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1
Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Holma, Hanna. "Practising and Preparing the Sibelius Violin Concerto." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-73858.
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In my master`s thesis project, I studied different ways to practise the Sibelius violin concerto to become a better violinist.The work describes my personal journey with the Sibelius violin concerto: how in one year, I studied to play the first movement of the concerto. Through this process and this project, I was able to see what my skills as a violinist are and what things I still need to develop. For the study, I got help from my colleagues, who are Finnish violinists, and I interviewed them. I was especially interested in their technical development during their studies so that I could connect the information to my own violin playing. I wanted to improve my technical skills to practise the Sibelius violinconcerto. Other things that I used to study the concerto were literature and recordings to get new ideas and support for my thinking. Also, music courses and master classes were important sources of information for this investigative work. After one year practising the concerto, my technical and musical skills became better. Preparing adifficult romantic concerto raised my level as a violinist. Through the videos I made aboutpractising the Sibelius violin concerto, it was possible to start to develop my performance skills. All the methods and literature I used gave me a more professional view of my violin playing and musicianship. After this research, I can start to work with my art now that I have so many usefultools for practising and performing. In my master`s thesis project, I studied different ways to practise the Sibelius violin concerto to become a better violinist. The work describes my personal journey with the Sibelius violin concerto: how in one year, I studied to play the first movement of the concerto. Through this process and this project, I was able to see what my skills as a violinist are and what things I still need to develop. For the study, I got help from my colleagues, who are Finnish violinists, and I interviewed them. I was especially interested in their technical development during their studies so that I could connect the information to my own violin playing. I wanted to improve my technical skills to practise the Sibelius violin concerto. Other things that I used to study the concerto were literature and recordings to get new ideas and support for my thinking. Also, music courses and master classes were important sources of information for this investigative work. After one year practising the concerto, my technical and musical skills became better. Preparing a difficult romantic concerto raised my level as a violinist. Through the videos I made about practising the Sibelius violin concerto, it was possible to start to develop my performance skills. All the methods and literature I used gave me a more professional view of my violin playing and musicianship. After this research, I can start to work with my art now that I have so many useful tools for practising and performing.
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Chao, Emily. "Karol Szymanowski's first violin concerto, OP. 35." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10960.
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Thesis (D.M.A.)--Boston UniversityIn the absence of a thriving Polish music scene in the latter half of the 19th century, Karol Szymanowski (1882-1937) sought inspiration in other traditions. Consequently, his music is a cosmopolitan blend of Romantic, impressionistic, and nationalistic styles. Changes in Szymanowski's compositional style over the course of his career can thus be read as musical responses to outside stimuli; first to German, then French and fmally, eastern European folk trends. The first violin concerto, as the epitome of his "impressionistic" period, displays imaginative lyricism and a sensuous and colorful sound world.^1 Szymanowski was evidently pleased with the result. After finishing the piece in August 1916, he wrote, "I must say I am very happy with the whole thing-again a new, different music, but at the same time, a bit of return to the old. The whole thing is terribly fantastical and unexpected."^2 Written in close collaboration with Kochanski, the concerto, together with Myths (1915), exemplifies a "new mode of expression"^3 which highlighted Kochanski's strengths: an irresistibly sweet lyrical tone and left-hand facility. It was this marriage of affinities, a blending of lyricism with innovative coloristic sound effects, which came to signify Szymanowski's violin idiom. The purpose of this dissertation is to provide the following: a thorough examination of the background, history and style of the first violin concerto, a detailed analysis of the work as a whole, and a discussion of performance considerations. Chapter One will provide background history and context, including composer biography, description of his compositional style during his middle period, features of his violin idiom, developed in collaboration with his friend Pawel Kochanski as well as the immediate circumstances of the concerto's composition, with information on its history, premieres, and reception. Chapter Two will be a detailed analysis of the piece, addressing questions of form, harmony, motive, and genre; these fmdings will contribute to a hermeneutic investigation of the piece. Finally, Chapter Three discusses how tools like John Rink's "performer's analysis," historical recordings, genre analysis and narrative analysis can be used to create a more carefully considered interpretation of the piece. 1 Alistair Wightman, Karol Szymanowski: His Life and Work (Brookfield, VT: Ashgate Publishing Company, 1999), 177. 2 Ibid. 3 Alistair Wightman, "Szymanowski, Bartok and the Violin," The Musical Times 12211657 (March 1981), 159.
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Reinert, Gina. "Fantasia do Concerto para violino e orquestra de Octávio Meneleu Campos : uma proposta pedagógica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12220.
