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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.

In this contribution, we investigate the transfer of embodied procedural knowledge in two cello master classes, zooming in on what we identify as speech-embedded nonverbal depictions — cases where meaning is communicated nonverbally, iconically, and without temporally co-occurring speech — an overlooked domain in the literature foregrounded by a critical reconceptualization of Clark's (2016) framework of depicting. Examining such depictions in the cello classes, the curious pattern of multimodal iteration emerges, where the "same" meaning is communicated multiple times, but in multiple different combinations of modality and signaling method, and with different aspects of the meaning profiled. A brief discussion of such cases in relation to dialogic syntax then underlines the relevance of semiotic properties and dialogic resonance, revealing the rich communicative affordances of multimodal iteration in contexts of instruction. [ABSTRACT FROM AUTHOR]

Through analysis of three of Schubert's expanded Type 1 sonatas – the Finales of the Piano Sonata, D. 960, the Cello Quintet, D. 956 and the 'Rosamunde' Quartet, D. 804 – this article brings to light a recapitulatory formal process that Schubert seems to have favoured for works in this form. The process is as follows: after the pieces under consideration are 'expanded' by interpolations of developmental material into their recapitulations, each of them then 'counteracts' the proportional imbalance that is wrought by these expansions by enacting a series of recapitulatory deletions. On my reading, these deletions of referential material are gestures towards symmetrical or proportional equilibrium; they seek to restore to the essentially two‐part form a rough balance of size between halves. The process is likened to the behaviour of a pendulum, which swings outwards as the initial developmental expansion distorts the ideal symmetry of the bi‐rotational structure. The pendulum then begins to swing inwards as the series of deletions pushes towards the restoration of the large‐scale proportional balance. An inverse example of the behaviour is shown to be present in the earlier Overture im italienischen Stil, D. 590. The pendular process is read as a specifically formal aspect of a Schubertian style characteristic that Michael Spitzer has recently referred to as his 'general sensibility to balance'. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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.

In the 1980s, after studying with Gilles Tremblay, Isabelle Panneton met the Belgian composer Philippe Boesmans when he visited Montreal. Impressed by his music, she travelled to Belgium to study composition with him between 1984-1987. This period was decisive for her, opening the door for her musical personality. As a prelude to an analysis of Panneton's trio Les îles, scored for violin, cello and piano, this text recounts the significant moments in Isabelle Panneton's years studying with the Belgian composer and sheds light on the ties that unite them. [ABSTRACT FROM AUTHOR]

• Dendrochronology of Portuguese violins and cellos reinforce the historical records. • Imported wood was used by luthiers in Portuguese workshops in XVII–XIX centuries. • Attributions to makers was confirmed by dendrochronology for most instruments. • For two violins a reassignment of the attribution should be considered. This first dendrochronological study of 13 violins and cellos from Portuguese workshops of the XVIII and XIX centuries aims at a deeper knowledge of dates and origin of the top woods used to build the instruments, as well as adding to the understanding of specific assembly techniques. A similar study was also made on 10 violins and cellos of foreign manufacture from the XVII and XVIII centuries, which are currently in Portugal, showing the scientific potential as well as limitations of the dendrochronological approach. The best chronological references which were applied to date the musical instruments manufactured in Portugal came from the Alpine regions of Switzerland, Germany, Austria and Italy, but the identification of specific wood sources was not possible. The only known musical instrument in Portugal attributed to Antonio Stradivari (cello Chevillard) belongs to the collection of the National Museum of Music (Lisbon). The growth patterns on two pieces which compose the belly were compared with those of five other instruments made by the same luthier and was allowed to conclude that the wood came from the same region and, in one specific case, from the same tree. The terminum post quem obtained by the dendrochronological dating allowed the confirmation of attribution to a maker for most of the instruments but for two violins the attributions proved erroneous making the case for a reassignment of the two instruments. Dendrochronology led us to the conclusion that the Portuguese musical instruments can be seen as a physical proof of the historical records which document Portuguese maritime wood trade with Europe, mainly with Italy. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the most important composers of the 20th century Dmitri Shostakovich composed mainly instrumental music. Cello was Shostakovich's favourite musical instrument; the composer exploited its technical and expressive possibilities in numerous creations including a sonata and two concertos. The peculiarities of the usage of the cello in works for chamber ensembles deserve also researchers' attention: in these compositions, the role of the cello is also prominent and represents the exclusive position of this instrument in Shostakovich's creations. The present paper deals with the peculiarities of the cello parts in the string quartets by Shostakovich. The quartets Nos. 1, 3, 8 and 14 have been chosen for the analysis. [ABSTRACT FROM AUTHOR]

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.

