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This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library.

This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library with Bent Frequency and Jan Berry Baker.

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.

This study investigates the influence of string properties on bowed string attack playability. To assess the attack playability of different string types, a variety of bow forces and bow accelerations were chosen to excite the strings and measure the transient response under different bowing control parameters. The experimentally obtained playability maps of transient duration as function of bow force and acceleration (Guettler diagram) were obtained with a robotic bowing machine, from four different types of cello G2 strings. Results indicate variations in playability across string types, suggesting that string properties impact attack duration. [ABSTRACT FROM AUTHOR]

The focus of this article is the actualization of the cello in the rock music of the 20th century and further performance modifications associated with this instrument in the 21st century. The article examines changes in the design features of the instrument itself (electric cello), the birth of cello rock (Electric Light Orchestra) and the cello boom in rock music in the 1990s-2000s (Apocalyptica and other bands), and from this perspective, it touches upon some aspects of creative work and features of the performing manner of some rock group musicians. Particular attention is paid to the creative activity of the Balkan duo 2CELLOS. Having done a detailed historical and cultural review of this musical phenomenon, the author draws a conclusion about the organic inclusion of cello rock in the musical culture of the 20th — 21st centuries.

This article proposes to reveal a connection between José Siqueira and the Russian cellist Mstislav Rostropovich through musical elements present in the II Sonata for Cello and Piano (1972). We’ve explored the cello literature from that period, as well as elements that came to influence Siqueira in his compositional process. Based on Siqueira (1981), Aquino (2006), Santos (2016), and Silva (2023), we suggest the presence of sonorities that are similar to musical gestures from Britten’s First and Third Solo Suites — Siqueira’s contemporary and Rostropovich’s personal friend. Through a comparative study of excerpts, it is possible to perceive important compositional traits in Siqueira’s output, in addition to those from the cultural manifestations of the music of the Brazilian Northeast, as a dualism between regionalism and elements from the European concert music. Thus, we present a more comprehensive perspective of Siqueira’s compositional style, denoting that the connection between Siqueira and Rostropovich goes beyond a dedicatory. [ABSTRACT FROM AUTHOR]

Based on interviews with fourteen Finnish women classical music students and graduates from Finnish higher music education institutions, this article sheds light on the under-researched subject of emotional abuse in classical music education. Emotional abuse is defined as patterned deliberate non-contact behavior, such as verbal abuse and emotional neglect (Stirling and Kerr 2008). In this research, such behavior included maleficent and/or demeaning comments; unwarranted anger; humiliation; harmful comparison; denial of approval, attention, or support; and intentionally setting up a student for failure. First, I ask in what ways beliefs and values specific to classical music culture partly allow for emotional abuse. Second, I explore how the understandings and theories of Gatens (1996/2003) and Tännsjö (2000) can be applied to explain how beliefs, representations, images, symbols, and narratives specific to classical music culture allow for the prevalence of emotional abuse by impacting norms of behavior that may leave individuals prone to both participating in and accepting emotionally abusive behavior. [ABSTRACT FROM AUTHOR]

Audio auto-tagging is the process of assigning labels to audio clips for better categorization and management of audio file databases. With the advent of advanced artificial intelligence technologies, there has been increasing interest in directly using raw audio data as input for deep learning models in order to perform tagging and eliminate the need for preprocessing. Unfortunately, most current studies of audio auto-tagging cannot effectively reflect the semantic relationships between tags—for instance, the connection between "classical music" and "cello". In this paper, we propose a novel method that can enhance audio auto-tagging performance via joint embedding. Our model has been carefully designed and architected to recognize the semantic information within the tag domains. In our experiments using the MagnaTagATune (MTAT) dataset, which has high inter-tag correlations, and the Speech Commands dataset, which has no inter-tag correlations, we showed that our approach improves the performance of existing models when there are strong inter-tag correlations. [ABSTRACT FROM AUTHOR]

El movimiento y la emoción son términos que guardan una profunda relación desde el punto de vista musical. El intérprete necesita del movimiento de su cuerpo para producir el sonido con su instrumento y además el gesto indica las intenciones que quiere transmitir el intérprete. Algunas piezas musicales tienen como finalidad transmitir un mensaje que influya en las emociones del oyente. La obra Suite of Movements (2017) para violoncelo solo de Castilla-Ávila se aleja de la suite tradicional y trata de expandir las posibilidades sonoras del instrumento. La obra reflexiona en torno a la relación del movimiento y la música a través de la improvisación, el intercambio de técnicas instrumentales y la búsqueda de nuevos recursos sonoros.

