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dc.contributor.authorPartridge, Alexandra Claire
dc.date.accessioned2014-04-14T21:43:29Z
dc.date.available2014-04-14T21:43:29Z
dc.date.issued2014
dc.identifier.urihttp://hdl.handle.net/10179/5214
dc.descriptionAccompanied by video clips of recitals, available with hard copy in the Libraryen
dc.description.abstractThe introduction of this exegesis presents a brief history of Bach’s cello suites, explores the relevance and reliability of the manuscript sources and discusses the intended five-stringed instrument for Suite No. 6. Part One compares and contrasts the fingering patterns within selected extracts from eleven different editions of the Prelude. It examines the varying interpretations and takes into account the fingering choices that have been adopted in the publications. Part Two of this exegesis comprises this author’s version of the Prelude. This incorporates the technically and musically convincing fingering patterns found from the research in prior parts of this study, as well as using the author’s own knowledge of cello pedagogy. The ultimate purpose of this research is to provide a comprehensive and informed version in which challenges of playing this movement are largely minimised.en
dc.language.isoenen
dc.publisherMassey Universityen_US
dc.rightsThe Authoren_US
dc.subjectCello fingeringen
dc.subjectCello music methodsen
dc.subjectMusic interpretation (Phrasing, dynamics, etc)en
dc.subjectHistory and criticismen
dc.subjectJohann Sebastian Bachen
dc.titleFingering strategies in the Prelude of J. S. Bach's sixth suite for solo cello : a dissertation submitted to Massey University and Victoria University of Wellington in partial fulfilment of the degree of Masters of Musical Arts in Classical Performanceen
dc.typeThesisen
thesis.degree.disciplineClassical Performanceen
thesis.degree.grantorNew Zealand School of Musicen
thesis.degree.levelMastersen
thesis.degree.nameMaster of Musical Arts (M.M.A.)en


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