Matching Items (15)
Filtering by
- All Subjects: Chamber music
- All Subjects: transcription
ContributorsYu, Wan-Ting (Performer) / Zhao, Wan (Performer) / Farabee, Carly (Performer) / Cancela, Paula Lastra (Performer) / Rotaru, Catalin (Performer) / ASU Library. Music Library (Publisher)
Created2022-03-20
ContributorsJiang, Danwen (Performer) / McLin, Katherine (Performer) / Swartz, Jonathan (Performer) / Buck, Nancy (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2006-03-26
ContributorsSchuring, Martin (Performer) / Flickinger, Nikolaus (Performer) / Spring, Robert (Performer) / Montilla, Jorge (Performer) / Quamo, Jeff (Performer) / Brown, Sarah (Performer) / Lyman, Jeffrey (Performer) / Veloz, John (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / Nelson, Adam A. (Performer) / Bailey, Sally (Performer) / Camacho, Gustavo (Musician) (Performer) / Rotaru, Catalin (Performer) / Bailey, Wayne (Conductor) / ASU Library. Music Library (Publisher)
Created2006-01-27
ContributorsSchildkret, David (Conductor, Narrator) / Ryan, Russell (Performer) / Spring, Robert (Performer) / Campbell, Andrew (Pianist) (Performer) / Buck, Elizabeth (Performer) / Smith, J. B., 1957- (Performer) / Rotaru, Catalin (Performer) / Fincher, Aimee (Performer) / Tetra String Quartet (Performer) / ASU Library. Music Library (Publisher)
Created2014-04-28
ContributorsMines, Kelsey (Performer) / Williams, Matt (Performer) / Hedquist, Ben (Performer) / Pettit, Joey (Performer) / Menefee, Thomas (Performer) / Rotaru, Catalin (Performer) / Lemmelin, Olivia (Performer) / Gebe, Vladimir, 1987- (Performer) / Bingham, Joey (Performer) / Duke, Alex (Performer) / ASU Library. Music Library (Publisher)
Created2016-03-27
ContributorsSpring, Robert (Performer) / Hamilton, Robert, 1937- (Performer) / Hur, Jiyoun (Performer) / Schuring, Martin (Performer) / Micklich, Albie (Performer) / Gardner, Joshua (Performer) / Creviston, Christopher (Performer) / Rotaru, Catalin (Performer) / Smith, J. B., 1957- (Performer) / Alpizar, Mark (Conductor) / ASU Library. Music Library (Publisher)
Created2017-09-17
ContributorsSpring, Robert (Performer) / Campbell, Andrew (Pianist) (Performer) / Sellheim, Eckart (Performer) / McLin, Katherine (Performer) / Landschoot, Thomas (Performer) / Rotaru, Catalin (Performer) / Schuring, Martin (Performer) / Montilla, Jorge (Performer) / Micklich, Albie (Performer) / ASU Library. Music Library (Publisher)
Created2006-09-10
ContributorsUlianitsky, Ilia (Performer) / Sidi, Or (Performer) / Heaton, Dallas (Performer) / Rotaru, Catalin (Performer) / Chen, Chia-I (Performer) / Policar, Rachel (Performer) / Meir, Baruch (Performer) / Schildkret, David (Speaker) / ASU Library. Music Library (Publisher)
Created2009-02-05
Description
The study and performance of J.S. Bach’s music has long been essential for every string musician. A transcription of the Flute Partita in A minor, BWV 1013, is an excellent addition to the double bass repertoire. This paper includes a performance guide that discusses the technical and musical considerations of each movement, and a new transcription for double bass.
Chapter 1 introduces the goals of the paper. Chapter 2 is an overview of the transcription that covers the reasoning behind the bowings, fingerings, note alterations, ornamentation, articulation, and interpretation included in the transcription. Chapters 3 through 6 discuss these technical and musical elements in the context of each movement of the Partita. There are two other transcriptions of this piece for double bass, both of which take a different approach to transcribing the music of Bach.
