![]() V ACKNOWLEDGEMENTS There are so many people to whom I would like to express my sincerest gratitude for everything they have done for me during the past three years. The second addresses my experiments with the postures and setups discussed in Chapter 4: Technique, giving my reactions to technical benefits and disadvantages created in each instance. The first appendix discusses my perceptions of acoustic changes made on my cello by trying endpins described in Chapter 2: Construction. Two appendices follow the document that detail my reactions to and experiments with different endpins and associated postures. This culminates in the final section (Chapter 5: Repertoire) which discusses the ways in which these technical developments affected compositions for the cello. Each stage in this evolution has allowed for increased efficiency while reducing tension throughout the body. The third section (Chapter 4: Technique)Įxamines the evolution of cello technique and performance posture from the perspective of the endpin. Eventually, endpins grew to be preferred because they enhance acoustic properties of the cello and facilitate more advanced techniques. There was no standard method of holding the cello until the mid-eighteenth century, when the position of holding the cello off the floor with both legs was adopted by almost all cellists. The second section (Chapter 3: Usage) looks at when endpins and other lifting devices have or have not been used. This includes the description of a wide variety of materials and devices have been used to make endpins. The first (Chapter 2: Construction) establishes the definition of the cello endpin and how this concept has changed throughout history. There are four main sections in this document. There are many instances when an observable change in the repertoire can be traced to technical developments made possible by changing the lifting device, thereby affecting posture of the cellist. Written and iconographic evidence show that endpins and other lifting devices have been used throughout all eras of the cello s history. The evolution of the endpin has caused significant changes to cello technique, as its use, or lack of, alters the basic posture and setup of the instrument on the cellist s body. The endpin has a unique history that, prior to this writing, has not yet been fully documented. University of Nebraska, 2015 Advisor: Gregory Beaver This document investigates how the concept of a lifting device has evolved into the modern endpin that is a now a standard part of the cello. THE EVOLUTION OF THE CELLO ENDPIN AND ITS EFFECT ON TECHNIQUE AND REPERTOIRE William E. Braun A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Gregory Beaver Lincoln, Nebraska May, 2015 THE EVOLUTION OF THE CELLO ENDPIN AND ITS EFFECT ON TECHNIQUE AND REPERTOIRE by William E. ![]() It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of of Nebraska - Lincoln. This Article is brought to you for free and open access by the Music, School of at of Nebraska - Lincoln. ![]() Student Research, Creative Activity, and Performance - School of Music. University of Nebraska - Lincoln of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of Spring 4-23-2015 The Evolution of the Cello Endpin and Its Effect on Technique and Repertoire William Braun University of Nebraska-Lincoln, Follow this and additional works at: Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Braun, William, "The Evolution of the Cello Endpin and Its Effect on Technique and Repertoire" (2015).
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