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O presente trabalho teve como objetivo a realização de uma proposta pedagógica para a obra Fantasia de Concerto, do compositor brasileiro nascido em Belém do Pará, Meneleu Campos. A partir do conhecimento da obra em questão, foi realizada uma comparação com o chamado repertório tradicional violinístico, a fim de identificar os aspectos técnicos semelhantes e, a partir disso, formular uma proposta pedagógica. A comparação com o repertório tradicional, foi baseada no artigo “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). Para a realização da proposta pedagógica, utilizou-se, como referencial teórico o livro “Practice” (2004) de Simon Fischer, no qual o autor mostra soluções técnicas para passagens do repertório tradicional. Identificados os aspectos técnicos e violinísticos da Fantasia de Concerto, foi possível, baseado nas propostas de Fischer, desenvolver exercícios para a obra em estudo.This essay aimed at presenting a pedagogical proposal for the work Fantasia de Concerto by Meneleu Campos - a Brazilian composer, born in Bélem do Pará. A study of the work paved the way for a comparison with the standard violin repertoire, thus establishing common technical issues which in turn served as the starting point for the pedagogical proposal. The comparison with the standard repertoire was based on the article “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). The pedagogical proposal was based on the book “Practice” (2004) by Simon Fischer. This author offers suggestions on how to work and solve problems found in the standard violin repertoire. Therefore, once the technical difficulties of the Fantasia de Concerto were identified, exercises of a similar nature were devised.
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Houglum, Daniel Patrick. "Sola fides sufficit: Concerto for violin and ensemble." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1633.
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Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expansion, orchestration, and ultimately a recomposition of Et si sensus deficit…
The melodic, harmonic, and formal material in Sola Fides Sufficit is largely based on my detailed musical analysis of the Pange Lingua, an unaccompanied 13th century plainchant written by St. Thomas Aquinas. The six-phrase melody is well-known in the Roman Catholic tradition for its performance at the end of Holy Thursday Mass. My analysis drove my compositional choices regarding two distinct objectives: One, to reflect the chant material in overt ways (e.g., use of neighbor figures) and two, to intentionally diverge from the original chant material, at times exploiting or exaggerating elements purposefully avoided in the chant (e.g., the tritone). I utilized both ways of decision-making to create drama, contrast, tension, and resolution in the piece.
My large-scale formal goal was to create a cohesive composition utilizing particular surface and structural aspects of the Pange Lingua melody, while withholding presentation of the melody in its entirety until the climax (conclusion) of the work. Fragments from the chant were selected and employed in varying contexts depending on the formal goals of each section. Some fragments were presented with few changes, while others were transformed and developed through tonality, registration, timbre, and rhythm.
My structural design was shaped by four words of character the composer Witold Lutoslawski perceived as essential in the creation of his large-scale works: Introduction, Narrative, Transitional and Concluding. Influenced by Lutoslawski’s psychological approach to listener perception as a compositional and analytical tool, Sola Fides Sufficit unfolds in four unbroken parts, each portraying primarily one of these four formal characters. Within each movement, these formal characters also occur on a smaller scale and give shape to each section. Only during the Narrative portions is the content the most important aspect perceived. During the Introductory, Transitional, and Concluding music, however, the role of the given section in the form is more important than the content.
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Quiroga, Martin. "Concerto Grosso No. 1." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22747.
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This concerto is the composer’s conversation with the past. In four movements, each one embodies a traditional musical form. The work is a continually transforming kaleidoscope of relentless virtuosity, fanciful flights of harmony and melody, and unapologetic shifts in timbre and texture. Although conceived in four separate movements, the entire work is without intervening pauses. The concerto grosso is scored for flute, violin, piano, and string orchestra, and is approximately twenty-five minutes in duration.
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Gorby, Roderick B. "An Appalachian Fantasy for Violin and Orchestra." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275451979.
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Lee, Young Jae. "An analysis of the Violin concerto of Johannes Brahms /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11207.
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Wallin, Erik. "A Hollywood Concerto : En studie om Korngolds violinkonsert." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2996.
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Usarek, Alicja Irena. "The genesis and fate of Béla Bartók's 1907 violin concerto." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004203.
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Vivaldi, Antonio Hodges Brian D. "A transcription of Vivaldi's violin concerto RV 208 for cello." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1454/umi-uncg-1454.pdf.
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Brian D. Hodges' thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Oct. 22, 2007). Directed by John M. Fadial; submitted to the School of Music. Transcription includes cello part only. Includes bibliographical references (p. 34-37).
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Lang, Xiaoming. "He Zhanhao and Chen Gang: "The Butterfly Lovers" violin concerto." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185865.
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Musical study of The Butterfly Lovers violin concerto by He Zhanhao and Chen Gang. Tracing its cultural background in China, analyzing in terms of the concerto's form, melody, scale, mode, harmony, and orchestration and discussing the more unusual technical demands of violin playing made by this concerto.
