INTRODUCTION TO THE STRING QUARTET PHENOMENOLOGY - Sheet music · National University of Music Bucharest THE IMPORTANCE OF THE CHAMBER MUSIC GENRE ... vocal, jazz, pop, folk, rock,

Serban NichiforCompositeur, Professeur

Roumanie, Bucarest

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Titre: INTRODUCTION TO THE STRING QUARTETPHENOMENOLOGY

Compositeur: Nichifor, SerbanLicence: Copyright © Serban NichiforEditeur: Nichifor, SerbanInstrumentation: Théorie de la musiqueStyle: Contemporain

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1

Prof.Dr. Serban NICHIFORNational University of Music Bucharest

THE IMPORTANCE OF THE CHAMBER MUSIC GENREIN THE PERSPECTIVE OF THE CULTURAL DEVELOPMENT

OF EUROPE(speech)

- SYLLOGISM –

- Major Premise: the complexity of the genre;

- Premise - min.1: the prestigious baroque, classic, romantic,modern, and postmodern repertory;

- Premise - min.2: the accessibility of the genre – a.) in the publicperspective; b.) in the economical perspective (relating to theproduction, distribution, and consumption of goods andservices);

- Premise - min.3: the open configuration of the genre – a.)relating to the ensemble structure; b.) relating to the interactivelive-electronic music / live-computer music / Internet chambermusic experiments (for example, the “SoundWIRE” researchproject - http://ccrma.stanford.edu/groups/soundwire/ );

- Premise - min.4: the application in the curriculum of the newanalysis systems : the Schenkerian Analysis, thePhenomenology-based Analysis, and the Computer Analysissoftware projects - for example, “MaMuTh”

( http://flp.cs.tu-berlin.de/MaMuTh/ ) , and “Wavesurfer” (http://www.speech.kth.se/wavesurfer/ ) – see APPENDIX;

- Premise - min.5: the interferences with complementary musicalgenres (opera, symphonic, choral, vocal, jazz, pop, folk, rock,new age), with video productions (example: chamber music withreal time visualizations – like fractal structures from theMandelbrot Set), and with some experimental applications(therapy, genetic music , etc.).


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CONCLUSIONS (“E Pluribus Unum” )

- C.1 - The application of a synchronized european curriculum inthe field of the chamber music course, leading to graduation and tothe integration of the students in the so abundant musical activities– in connection with the intra- and extra-european experiences.

- C.2 – The importance of the contemporary musical styles (inpostmodernism – process, minimal, spectral, ambient, new consonant,new age, visual, fractal, genetic, psybient music, etc.) in the chambermusic repertory of the students (ca 33%) – in connection with thetraditional repertory (ca 66%), in a feedback process.

- C. 3 – The autonomy of the chamber music professor (his right ofself-government, in connection with the Bologna documents) -particularly interested in developing an outstanding curriculum (thatintegrates musical instruction/ chamber coaching with creativepresentation/ selected chamber performances) in order to producedistinguished and - in fact ! - innovative musicians for the future. Theeducational chamber music program integrates also master classes ofsome important artists.

- C.4 – In the evaluation of the musical performance thepurpose is “to examine the effects of rating scale instruction on self-evaluation accuracy among student musicians” (apud Nathan B.Kruse, “The Effect of Instruction on Sixth Grade Band Students’Abilities to Self-Rate Etude Performance”,Michigan State University,School of Music,http://www.rider.edu/~vrme/v8n1/vision/VRME_Submission.Kruse.pdf. ). “Results indicated that rating scale instruction was more effectivethan no rating scale instruction in helping students improve self-ratingaccuracy (…) Rating scale instruction may not only benefit students’self-evaluation accuracy, but may also be a practice strategy towardimproving students’ independent musicianship.”