In instruments of the violin family, the bridge is the part in charge of transferring the vibrational energy of the strings into the body and therefore contributes greatly to the sound of the instrument. The bridge needs to be light enough to efficiently transmit the strings' movement yet rigid enough to support the static load of the strings. Historically, there have been several attempts at solving this problem with different designs, arriving in the early 1800s at the two current models: the French and the Belgian. Recently, in Cremona, Italy, the Amorim family of luthiers has developed a new cello bridge design. Inspired by their work, we study the influence of the shape of the legs of the cello bridge on its static and vibrational behavior through parametric modeling and simulations using the Finite Element Method. In particular, we perform displacement and modal analysis for different boundary conditions, providing in addition a detailed description of the mode shapes. We also compute and compare Frequency Response Functions for the different geometries. Our results show that shape can indeed be used to control the vibrational and static responses of the cello and consequently tune its sound. [ABSTRACT FROM AUTHOR]

This paper aims to study the work "Mutationen II für Cello und Tonband," written by Claudio Santoro, translating, and understanding the instructions in the cello part and in the tape. Regarding the recording of the media, the work deals with up-todate technological tools, such as studio recording and the use of audio programs, because tape recorders suggested by Claudio Santoro in the 1960s are no longer available. As the main results of the research, we can point out the recording of the piece and score editing in Portuguese, since the only edition previously available was a manuscript with most of the instructions in German. This research supports cellists interested in the study and performance of the piece, helping this way to spread knowledge about the work, which is one of the first pieces for cello and electroacoustics in the international repertoire. [ABSTRACT FROM AUTHOR]

Three tree ring sequences were collected on the soundboard of the Stradivari harp. Due to the presence of the strings in the centre of the harp soundboard, the sampling of the tree ring widths was focused separately on the right side (RX), the central (CX) and the left side (LX). Tree ring measurements were carried out by using the Video Time Table (VTT), an instrument that combines a portable measuring device and a digital, high-resolution video camera. The VTT allowed non-invasive measurements of the tree rings to be made in situ and to immediately verify the quality of the sampling. The growth rings of the central portion were sampled using a high-resolution camera, which made it possible to bypass the barrier formed by the neck and strings. The consequent parallax and focus problems were overcome by taking many photographs from different angles. The measurements on the photographs were made with the CooRecorder program. The dendrochronological data were acquired with the PAST4 program and graphically processed and analysed with the PAST4 and 5 programs.

The movement and the emotion are concepts that are closely related to the musical perspective. The musician needs the movement of his body in order to produce the sound with the instrument, besides the gesture can help understand the intention of the player. Some musical pieces have the aim to transmit a message, which has an influence on the emotions of the listener. The piece Suite of Movements (2017) for cello solo written by CastillaÁvila goes beyond the traditional Baroque suite and expands the sounds of cello. The piece reflects upon the relation between the movement and music, through the improvisation, the instrumental techniques' interchange and search for new ways of producing sound. [ABSTRACT FROM AUTHOR]

Bu araştırmada halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılmış olan ve viyolonsel eğitimine katkı sağlayan lisansüstü tezler incelenerek içerik bakımından sınıflandırılmıştır. Bu araştırma halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılmış lisansüstü tezlerin alt problemler ışığında içeriğinin incelenip sınıflandırılması amacıyla yapılmıştır. Bu amaç bağlamında, tezlerin tek bir araştırma çatısı altında toplanması, başka araştırmacılara yardımcı bir kaynak oluşturması ve bu konuda başka yapılacak çalışmalara ışık tutması bakımından büyük önem taşımaktadır. Bu araştırma, nitel veri toplama yöntemlerinin kullanıldığı betimsel bir araştırmadır. Araştırmanın deseni ise durum çalışmasıdır. YÖK Tez’de viyolonsel veya çello anahtar kelimeleri ile aratıldığında 204 adet teze ulaşılmıştır. Bu 204 tez araştırmanın evrenini oluştururken, bu tezlerden halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılmış olan 5 tez de örneklem grubunu oluşturmaktadır. Bu 5 tezden elde edilen veriler doküman analizi tekniği ile incelenmiştir. Araştırmanın sonucunda halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılan çalışmaların hepsinin eğitim bilimleri enstitüleri ve müzik eğitimi anabilim dallarında yapıldığı, bu doğrultuda tezlerin yapılma amacının öncelikli viyolonsel eğitimi olduğu anlaşılmıştır. Bir tez hariç aktarımı yapılan türkülerdeki koma seslerin sadeleştirilerek tampere ses sistemine uygun düzenlendiği ve daha parlak duyum-tını için genellikle eserlerin karar seslerinin değiştirildiği sonucu ortaya çıkmıştır.

