La Basse de Violon
(2022)
author(s): Blanca Leticia Martín Muñoz
published in: KC Research Portal
About this exposition
Nowadays we can find a vast amount of information about the history of the cello. But do we know anything of its larger ancestor? What was its purpose in the music scene in France in the 17th century? And why did it disappear?
Little attention has been paid to the basse de violon, an instrument of great importance before the arrival of the cello.
In my presentation, I will discuss these questions as well as other matters that concern the basse de violon, starting with what is it, going through its development, its role as a solo instrument, and as the bass of the ensembles, and finishing with the reasons for its decay and ultimately complete disappearance in France.
Also, as part of my artistic presentation, I will base my conclusions by using videos of my experimentations on a surviving basse de violon from 1715 and a cello from the 19th century.
Perspectives on Kodály Cello Teaching
(2016)
author(s): Wiesje van Eersel
published in: KC Research Portal
Name: Wiesje van Eersel
Main Subject: Music Education According to the Kodály Concept
Research Coach: Patrick van Deurzen
Title of Research: Perspectives on Kodály Cello Teaching
Research Question:
In which way can the Kodály concept form an integrated part of a cello teaching curriculum for children?
Summary of Results:
In search of a suitable method to educate my pupils towards comprehensive cello playing, I came across the Kodály concept. My first encounter was promising and I decided to pursue this further. My research investigates possible ways to integrate the Kodály concept in cello teaching for children. In my research paper, first the Kodály concept is defined, and on that basis, existing methods and practices are analysed and examined. In addition to the study of the written sources I have also observed lessons and experimented with the materials myself. Alongside this investigation I have been integrating the Kodály concept in my own teaching for three years. The reflection on that experience, together with my findings from the existing methods results in the conclusion that there are many possible ways to integrate (elements of) the Kodály concept in cello teaching.
In the analysed methods, and in my own teaching, choices on how to integrate the concept depend on several factors. The initial perception of the concept is of influence, but also the practical reality of a particular teaching practice. I came to the conclusion that a structural, full implementation of the concept would have implications for the practical arrangement of my teaching.
In my presentation I want to show the different perspectives, give practical examples and share my thoughts on a possible way to realise the concept in my teaching practice.
Biography
Wiesje van Eersel is cello teacher at the PI, Junior and Young Talent Department of the Royal Conservatoire, where she teaches children between 5 and 12 years old. She also teaches cello methodology at the Royal Conservatoire and the Conservatoire of Amsterdam, and teaches in a public music school.
The violin-type fingering and oblique left hand position in the history of cello technique
(2015)
author(s): Paulina Ptak
published in: KC Research Portal
Name: Paulina Ptak
Main Subject: Baroque Cello
Research Coaches: Maggie Urquhart, Job ter Haar
Title of Research: The violin-type fingering and oblique left hand position in the history
of cello technique
Research Question: what were the possible reasons for the application of diatonic
fingerings and violin-like left hand position in the history of the cello technique?
Summary of Results:
Before 1800, cellists did not have a consistent manner for fingering scales with the left
hand. From the origins of the instrument till the beginning of the nineteenth century
different systems were used. One of the styles seemed to be more identified with the
violin than with the cello technique. It was represented by fingering and left hand
position, different than used today. By looking at the history of development of the cello
fingering I will try to answer questions about possible reasons of applying violin-like
fingering on the cello. I will examine methods employed on early bass instruments, much
debated system proposed by Corrette, and Lanzetti’s and Baumgartner’s approach which
transitions the diatonic and chromatic systems. I will see how Romberg and others, even
though fingering had evolved to the final level, applied oblique violin-like, left hand
position until the beginnings of twentieth century. Finally I will look at the examples
from cello repertoire which contain fingerings, and I will analyze them in terms of the
system used and possible ways of execution.
Biography:
Paulina Ptak embarked upon her musical education in two of the most important Polish
musical centres – the city of Cracow and Wroclaw. After completing her Master’s
degree, she decided to specialise in baroque, classical and early romantic repertoire
performed on authentic instruments. Her motivation to a historically informed approach
was inspired by the unique timbre of period instruments. Currently she studies baroque
cello for a Master’s degree with Jaap ter Linden. Paulina is interested in the history of
cello technique from eighteenth until twentieth century.
The 'cello' in the Low Countries : the instrument and its practical use in the 17th and 18th centuries
(last edited: 2023)
author(s): Elske Tinbergen
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Elske Tinbergen is only available in Dutch.
In 20e-eeuwse naslagwerken is niet veel geschreven over de cello in de Lage Landen in de 17e en 18e eeuw, wat doet denken dat het instrument in die tijd hier niet of amper gebruikt werd. Echter, geschreven en pictoriale bronnen alsmede instrumenten en bladmuziek uit deze twee eeuwen geven wel informatie. Op basis hiervan kan gesteld worden dat de cello in de Nederlanden veel meer gebruikt werd dan gedacht. Er werden hier instrumenten gebouwd, er werden zeer veel afbeeldingen geproduceerd (schilderijen, maar ook bijvoorbeeld gebruiksartikelen zoals tegels, drinkglazen en
zilver) en er is ook een substantiële collectie muziek voor cello gecomponeerd, zowel voor cello solo als cello continuo.
De meest verrassende uitkomst van het onderzoek is wel dat er door veel cellisten in de 17e eeuw een andere streektechniek (n.l. onderhands) werd gebruikt dan in de 18e eeuw. Deze uitkomst wordt ondersteund door een overweldigende collectie afbeeldingen. Deze andere streektechniek resulteert in een andere klank en articulatie wat een ander karakter aan een muziekstuk geeft.
Daarnaast is er uitgebreid onderzoek gedaan naar Alexis Magito, lid van een beroemde 18e-eeuwse Rotterdamse familie van voornamelijk kermisklanten maar ook van enkele musici. Alexis was cellist, componist en graveur. Tijdens dit onderzoek is veel informatie over zijn levensloop boven water gekomen. Twee van zijn cellosonates zijn door de promovenda op cd gezet.
Conclusie: het onderzoek laat zien dat de cello ook in de Lage Landen wijdverbreid was en dat er vele verschijningsvormen en speelwijzen waren.