REFERENCES

- Bergee, M. J. & Roberts, L.C. (2002). Effects of small-group peer interactionon self- evaluation music performance. Journal of Research in Music Education,50(3), 256-268. - Bundy, O. R. (1987). Instrumentalists’ perception of their performance asmeasured by detection of pitch and rhythm errors under live and recordedconditions. (Doctoral dissertation, Pennsylvania State University). DissertationAbstracts International, 48-10A, 2567.


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- Colwell, C. M. (1995). Effects of teaching setting and self-evaluation onteacher intensity behaviors. Journal of Research in Music Education, 43(1), 6-21. - Davidson, L., & Scripp, L. (1992). Surveying the coordinates of cognitiveskills in music. In R. Colwell (Ed.), Handbook of research on music teaching andlearning (pp. 392-413). New York: Schirmer. - Elliott, D. J. (1995). Music matters: A new philosophy of music education. NewYork: Oxford University Press. - Ericsson, K. A. (1997). Deliberate practice and the acquisition of expertperformance: An overview. In H. Jorgensen & A. C. Lehman (Eds.), Doespractice make perfect? Current theory and research on instrumental music practice(pp. 9-52). Oslo, Norway: Norges musickkholshole. - Fiske, H. E. (1978). The effect of training procedure in musical performanceevaluation on judge reliability. Ontario Education Research Council Report. - Gordon, E. (2002). Rating scales and their uses for measuring and evaluatingachievement in music performance. Chicago: GIA. - Hewitt, M. P. (2001). The effects of self-evaluation, self-listening, andmodeling on junior high instrumentalists’ music performance and practiceattitude. Journal of Research in Music Education, 49(4), 307-322. - Hewitt, M. P. (2002). Self-evaluation tendencies of junior highinstrumentalists. Journal of Research in Music Education, 50(3), 215-226.Jorgensen, H. (1995). Teaching and learning strategies in instrumental practice:A report on research in progress. In J. A. Taylor (Ed.), Transatlantic roads ofmusic education: World Views, 47-51. Tallahassee, FL: Center for MusicResearch. - Linn, R., & Miller, M. D. (2005) Measurement and assessment in teaching (9th Edition). Upper Saddle River, NJ: Prentice-Hall. - McPherson, G. E., & Zimmerman, B. J. (2002). Self-regulation of musicallearning: A social cognitive perspective. In R. Colwell & C. Richardson (Eds.),The new handbook of research on music teaching and learning, 327-347. NewYork: Oxford University Press. - Nicholls, J. G. (1984). Achievement motivation: Conceptions of ability,subjective experience, task choice and performance. Psychological Review, 91,328-346. - Rosenthal, R. K. (1985). Improving teacher effectiveness through self-assessment: A case study. Update: The Applications of Research in MusicEducation, 3(2), 17-21. - Saunders, T. C., & Holohan, J. M. (1997). Criteria-specific rating scales inthe evaluation of high school instrumental performance. Journal of Research inMusic Education, 45, 259-272. - Zimmerman, B. J. (1998). Developing self-fulfilling cycles of academicregulation: An analysis of exemplary instructional models. In D. H. Schunk & B.J. Zimmerman (Eds.), Self-regulated learning: From teaching to self-reflectivepractice. New York: Guilford. - Zimmerman, B. J. (2000). Attaining self-regulation: A social cognitiveperspective. In M. Boekaerts, P. Pintrich, & M. Zeidner (Eds.), Handbook of self-regulation, 13 39. San Diego, CA: Academic Press.

APPENDIX: Example of Computer Analysisin the Chamber Music Course












ACORDAJUL CVARTETULUI

DE COARDE


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Copyright © 2000 <copyright holder>

Acordajul cvartetului de coarde

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VERIFICAREA INDIVIDUALA

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EXERCITIU ACORDAJ

1


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EXERCITIU ACORDAJ

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EXERCITIU INTONATIE J.S.BACH:

Choral BWV 146 “Werde munter, mein Gemüte”


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ASPECTE RITMICE




























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CONTINUUM- studiu de sincronizare -