Zoltán Gárdonyi (1906-1986) composed his work entitled Három Nagyheti Kép (Three Holy Week Events) in 1966. At that time, he was a professor at the Liszt Ferenc Academy of Music, in Budapest. He composed the work for organ and a string ensemble (1st violin, 2nd violin, viola, cello, double bass). The work has three movements, as the title Három Nagyheti Kép (Three Holy Week Events) suggests.4 This paper analyses the work in question in detail, from a harmonic and formal point of view. [ABSTRACT FROM AUTHOR]

Few musicians of the twentieth century are as recognisable as Jacqueline du Pré. Her dazzling and distinctive talent, said to have enraptured audiences the world over, was overcome by a tragic diagnosis of MS. This sense of tragedy was all the more heightened by Du Pré’s famed physicality on the stage, leading critics to use all manner of analogies in describing her playing as a physical (and even sexual) experience. Her status as a musical celebrity, further intensified as she became one half of a classical music power couple, has led to numerous dramatic retellings and reimaginings of her biography, played out in film and TV, and now on stage. The most recent example of this fascination with Du Pré is the ballet The Cellist, Cathy Marston’s new work for the Royal Ballet, premiered in February 2020 to much critical acclaim. Its score, composed by Philip Feeney, features a cello soloist and interweaved repertoire extracts that have become so associated with Du Pré. Along with the characters of Barenboim, Du Pré, and her family, her 1673 Stradivarius cello is given a starring role in the form of Marcelino Sambé, a new take that makes this a distinctive contribution to media representations of Du Pré. This article examines the interactions across this complex web of musical representations of musical personae engrained in the cultural consciousness. It considers acts of musical performance, the musical instrument as living companion, and the representation of classical musical culture of the 1960s and 1970s, drawing attention to key features of Du Pré’s narrative re-presented in a new artistic form.

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Michael Praetorius’s De organographia and Theatrum instrumentorum provide valuable clues that contribute to a new understanding of the violin family c. 1619, many surviving examples of which are reduced in size from their sixteenth- and seventeenth-century dimensions. The record of surviving instruments – especially those of the Amati family – alongside metrologic, documentary and iconographic evidence shows that Michael Praetorius describes a large instrument conforming remarkably well to the original dimensions of the basso da braccio (violoncello), as well as furnishing an excellent scale representation of the violin family as it was at the time of these works’ publication and an accurate tuning scheme.

In the twentieth century, time became a key-concept for music – maybe the art more dependent on time. Even so, a myriad of definitions did turn this idea not only into a rich element for musical discourse but also into a conceptual battlefield in discourses about music. Unfortunately, there was an issue for this struggle between theoretical ideas and musical composition that always insisted in striking the debate: the performance. Thus, this is the aim of this short reflection: to bring performers as protagonists in the debate, listening to their experience in time and of time in performance. For this, the Augustinian link between Time and Memory is taken as a bottom line for the discussion. In understanding music as a kind of discourse, another important conceptual device will be claimed for this reflection, that is Rhetoric. The first part of this reflection recollects concepts from the Aristotelian and Augustinian approaches on time and discourse, and concludes with a review of the main definitions of time by composers in the twentieth century. The second part reviews three theoretical approaches of musical form as process. A third section comprises the embodiment of those discussions into practice in the Cello Sonata, written by Bernd Alois Zimmermann.

This paper examines the evolution of the signature traits of Borys Liatoshynsky’s instrumental chamber music during the 1910s and 1920s in the context of the overall evolution of the composer’s expressive means. Also presented is the complex analysis of Liatoshynsky’s creative personality in his early (the 1910s) and modernist (1920s) periods in order to outline the impact of the cultural and historical environment the artist lived in during the late 1910s, as well as the influence of the troubled sociocultural situation of the time on his imagery. It was found that in the 1910s Liatoshynsky turned to modifying expressive means of late Romanticism; however, during the 1920s the palette of his instrumental chamber music shifted to symphonic experiments. For Liatoshynsky, instrumental chamber music becomes a testing ground for his creed as a symphonic composer with the respective imagery and existential drama behind his design. [ABSTRACT FROM AUTHOR]