The transcription includes two different versions of the Partita: a version with bowings and note alterations, and a second version that also includes fingering suggestions. The bowings are based on Bach’s manuscript of the Violin Partitas in order to accurately recreate bowings that Bach would have written. The suggested fingerings serve as guidance for bassists who study this piece and are included separately to acknowledge that there are other fingering possibilities.
Chapter 1 introduces the goals of the paper. Chapter 2 is an overview of the transcription that covers the reasoning behind the bowings, fingerings, note alterations, ornamentation, articulation, and interpretation included in the transcription. Chapters 3 through 6 discuss these technical and musical elements in the context of each movement of the Partita. There are two other transcriptions of this piece for double bass, both of which take a different approach to transcribing the music of Bach.
The transcription includes two different versions of the Partita: a version with bowings and note alterations, and a second version that also includes fingering suggestions. The bowings are based on Bach’s manuscript of the Violin Partitas in order to accurately recreate bowings that Bach would have written. The suggested fingerings serve as guidance for bassists who study this piece and are included separately to acknowledge that there are other fingering possibilities.
ContributorsWang, Chunyang (Author) / Rotaru, Catalin (Thesis advisor) / Landschoot, Thomas (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2018
Description
In the 1950s, Miguel Llobet (1878–1938) and Emilio Pujol (1886–1980) published the first transcriptions of piano and orchestral music for two guitars that became staples in the repertoire. Ida Presti (1924–1967) and Alexandre Lagoya (1929–1999) expanded their efforts with new adaptations of Baroque, Romantic, and Modern music. Following their examples, generations of professional guitar duos have maintained a similar transcription repertoire. However, closer examination reveals noticeable gaps in it as Renaissance works have been largely overlooked. To illuminate this issue, chapter 2 revisits adaptations for two guitars of music originally written for vihuelas, lutes, viols, and the virginal to inquire about the reasons for this neglect and discuss plausible solutions. Because the virginal stands out for its innovative characteristics and alignment with the solo lute works by John Dowland (1563–1626) and John Johnson (ca. 1545–1594), the “English School” of Virginalists is further explored as a potential source of suitable works for transcriptions.
Chapter 3 discusses philosophical concepts and editorial practices to propose a method aimed at producing stylistically faithful adaptations of virginal music. The editorial criteria for this method are informed by in-depth reflections on terminology, the ontology of musical works, the notion of authenticity, and common sixteenth-century practices from musica ficta to tuning temperaments and notational conventions. Concerning ethical matters, this chapter assesses authorship issues that originated at the turn of the nineteenth century but are still adopted by modern editors and transcribers. This discussion aims to shed light on both the negative impact on intellectual property and how it can be avoided by simply resorting to the practice of scholarly transcriptions. Chapters 4 and 5 explain the procedures and applications of the proposed method in two parts: adaptation and revision. The first introduces concepts and strategies from choosing suitable works to balancing playability and aesthetic fidelity intended to produce a preliminary version of the original work. The second establishes a knowledge base through musico-historical discussions and comparative analyses of sources that inform editorial decisions and necessary changes to be implemented in the final score.
Chapter 3 discusses philosophical concepts and editorial practices to propose a method aimed at producing stylistically faithful adaptations of virginal music. The editorial criteria for this method are informed by in-depth reflections on terminology, the ontology of musical works, the notion of authenticity, and common sixteenth-century practices from musica ficta to tuning temperaments and notational conventions. Concerning ethical matters, this chapter assesses authorship issues that originated at the turn of the nineteenth century but are still adopted by modern editors and transcribers. This discussion aims to shed light on both the negative impact on intellectual property and how it can be avoided by simply resorting to the practice of scholarly transcriptions. Chapters 4 and 5 explain the procedures and applications of the proposed method in two parts: adaptation and revision. The first introduces concepts and strategies from choosing suitable works to balancing playability and aesthetic fidelity intended to produce a preliminary version of the original work. The second establishes a knowledge base through musico-historical discussions and comparative analyses of sources that inform editorial decisions and necessary changes to be implemented in the final score.
ContributorsDe Souza, Gibran Araujo (Author) / Koonce, Frank (Thesis advisor) / Stover, Christopher (Committee member) / Rotaru, Catalin (Committee member) / Arizona State University (Publisher)
Created2019