S. NichiforPrestissimo leggiero(sempre a punta d'arco)

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m` u t `̀ s t d

m` u t u dm

` s `̀ r

&+++ r `̀`̀ t di` u s `̀ t u d

i` s s t d

i` u `̀ s d

iù t


Vln 1

Vln 2

Viola

Cello

Vln 1

Vln 2

Viola

Cello

Vln 1

Vln 2

Viola

Cello

&+++IG

di` u d

i` u d

i` u d

i` u

`̀`̀ di` u d

i` u d

i` u d

i` u

`̀ di` u d

i` u d

i` u d

i` u d

i` u d

i` u d

i` u d

i` u

`̀. ++ dm` u d

m` u d

m` u d

m` u

A @B

&+++ diù t s `̀`̀ s d

iù t `̀ s t d

iù t u d

i`s `̀. ++ r

&+++ s diù t `̀`̀ s t d

iù `̀ r d

iù t s `̀. ++ s d

i` u t

&+++ r `̀`̀ tdiù s `̀ t u

di`s s t

diù `̀. ++ r

&++A @B

dm` u d

m` u d

m` u d

m` u `̀`̀ d

m` u d

m` u d

m` u d

m` u `̀ d

m` u d

m` u d

m` u d

m` u d

m` u d

m` u d

m` u d

m` u `̀

diùdiùdiùdiù

A @G

&++ s di` u t `̀`̀ s t d

i` u `̀ r d

i` u t s `̀ r

&++ r `̀`̀ t di` u s

`̀ t u di` s s t d

i` u

`̀ s di` u t

&++ diù t s `̀`̀ s d

iù t `̀ s t d

iù t u d

i`s `̀ r

&++A @G

diùdiùdiùdiù `̀`̀

diùdiùdiùdiù `̀

diùdiùdiùdiùdiùdiùdiùdiù `̀. + d

iù diù diù diù

&++ di` u t s `̀`̀ s d

i` u t `̀ s t d

i` u t u d

i` s `̀. + s d

iù t

&++ r `̀`̀ t di` u s

`̀ t u di` s s t d

i` u

`̀. + r

&++ s diù t `̀`̀ s t d

iù `̀ r d

iù t s `̀. + r


Vln 1

Vln 2

Viola

Cello

Vln 1

Vln 2

Viola

Cello

Vln 1

Vln 2

Viola

Cello

&+A A B

diù diù diù diù `̀`̀ d

iù diù diù diù `̀ d

iù diù diù diù d

iù diù diù diù `̀ dm

` u dm` u dm

` u dm` u

A A G

&+ r `̀`̀ t diù s `̀ t u d

i`s s t d

iù `̀ s d

m` u t

&+ sdiù t `̀`̀ s t

diù `̀ r

diù t s `̀ r

&+diù t s `̀`̀ s

diù t `̀ s t

diù t u

di`s `̀ r

&+A A G d

m` u dm

` u dm` u dm

` u `̀`̀ dm` u dm

` u dm` u dm

` u `̀ dm` u dm

` u dm` u dm

` u dm` u dm

` u dm` u dm

` u `̀. r

A BB

&+ r `̀`̀ t dm` u s `̀ t u dm

` s s t dm` u `̀. r

&+ dm` u t s `̀`̀ s d

m` u t `̀ s t d

m` u t u d

m` s `̀. s

Rdm` u t

&+ s di` u t `̀`̀ s t d

i` u `̀ r d

i` u t s `̀.

