LIONEL TERTIS AND THE FLOWERING OF EARLY TWENTIETH CENTURY ENGLISH VIOLA REPERTOIRE

This performance project focused on English viola literature written in the first half of the twentieth century. During this time, numerous English composers were influenced by Lionel Tertis' unprecedented approach to the viola as a virtuosic and solo instrument. In addition to being an inspiration to composers of whom he was not in direct contact, Tertis' innovative vision for the viola led to numerous collaborations with prominent English composers of his generation. Ralph Vaughan Williams, Arnold Bax, York Bowen, Frank Bridge, Benjamin Britten, and Rebecca Clarke -his own protégé - composed some of the most important works for viola thus directly shaping the impression of the instrument as we know it today. Tertis' artistry as a performing violist was unmatched at the beginning of the twentieth century. He had a unique approach to the instrument which focused on concept of sound, tone color, concentrated listening, continuous vibrato, discreet portamento, and expressive interpretation. His convincing musical and technical ideas led him to write a treatise about how to achieve a beautiful tone. His passion for teaching and concern for the viola's posterity greatly enhanced the development of the viola. Tertis transcribed, edited, and premiered many works during his career. The music that Lionel Tertis influenced can be seen as a microcosm for a musical resurgence in England during the first half of the twentieth-century. The catalyst for this was artistic influences in the form of nationalism, folk music, romanticism, modernism, and impressionism, among others. Before this, England was widely referred to as ''the land without music" but in a very real sense, .Lionel Tertis was one of the pioneers who, through his artistry of the viola, led the way to the renaissance of music in England in the twentieth century.

THE DISTINCTIVE VOICE OF PAUL HINDEMITH THROUGH THE VIOLA

Paul Hindemith has made numerous contributions to the viola, both as a composer and performer. As a composer, he has written 7 sonatas for the viola, as well as a number of chamber and orchestral works which feature the viola as a solo instrument. As a violist, Hindemith was one of the only virtuoso soloists of his lifetime, and premiered virtually all of his solo compositions. Many of his pieces remain an integral part of the viola repertoire; Der Schwanendreher is one of the three major Twentieth-Century concertos for the viola. While some of his pieces are well-known, there are many others which are not performed with much frequency, due in part to the sheer output of this prolific composer. In this dissertation project, I performed Hindemith's compositions for the viola as a solo instrument. Consideration was given to exclusively performing his 4 solo sonatas and 3 sonatas for viola and piano. His only viola duet, his only non-sonata written for viola and piano, and 2 of his viola concertos (Der Schwanendreher and Trauermusik) were included in this dissertation project to provide contrast and supplement the three recital programs. Through this dissertation project I have been able to gain a deeper understanding of the complex language of Hindemith and interpret his music in an approach that is accessible to both the performer and the audience. All performances took place in the Gildenhom Recital Hall and Ulrich Recital Hall at the University of Maryland. All collaborations with piano were performed with Eliza Ching. The Duett for Viola and Violoncello was performed with Daniel Shomper, and the assisting musicians performing in the Trauermusik were Joel Ciaccio, Daniel Sender, Daniel Shomper, Cassandra Stephenson and Dana Weiderhold.

Sobre la enseñanza de la geometría: re-creando el arco capaz

Se reporta una investigación realizada con alumnos de 15- 16 años sobre los algoritmos de construcción de un Arco Capaz de segmento y ángulo dado. Se propuso a los alumnos un problema cuya solución óptima es un Arco Capaz de segmento y ángulo dado, y se les requirió luego que construyeran dicho arco utilizando regla, compás y semicírculo. Los alumnos idearon diversas construcciones para el Arco Capaz pero en ningún momento aparece la construcción tradicional de Euclides. Básicamente, la idea que usan los estudiantes para construir el Arco Capaz, es la de obtener un triángulo cualquiera tal que uno de sus ángulos sea el ángulo dado para luego determinar su circuncentro y trazar el Arco.

Cradling ashes : a surrealist opera : how music and psychology can function together to express depraved heart syndrome : for countertenor, soprano, tenor, violin, viola, horn in F, piano, and tape.

Original wav file in this record was 0 bytes; re-extracted a new wav file from the CD in Special Collections Nov 2016 and replaced the original wav file in this record.

Eva Heinitz and Malcolm Hamilton, Recital for Viola da Gamba and Harpsichord, January 27, 1966

Concert Program for Eva Heinitz and Malcolm Hamilton, Recital for Viola da Gamba and Harpsichord, January 27, 1966

Dinâmicas de revitalização de frentes Ribeirinhas no período Pós-Industrial: o Arco Ribeirinho Sul do Estuário do Tejo

Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Geografia e Planeamento Regional

O papel da viola no fado de Lisboa

Hoje em Lisboa, a música do Fado serve para promover identidade e também a renovação da paisagem urbana. O tema dessa dissertação está centrado no fenómeno do Fado, com especial atenção à sua performance, num exercício de etnografia urbana. O factor central é o papel da viola no acompanhamento do Fado. Procurando conexões entre o musical e o não-musical, proponho uma abordagem ao papel dos músicos em manter e suportar a música do fado na Lisboa contemporânea. Essa abordagem espera produzir novo conhecimento acerca da performance e nos processos de aprendizagem envolvidos na preservação e continuidade da tradição do Fado, tomando a arte como um instrumento privilegiado para comunicar e intervir. Essa investigação é baseada na pesquisa qualitativa, usando nomeadamente, entrevistas etnográficas, mas também utiliza a observação participativa, a performance participativa e a aprendizagem musical.

Processus justificationis Johannae de Arco.

Une seule main. La copie a été certifiée par deux notaires, "Dionisius Comitis" et "Franciscus Ferrebouc" qui ont signé au bas de chaque feuillet (180). Ce ms. fait partie d'une série d'expéditions pour lesquelles il existe des mentions de paiement datées de 1458. D'après P. Champion, il s'agit d'une copie authentique abrégée du procès de réhabilitation de Jeanne d'Arc. Deux autres copies sont connues: le ms. lat. 5970 de la BnF, certifié par les mêmes notaires, mais copié par des mains différentes, et le ms. Stowe 84, conservé à la British Library."

Mouvements d'assouplissements Miss Viola May : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 61105