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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.

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music 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.)

The original performing part for Johann Sebastian Bach's cantata In allen meinen Taten BWV 97 headed "Continuo: pro Bassono e Violoncello" has long been interpreted as intended for two players simultaneously. This has suggested that the continuo complement for this work included both cello and bassoon in addition to organ and violone, and (more broadly) that sometimes a bassoonist participated in cantata performances while sharing a part labeled for another bass instrument. This appears to be a misreading. The appearance of two musical lines in some passages in the first movement does not mean that the part was intended for two instrumentalists. Rather, this unusual notation was the result of a confused copying process that Bach himself corrected in a way that left the part open to modern misinterpretation. have been to prepare a distinct Bach's regular practice appears to bassoon part when he wanted to add that instrument to a work's ensemble, and to all evidence he expected each performing part to be used by one performer, except in a very few special circumstances. The best explanation in In allen meinen Taten is that the "Bassono e Violoncello" part was designed for a musician who played bassoon in the first movement (an ouverture with characteristic wind trio pas- sages) and cello in the rest of the cantata. Two other bassoon/cello parts survive among Bach's original materials; these may well have been used in the same way. It is also possible that several other original cantata parts labeled for bassoon may have been intended for that instrument in the first movement only, and for cello in the remainder. [ABSTRACT FROM AUTHOR]

The cycle "The sound image of the instrument in the 20th century" article highlights the sound image of the cello as one of the wealthiest musical instruments in terms of its possibilities in the context of its interpretation as an artistic gesture - a mark aimed at the effect of a socio-cultural act of form and content. (from the cycle "The sound image of the instrument in the 20th century") The outstanding role of suites for solo cello by I. S. Bach, who first revealed the instrument's possibilities and demonstrated its cantilene, virtuosic, and polyphonic capabilities, is pointed out. An example of a bright socio-cultural gesture is the creation of the Musical Garden in Canada, parts of which are associated with Bach's cello suites. Examples of an individual approach to the sound of the cello and the creation of a particular extraordinary soundscape in the works of composers of the 20th century, M. Skoryk, J. Kram, M. Feldman, and H. Lachenman, are given. As an example of an original interpretation of the cello, the Cello Concerto No. 1 by Myroslav Skoryk is indicated, in which the cello is interpreted as the voice of a lyrical hero, and its dialogue with the orchestra is very diverse, which creates an exciting intrigue of the musical action. Gyorgy Ligeti can be considered a master of gesture: after graduating from the F. Liszt Academy of Music in Budapest, the author created the piece Dialogo for solo cello. In 1953, the composer made the second part of this work for the cellist Vera Denesh, which led to the design of the sonata for the cello. Ligety claimed that this is a dialogue between a woman and a man. In work «Cello and Orchestra (1972) by Morton Feldman, the author gives the cello overexpression against the background of the loud sound of the orchestra, which is on the border with alarming noise and declares complete submission to the sound of his own ideas. Helmut Lachenmann interprets the instruments as "geographical" objects: yes, the strings have "poles", the role of which is played by the stand and pegs, the strings are given the role of «meridians», and the bow is a "parallel". It is indicated that the cello, like the entire body of musical instruments, received so-called "advanced techniques" that enriched its sound and became the basis for performing various roles in solo and ensemble performances. The article presents the images of the cello in other forms of art, which proves the concrete-historical context of its perception and poetization in the art of different eras. [ABSTRACT FROM AUTHOR]

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]

This article discusses the Bärenreiter Urtext edition of Beethoven's Trio in B-flat major for Pianoforte, Violin, and Violoncello, also known as the "Archduke" trio. The Urtext edition, edited by Jonathan Del Mar, aims to provide an authentic and unmediated access to Beethoven's original text. Del Mar compares various sources and versions of the trio to determine Beethoven's original instructions and distinguish them from later additions or changes made by others. The article highlights the importance of understanding the historical context and collaborative nature of music production in order to interpret and perform Beethoven's music accurately. The Bärenreiter Urtext edition is praised for its accessibility, high-quality textual-critical work, and affordable price. [Extracted from the article]

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences 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.)