CELLO is derived from Community English Language Learning and Orai. It is a new teaching method developed especially in the community of English language learning based on the idea of Curran’s work on teaching method. CELLO is a combination between an innovative teaching method and media technology called Orai Application that is applied in teaching and learning of speaking especially in fostering students’ fluency. Today, all graduates face a world transformed by technology, in which the Internet, cloud computing, and social media create different opportunities and challenges for formal education systems. This paper aims to explore the use of CELLO in assisting student’s speaking fluency. This classroom action research consists of three cycles in which each cycle consists of six stages, namely identify the problem, data gathering, data interpreting, action on evidence, evaluation, and revision. The obtained data showed that CELLO method could improve students’ speaking fluency. Based on the finding, implementing CELLO method is strongly recommended in teaching speaking especially at fostering students’ speaking fluency.

This research is a qualitative study aiming to reveal teaching methods for Turkish Music in cello education at music teacher training departments of universities in Turkey and to assess the process from the perspectives of academicians working at such departments. This is a descriptive study in which literature review and interview methods were used. The interview form, developed as a data collection tool in the study, was given its final form in line with expert opinions. As a result of content analysis performed in this study, it was revealed that Turkish Music education is taught only if the teacher has an interest in the field or if they deem it necessary; that the course content only includes adaptations or arrangements transcribed into tempered system, and that usul structures were the most challenging subject for students in Turkish Music performance. The reasons for not including Turkish Music in curricula of cello education at teacher training institutions were seen to include lack of resources, qualification of the trainers, not familiar with Turkish Music, methodology, the opinion that tonal and microtonal music education cannot be both included in the same curriculum, students’ lack of theoretical background to learn Turkish Music.

Интерес к эстетике языческих традиций, как важной составляющей многонационального фольклора народов Урала, характерен для творчества уральского композитора М. А. Кесаревой. Многолетняя работа по изучению, собиранию и сохранению уральского фольклора являлась одной из магистральных линий профессиональной деятельности М. А. Кесаревой. Внимание композитора привлекала не только региональная культура народов Урала, но также восточная и средневековая поэзия, индийские медитативные практики, эстетика буддизма, якутские языческие ритуалы. Наиболее притягательным для творчества уральского автора стало постижение древнейших традиционных языческих отношений человека с природой. Художественное воплощение в музыке М. А. Кесаревой находят образы народных обрядов, заговоров, заклинаний, оберегов. Одним из примеров является «Камлание» для виолончели и фортепиано, в котором представлен древнейший пласт духовной культуры народа - языческий шаманский ритуал. Обращение к исследовательским работам О. В. Шуликовой, Г. Б. Сыченко, Е. С. Новик способствовало изучению шаманского ритуала камлания и его особенностей. Кроме того, опираясь на сформированный Л. С. Дьячковой способ воплощения обрядового действа в музыке И. Стравинского, стало возможным проанализировать специфику музыкальной трактовки М. А. Кесаревой одной из форм этнической религии. В ходе исследования были сопоставлены: схема самого обряда и художественное осмысление ритуала композитором. В результате были выявлены особенности претворения священного мифического действа в камерно-инструментальной музыке.

An illustrated dictionary of names, places, and terms pertinent to the life and art of Luigi Boccherini (1743-1805), containing some 400 entries and accompanied by a short biographical sketch of the composer. It also includes a comprehensive Bibliography and an up-to-date CD Discography.

Increasing demand for resonance spruce has led to gradual depletion of resources in traditional areas. Consequently, to meet the need for raw material to manufacture musical instruments, sorting has become the key operation of exploitation. This study was completed on the largest Romanian resonance wood resource, to maximize outputs of flitches for violin, cello, and double bass instruments by optimizing traditional requirements regarding quality of raw material with its current level. Ten resonance spruces were felled and gradually turned into semi-manufactured musical instruments. The material was analysed for defects in all stages of conversion. The frequency of zero defective samples was 60%. Evolution of defects along the trees indicated the tree section from 1 m to 12 m above the ground for musical instruments manufacturing. Output in terms of flitches ranged from one tree to another: between 19 and 32% if calculated from logs volume, and between 13 and 30% if calculated from volume of the standing trees. The results advocated for relaxing traditional requirements on resonance logs, at least regarding buttress and knottiness. Thus, recommendations are made, from the perspective of increasing efficiency, on the admissibility of defects and size diversification of musical instruments. [ABSTRACT FROM AUTHOR]