliest cello treatises of the eighteenth century to publications from the last decade. The new teaching method includes the position of the body while holding the instrument, left hand fundamentals, bow arm fundamentals, intonation, shifting, bow strokes, vibrato, and musical expression for beginning to advanced cello technique with an emphasis on the vital beginning foundation. Additionally, I will present a catalog of cello etudes/studies and repertoire, as well as discuss matters related to practicing and the student-teacher relationship.Similar to the art of music performance, the art of teaching requires dedicated study. The study of cello pedagogy is essential for building the next generation of successful cellists. This new teaching method adds to the research and development of instrumental pedagogy essential for the evolution of classical music.

[ES] Este trabajo final de carrera comprende el diseño de proyecto para la fabricación de un violonchelo acústico tradicional, con el uso de nuevas tecnologías y materiales detallando los procesos necesarios para comercializar el producto en el mercado. Desde su modelado por software CAD, la implementación de la fabricación aditiva y el uso de nuevos materiales, hasta su coste y posterior venta. Compaginando la tradicionalidad de este tipo de instrumento con la modernización de los procesos de fabricación y materiales., [EN] This final degree project includes the project design for the manufacture of a traditional acoustic cello, with the use of new technologies and materials detailing the processes necessary to put the product on the market. From it's CAD software modeling, the implementation of additive manufacturing and the use of new materials, to it's cost and subsequent sale. Combining the traditional nature of this type of instrument with the modernization of manufacturing processes and materials.

[ES] Este trabajo final de carrera comprende el diseño de proyecto para la fabricación de un violonchelo acústico tradicional, con el uso de nuevas tecnologías y materiales detallando los procesos necesarios para comercializar el producto en el mercado. Desde su modelado por software CAD, la implementación de la fabricación aditiva y el uso de nuevos materiales, hasta su coste y posterior venta. Compaginando la tradicionalidad de este tipo de instrumento con la modernización de los procesos de fabricación y materiales., [EN] This final degree project includes the project design for the manufacture of a traditional acoustic cello, with the use of new technologies and materials detailing the processes necessary to put the product on the market. From it's CAD software modeling, the implementation of additive manufacturing and the use of new materials, to it's cost and subsequent sale. Combining the traditional nature of this type of instrument with the modernization of manufacturing processes and materials.

[ES] Este trabajo final de carrera comprende el diseño de proyecto para la fabricación de un violonchelo acústico tradicional, con el uso de nuevas tecnologías y materiales detallando los procesos necesarios para comercializar el producto en el mercado. Desde su modelado por software CAD, la implementación de la fabricación aditiva y el uso de nuevos materiales, hasta su coste y posterior venta. Compaginando la tradicionalidad de este tipo de instrumento con la modernización de los procesos de fabricación y materiales., [EN] This final degree project includes the project design for the manufacture of a traditional acoustic cello, with the use of new technologies and materials detailing the processes necessary to put the product on the market. From it's CAD software modeling, the implementation of additive manufacturing and the use of new materials, to it's cost and subsequent sale. Combining the traditional nature of this type of instrument with the modernization of manufacturing processes and materials.

I detta arbete undersöktes hur den musikaliska formen i Sjostakovitjs första cellokonsert relaterar till formaspekter hos hans övriga solokonserter, detta mot bakgrund av traditionella historiska formprinciper som till exempel ritornell-, rondo- och sonatform. Med utgångspunkt endast i notmaterialet gjordes formanalyser av samtliga konserter, varefter dessa jämfördes och likheter och skillnader mellan den första cellokonserten å ena sidan, och övriga konserter å andra sidan, sammanställdes. På så sätt definierades i detalj verkets formmässiga ”profil”, och då detta gjordes i kontexten av mycket närbesläktad musik (i samma genre av samma kompositör), uppnåddes en nyanserad förståelse för cellokonsertens uppbyggnad och dess unika karaktärsdrag. Detta kan till åhöraren ge en konkret angreppspunkt för att ta till sig verket, till interpreten en överblick och kanske ett kreativt uppslag, och till kompositören en lärorik inblick i sin 1900-talskollegas ”modus operandi”., Examenskonsertens program:G. Frescobaldi/G. Cassadó - ToccataF. Chopin - Nocturne i Eb Op. 9 No. 2G. Fauré - PapillonW. Peterson-Berger - "Till Rosorna" (ur Frösöblomster)C. Davidoff - Am SpringbrunnenD. Sjostakovitj - Konsert nr. 1 för violoncell Op. 107Medverkande:Samuel Lazar Eriksson - VioloncellGeorg Öquist - Piano

Denne oppgaven utforsker forbedringspotensialet i musikknotasjonen til to samtidsmusikk komposisjoner. Oppgaven er vinklet gjennom en klassisk skolert cellist med erfaring innom samtidsmusikk. Cellisten observerer problemer som oppstår under innstuderingen og prøver å løse dem gjennom kunnskap fra design, notasjonspraktikk og perseptuell psykologi. Cellisten former en ny utgave av komposisjonene via dialog med komponistene. Til slutt drøfter cellisten hvilken forskjell endringene gjorde., This thesis explores the possibilities of improvement in the musical notation of two pieces of contemporary music. The work is viewed through a classical trained cellist with experience in contemporary music. The cellist examines the problems encountered during rehearsal of the compositions and tries to find the root of the problems through principles of design, notation and perceptual psychology. A new version of the score is formed through dialogs between the cellist and the composers. The cellist discusses in the end whether the changes had an effect or not.