Rdm` u dm

` u dm` u dm

` u

&A BB

sR

dmù t `̀`̀ s t d

mù `̀ r d

mù t s `̀ r

&Rdmù t s `̀`̀ s d

mù t `̀ s t d

mù t u dm

`s `̀ r

& r `̀`̀ t dm` u s `̀ t u dm

` s s t dm` u `̀ s d

iù t

& dm` u dm

` u dm` u dm

` u `̀`̀ dm` u dm

` u dm` u dm

` u `̀ dm` u dm

` u dm` u dm

` u dm` u dm

` u dm` u dm

` u `̀diù diù diù diù


Vln 1

Vln 2

Viola

Cello

Vln 1

Vln 2

Viola

Cello

&ABG

di` u t s `̀`̀ s d

i` u t `̀ s t d

i` u t u d

i` s s t d

i` u

A CB

& s di` u t `̀`̀ s t d

i` u `̀ r d

i` u t s r

& r `̀`̀ t diù s `̀ t u d

i`s s t d

iù t u d

i`s

& diù diù diù diù `̀`̀

diù diù diù diù `̀ d



iù diù diù diù

&ACB

t u di` s s t d+

m` u t u d+m

` s rPizz

Sdddd̀t s

Ps d̀ t r

& di` u t s r d+

m` u t s r Pizz

Sdddd̀t s

Ps d̀ t r

& s t diù t u d+

i` s s t d+

i` u r JPizz

Sdddd̀t s

Psd̀t r

& diù diù diù diù K d+

m` u dm

` u dm` u dm

` u d+m` u dm

` u dm` u dm

` u r Pizz

Sdddd̀t s

Psd̀t

21-I-2007

r


BALANS / DINAMICA SONORA

- Configuratia cosmogonica a sunetului

- Dinamica sonora aplicata datelor fiziologice umane

(apud SERGIU CELIBIDACHE)





PERSPECTIVA FENOMENOLOGICA A

MUZICII - IN LUMINA TEORIEI

LUI SERGIU CELIBIDACHE

(cf. Cursurilor de la Munchen, 1981)

















BIBLIOGRAFIE GENERALA SELECTIVA

- BLANCHE, Linda Susan – „Selected Etudes for the Development

of String Quartet Technique: an annotated compilation“

(Introduction, Dynamics,Intonation,Timing in Music, Tone Color

Ensemble, Articulation, Conclusions; Quartet training – as

undergraduate/graduate institutions), USA, Columbia University

Teachers College, 1996, NMI Number: 9713868;

- BLUM, David – „The Art of Quartet Playing“, USA, 1986;

- BORCIANI, Paolo – „Il Quartetto“, Italia, 1973;

- FINK, Irving - MERRIEL, Cynthia – „String Quartet Playing“,

USA, 1985;

- LENER, Jeno – „The Technique of String Quartet Playing Score“,

Chester LTD., 1935;

- LOFT, Abram – „Ensemble !“, USA, 1992;

- NORTON, M.D.Herter – „The Art of String Quartet Playing:

Practice, Technique and Interpretation“, USA, 1962;

- POCHON, Alfred – „A Progressive Method of String-Quartet

Playing“ (Part I: Elementary – Foreword; Introduction; Seating the

Players; Tuning; Starting and Ending; Reading at Sight; Working –

Ensemble, Nuances/Balance, Rhythm, Intonation; Interpretation,

Conclusion) , USA, G. Schirmer, Inc., New York, 1924.

.-----------------------------.


SERBAN NICHIFOR:

STRING QUARTET

NO 1 “ANAMORPHOSE”















SERBAN NICHIFOR:

STRING QUARTET

NO 2 “VALLONS

DE L’OUBLI”






















Serban NICHIFOR

ROMANIAN DANCES

For

String Quartet

01.) Hora („Round“Dance)

02.) Batraneasca („Old Man“ Dance)

03.) Perpetuum Mobile


Copyright (c) 2006 by Serban NICHIFOR (SABAM)

ROMANIAN DANCES1.) Hora Serban NICHIFORAllegro Vivo

= 165


2


3


4


5


6


1

ROMANIAN DANCES2.) Batraneasca Serban NICHIFOR

= 144 = 80 = 144

simile

simile

simile

simile


2


3


4

simile


5


6


7

= 100


Copyright (c) 2006 by Serban NICHIFOR (SABAM)

ROMANIAN DANCES3.) Perpetuum Mobile Serban NICHIFORPresto

= 180


2

leggiero - a punta d'arco


3


4


5


6


7


8


9


10


11


12

leggiero - a punta d'arco


13


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