Johann Philipp Bach (1752-1846), the last surviving musician in the Bach family, was organist and painter at the court in Meiningen, where his grandfather, Johann Ludwig, had served as Kapellmeister. A manuscript containing a set of variations for cello and harpsichord, acquired by the Riemenschneider Bach Institute (RBI) in 2016, apparently preserves Johann Philipp's only known composition. Based on comparison of the script used in this source--for the title, tempo and expression markings, and attribution ("J. P.Bach")--with samples of Johann Philipp's handwriting in other documents, it is evident that the RBI score is not an autograph. The anonymous copyist, however, clearly thought that this piece was composed by Johann Philipp. The manuscript's physical appearance, including its watermark, suggests that it originated in England around 1800. Other features that link the manuscript to Britain include anglicization of the Italian word "Scozzese" in the title, use of the French word "Clavecin" to designate the harpsichord part, and use of a traditional Scottish tune as its theme. The piece is similar to sets of keyboard variations by Thomas Hamly Butler and John Ross, both of whom worked in Scotland, and it also bears comparison with Johann Sebastian Bach's Goldberg Variations. It has not yet been possible to verify claims that Johann Philipp visited London in the 1790s. But a considerable body of evidence demonstrates the importance of the cello in the musical life of Meiningen. This includes the fact that one of the reigning dukes, Karl Wilhelm, was a cellist. The cello virtuoso Johann Jacob Kriegk, a near contemporary of Johann Philipp, served as chamber musician and concertmaster in Meiningen. There may be a connection between the last movement of Kriegk's Cello Sonata in D Major, an "Arioso con Variazioni," and the Aria Scotese con Variazzione. Based on the evidence available at present, it cannot be demonstrated beyond the shadow of a doubt that this piece was composed by Johann Philipp Bach. Despite the remaining questions, however, attempting to explain away its clear and unambiguous attribution seems more problematic than accepting the prospect that it might well be the swan song of the musical Bach family. [ABSTRACT FROM AUTHOR]

Touch is two-sided: the body at once affects the physical world and is affected by the physical world. The students' mimeses of Peled's gestures move them with him through the multiple realities that constitute the ambient environments to which all their bodies ongoingly attune. Peled's movements affect his students' bodies. In the course of imitating Peled's explicit analogic gestures, his students may find themselves attuned to his implicit intracorporeal affects at "the visceral level of affect contagion" (Gibbs [2], 186). [Extracted from the article]

In 2019 we celebrated the 150th anniversary of the death of Transylvanian composer, Georg Ruzitska. Living a long 83 years, he experienced the transition from the Classial to Romantic eras. This period's myriad historic and artistic developments influenced Ruzitska's music, inspiring the migrant composer's composition of the Introduction et variations brillantes sur un tême hongrois op. 14. The work is one of Ruzitska's four unedited, unpublished cello pieces that lay in the form manuscript on the shelves of the Széchenyi Library in Budapest. This interesting musical piece is written for cello and piano in the form of theme and variations and represents many elements of the "verbunkos" style, the contemporary national Hungarian musical idiom. This paper seeks to provide a detailed description of the work, with an emphasis on highlighting the above-mentioned stylistic elements. [ABSTRACT FROM AUTHOR]

1972: Charlotte Moorman walked onto a concert hall stage – nude – and played a cello made of ice until it melted. 2001: Joan Jeanrenaud re-staged Moorman's piece wearing a wetsuit and brandishing a pitchfork. 2017: Seth Parker Woods performed a 'protest' version on an obsidian-coloured ice instrument. In this article, I argue that Ice(d) Music/Cello/Bodies has become a musico-political palimpsest, a measure of the way Moorman and her art have been recuperated through performative historiography. Through a reconstruction of the historical circumstances under which Moorman, Jeanrenaud, and Parker Woods realized their performances, I show how contemporary discourses of gender and race are materialized through the physical and metaphorical resonances of human bodies in proximity to an unusual musical instrument. I explore the 'palimpsest' both as a theoretical lens that insists on texts as simultaneously overwritable and recoverable and as a methodology providing an analytic framework for broader study of avant-garde re-enactment. [ABSTRACT FROM AUTHOR]

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)