Page 78 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 7, zvezek 16 / Year 7, Issue 16, 2011
P. 78
SBENO-PEDAGOŠKI ZBORNIK, 16. zvezek
tako interakcijo med komponistom in izvajalcem kot tudi prosto
eksperimentiranje in improvizacijo.
Kljuène besede: razširjene tehnike, lep ton violonèela, Helmholtzova
nihanja, analiza frekvence, nenormalno nizke frekvence (ALF), multifoniki,
skordatura, tehnika dveh lokov, ukrivljeni lok, koreografija gibanja, razvojni
proces, zvoèni eksperiment, improvizacija.
Introduction
Due to its pitch range and richness of sound as well as the size of the corpus
and the frontal playing visible to the audience, the cello appears to be especially
suitable as experimental ground for new sounds and playing techniques. This
observation was already made by Bernd Alois Zimmermann in his essay Über die
neuerliche Bedeutung des Cellos in der neuen Musik (Zimmermann 1968) and
was implemented by Siegfried Palm and other distinguished cellists, who
devoted themselves to the playing of contemporary works.
While we observe the effects of cello music of the 1960s-1980s in retrospect,
though this is definitely about music by contemporary composers, my study is
about cello music in the last 20-25 years, with still-unfiltered results.
A multi-dimensional observation of new playing techniques is required. It
means that one or more suitable starting points need to be found to do justice to
the events.
Extension and break-down of the beautiful cello tone
The generation of the so-called “beautiful cello tone” is based on the balance
of bow-bridge-distance, bow velocity and bow pressure as main parameters of
bowing. This observation is widely known among cellists and taught in cello
lessons for students of all levels.
The pedagogue Walter Mengler has pictured these relations as tendencies in
his cello tutor from 1995, which I would like to present as a short summary of
common knowledge:
– High bow force has a tendency towards slow bowing near the bridge.
– Middle bow force has a tendency towards middle bow velocity on a middle
bow-bridge distance
– Low bow force has a tendency towards high speed near the fingerboard.
The balance of these three main parameters helps us to keep the string
oscillation within the range of traditional sounding.
78
tako interakcijo med komponistom in izvajalcem kot tudi prosto
eksperimentiranje in improvizacijo.
Kljuène besede: razširjene tehnike, lep ton violonèela, Helmholtzova
nihanja, analiza frekvence, nenormalno nizke frekvence (ALF), multifoniki,
skordatura, tehnika dveh lokov, ukrivljeni lok, koreografija gibanja, razvojni
proces, zvoèni eksperiment, improvizacija.
Introduction
Due to its pitch range and richness of sound as well as the size of the corpus
and the frontal playing visible to the audience, the cello appears to be especially
suitable as experimental ground for new sounds and playing techniques. This
observation was already made by Bernd Alois Zimmermann in his essay Über die
neuerliche Bedeutung des Cellos in der neuen Musik (Zimmermann 1968) and
was implemented by Siegfried Palm and other distinguished cellists, who
devoted themselves to the playing of contemporary works.
While we observe the effects of cello music of the 1960s-1980s in retrospect,
though this is definitely about music by contemporary composers, my study is
about cello music in the last 20-25 years, with still-unfiltered results.
A multi-dimensional observation of new playing techniques is required. It
means that one or more suitable starting points need to be found to do justice to
the events.
Extension and break-down of the beautiful cello tone
The generation of the so-called “beautiful cello tone” is based on the balance
of bow-bridge-distance, bow velocity and bow pressure as main parameters of
bowing. This observation is widely known among cellists and taught in cello
lessons for students of all levels.
The pedagogue Walter Mengler has pictured these relations as tendencies in
his cello tutor from 1995, which I would like to present as a short summary of
common knowledge:
– High bow force has a tendency towards slow bowing near the bridge.
– Middle bow force has a tendency towards middle bow velocity on a middle
bow-bridge distance
– Low bow force has a tendency towards high speed near the fingerboard.
The balance of these three main parameters helps us to keep the string
oscillation within the range of traditional sounding.
78