Mitt arbete handlar om hur man kan optimera sina förberedelser inför en provspelning. Genom att använda en bättre struktur i vardagen och testa nya verktyg uppnådde jag en prestation och ett välbefinnande som jag var nöjd med. Förutom att förbereda min övning på mitt instrument, cello, utforskade jag hur mental träning kunde hjälpa mig att nå mina mål. Att göra en provspelning är för mig en stor anspänning. När jag ser tillbaka på mina tidigare förberedelser kan jag se ett mönster där jag under min förberedelsetid har mått väldigt dåligt. Till och med när resultatet har varit lyckat, har jag sällan varit nöjd med min prestation. Jag har alltid lagt mycket fokus på att förbättra mitt cellospel och inte jobbat så mycket med mitt mentala rum. Jag har hört goda ord om mental träning och i perioder har jag läst om det och provat övningar men aldrig gjort det fullt ut. I det här arbetet utmanade jag mig själv genom att testa olika verktyg så som att reflektera, justera tankesätt och att träna fysiskt för att nå fram till ett toppresultat i cellospel och samtidigt må bra., Masterkonsert 5 maj 2013:Zoltán Kodály (1882-1967) Sonat op.4 för cello och pianoAdagio di molto, Allegro con spiritoMaurice Ravel (1875-1937) Sonat för violin och celloAllegroTrés vifLentVif, avec entrainPAUSDmitri Shostakovich (1906-1975) Sonat för cello och piano op. 40Allegro non troppo, Allegro, Largo, AllegroMedverkande: Frida Bromander, cello, Thomas Rudberg, piano och Joel Nyman, violinÄven uppspel på Göteborgsoperan 11 mars 2020 (Christina Nilssons gata, 411 04 Göteborg) med följande stycken solo:A. Dvorak ́s cellokonsert i h-moll sats 1 takt 1- 267 (utan piano)Och orkesterutdrag:S. Prokofjev, Romeo och Julia,2 utdrag G. Verdi, RigolettoG. Bizet, CarmenW. A. Mozart, kvartett i D- dur kv 575, menuetto; trioB. Smetana, The bartered bride, overtureR. Wagner, Tristan und Isolde, 2 utdragR. Wagner, Das Rheingold, 2 utdragL. Bernstein, West side story; Balcony sceneG. Bizet, CarmenI. Stravinksy, The rite if springR. Strauss, RosenkavaljerenW.A. Mozart, Trollflöjten

This dissertation is directed towards cello pedagogues inside and outside the Suzuki community. It provides a deeper understanding of the origins and philosophy of the Suzuki method, an in-depth analysis of the musical works chosen for each of the Suzuki Cello Method books, and a discussion on the decision to include Suzuki editions of two standard cello concertos as part of the Method. In addition, the thesis covers some common criticisms towards the Suzuki Method.

The purpose of this document is to study prominent and influential literature on cello pedagogy and combine the most useful aspects of each method along with additional research and my personal experience to create a comprehensive new teaching method. Investigative research spans from the earliest cello treatises of the eighteenth century to publications from the last decade. The new teaching method includes the position of the body while holding the instrument, left hand fundamentals, bow arm fundamentals, intonation, shifting, bow strokes, vibrato, and musical expression for beginning to advanced cello technique with an emphasis on the vital beginning foundation. Additionally, I will present a catalog of cello etudes/studies and repertoire, as well as discuss matters related to practicing and the student-teacher relationship.Similar to the art of music performance, the art of teaching requires dedicated study. The study of cello pedagogy is essential for building the next generation of successful cellists. This new teaching method adds to the research and development of instrumental pedagogy essential for the evolution of classical music.

This dissertation is directed towards cello pedagogues inside and outside the Suzuki community. It provides a deeper understanding of the origins and philosophy of the Suzuki method, an in-depth analysis of the musical works chosen for each of the Suzuki Cello Method books, and a discussion on the decision to include Suzuki editions of two standard cello concertos as part of the Method. In addition, the thesis covers some common criticisms towards the Suzuki Method.

This dissertation is directed towards cello pedagogues inside and outside the Suzuki community. It provides a deeper understanding of the origins and philosophy of the Suzuki method, an in-depth analysis of the musical works chosen for each of the Suzuki Cello Method books, and a discussion on the decision to include Suzuki editions of two standard cello concertos as part of the Method. In addition, the thesis covers some common criticisms towards the Suzuki Method.