As a composer-performer, Cat Hope has collaborated with Éliane Radigue in the creation of three new works: 2015's OCCAM HEXA II, co-composed with Carol Robinson and commissioned by Decibel new music ensemble, 2018's OCCAM XXIV for solo alto flute, and 2019's OCCAM RIVER XXIV for flute and cello. In this article, Hope traces the genesis of these works and her experience bringing these compositions to life via a shared composer-performers' circle: friendship networks and ways of being together that Hope argues are key to the success of Radigue's acoustic work. Drawing from meetings, discussions, and workshop sessions with Radigue, the experience of the evolving performance process and consultations with other Radigue performers, Hope outlines her perspective on how these works come together, link to each other, and contribute to the broader community of composer-performers. [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]

This article analyzes the Adagio opening movement of Fanny Hensel's sole string quartet by reading the ways in which it dialogues with several genres: the increasingly independent early nineteenth-century slow introduction; the slow first movement; eighteenth- and early nineteenth-century sonata form; and the fantasia. I build this generic context by considering the historical development of the slow introduction and drawing attention to such overlapping identities in two cello sonata movements by Ludwig van Beethoven and in Hensel's Sonata o Fantasia in G minor for Piano and Cello (1829). [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]

His writings have always contained musical metaphors, his poetry is full of the rhythms, voicings and percussivity of the various musics that he has encountered, and he has been deeply interested in the atonal and the microtonal, in his own words, "rhymeless and rhythmskewed". Keywords: Music; politics; sociology; poetry EN Music politics sociology poetry 325 330 6 10/04/23 20230701 NES 230701 Imagine me sitting in my room. Music, politics, sociology, poetry In other words, the cello is a fabulous metaphor for the many ways in which Ari engages with music, through his academic work, his poetry and fiction and also as poetry-music collaborations with several people over the years. [Extracted from the article]

The development of musical talent can be possible with the mentoring of scientists in the field of musical talent. Academics in the field of music have tested the effectiveness of examples, and their analyzes can make important contributions to the development of musical talent. This research has a qualitative character since it was conducted with a document analysis technique based on experience and observation, and it is an examination of the researcher's selection of materials to be used in music teaching, the reasons for this, and analysis. This study provides fifteen chamber works including string duos, trios, quartets, quintets, and sextets suitable for the undergraduate students. The aim of this study is during undergraduate education, the technical development of the student is prioritized in instrumental studies. Secondly, solo repertoire decision is made by teachers for the young student to expand their repertoire. Chamber music education is neglected in comparison to solo repertoire and technical repertoire. Playing together with other students is a very helpful to hear and play simultaneously. Therefore, this list will help students to analyze their chamber music repertoire and understand the technical difficulties as well as publisher info, timing etc. [ABSTRACT FROM AUTHOR]

The aim of the paper is to present the structure of the mechanism that excites the cello strings to vibrate, used in vibroacoustic research of the impact of the endpin material on the cello sound. The construction of the device is inspired by the hurdy-gurdy mechanism. In the acoustic study of string instruments, it is hard to take into account the human factor during the generation of sound. When playing an instrument, there is difficulty in obtaining repeatability of the generated sound, especially with a large number of repetitions. The presented device is particularly useful during vibroacoustic tests of bowed string instruments. It enables the generation of continuous sound and ensures the repeatability of excitation. In addition to the description of the construction of the mechanism, vibroacoustic tests related to the determination of the influence of the cello endpin material on its timbre were also presented. The impact of the endpin material on the cello sound was determined based on measurements as well as subjective impressions of the musicians. [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.

Copyright of Human Review is the property of Eagora Science 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.)

The Museo Storico Musicale of the San Pietro a Majella Conservatory of Music in Naples owns a collection of over 200 musical instruments of considerable historical importance. Within the collection, 30 bowed and plucked instruments representative of the Neapolitan violin‐making tradition were analysed dendrochronologically to date them, estimate the provenance of the wood and investigate the instruments' construction characteristics. The values of the statistical cross‐dating tests were generally high and allowed 26 instruments to be dated. In all but one case, the dates were consistent with those of the catalogue. From the perspective of wood selection, we noted an unusual use of very old spruce wood, well beyond simple seasoning. The construction technique of the soundboard and other characteristics show good similarities with instruments analysed in other Italian collections. Thus, even in Neapolitan instruments, the growth rings are smaller in small instruments and larger in cellos or double basses. In conclusion, the Neapolitan violin‐making school has shown great care in the choice of wood, most coming from regions as far away as Germany or Switzerland, thus confirming the existence of an active large‐scale trade in wood for the production of musical instruments. [ABSTRACT FROM AUTHOR]

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]