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Sousamoglou, Antonios. "An interpretational approach to the Violin Concerto of Nikos Skalkottas." Thesis, City University London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511770.
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Bae, DaeJin. "Stylistic Changes in Two Violin Concertos by Henryk Wieniawski." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439295069.
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Mavroudis, Anastasios Ruper Arthur. "Performing Sicilianos : selected chamber works and Concerto for Violin and Orchestra." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11857/.
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Yorgos Sicilianos (1920–2005) was educated in the tradition of Greece’s National School Movement, but managed to break away and to define his own musical personality. Over a 30-year period from 1954, he experimented with atonal neoclassical styles, the twelve-tone method and integral serialism, while searching for solutions to problems of form and structure. After 1980, Sicilianos concluded that the term ‘post-diatonic music’ best described his compositional style, which by then drew inspiration from literary works to give form and meaning to his music. This thesis analyses the compositional influences, process and technique used by Yorgos Sicilianos in String Quartet No. 2, Op. 13 (1955), String Quartet No. 4, Op. 28 (1967), Sonata for Violin and Piano, Op. 45 (1981), and Concerto for Violin and Orchestra, Op. 51 (1987). It evaluates the extent to which analysis informs the performance of each piece and suggests an interpretative approach. Utilizing various methodological approaches, the analyses reveal critical structural parameters that not only impact subjective aspects of interpretation, but in some cases also determine practical matters of performance such as the bowings that the performer must execute. The objectives of this thesis are to provide guidance to future performers of these compositions, enabling them to be interpreted with fidelity to the composer’s vision, and to provide editions of these compositions, which are currently unpublished and commercially unavailable. These editions incorporate indispensable context and performance suggestions to aid performers. The findings of this study will also be expressed practically in the form of a recital.
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Kim, Si Hyung. "A study of the Violin Concerto in D Minor by Ralph Vaughan Williams." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28443/.
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The focus of this study is to provide a clear understanding of Vaughan Williams' Violin Concerto in D Minor. In terms of form and compositional technique, this concerto is particularly challenging, because of Vaughan Williams' use of rhythmic motives and modes. This study is undertaken through an analysis. For a better understanding, a historical background, including overall form of each movement and key relationships, is explored and discussed. Then, Vaughan Williams' use of a ritornello-like motive, melody and modality as unifying elements is also identified and examined. In identifying the major features of Vaughan Williams' compositional style of this violin concerto, musicians will be able to understand better his unique musical expression. This study may serve as an introduction to the music of Vaughan Williams for musicians and society worldwide. It is hoped that it will motivate all violinists to perform this concerto more frequently.
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Jobbágy, Szemoke. "A Performer's Guide to Béla Bartók's Violin Concerto No 1, Opus Posthumous, 1907–1908." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283828/.
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Despite Bartók's lasting international fame, some of his works remain unjustly lesser-known. One of the pieces that still resides in relative obscurity is his Violin Concerto No.1—a gem of the violin repertoire that must be brought to the broader public's attention. The fact that the concerto was hidden definitely contributed to its little–known status at first. However, the most important cause for the lack of enthusiasm to tackle this terrific work lies in the unorthodox demands it puts on the violinist. The purpose of this paper is to provide musical and technical suggestions based on Bartók's performing style and on his requirements for performer, which will help to create a more persuasive interpretation of the piece. The guide covers the questions of character, articulation, dynamics, and other performance aspects, and also provides practical suggestions, such as fingerings and bowings. It is hoped that this study will help violin performers to gain additional knowledge and insight into this composition and encourage more frequent performances of it.
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Lemos, Lara Venusta de Almeida. "Concerto n.º 1 para Violino e Orquestra de M. Camargo Guarnieri: aspectos históricos, estéticos e temático-motívicos." Universidade Federal da Paraíba, 2009. http://tede.biblioteca.ufpb.br:8080/handle/tede/6625.
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The purpose of this research was to study the Concerto no. 1 for Violin and Orchestra by Camargo Guarnieri. One of its main goals was the search for elements of the Brazilian musical nationalism present in this work. Thus, in order to achieve this first goal, an analysis was done based on the Ensaio sobre a música brasileira by Mário de Andrade. Where the author gives the guidelines on which nationalists composers should follow, in order to compose Brazilian music with national traits. Therefore, we could verify the presence of several elements of the nationalistic aesthetic employed by Guarnieri in this concerto. This study had as primary source the musical score of the concerto in digital format, provided by the Camargo Guarnieri Archive, which belongs to the Institute of Brazilian Studies, in São Paulo. It was also verified the content of the digital media entitled Camargo Guarnieri 3 Concertos for Violin and the Mission , which contains the first DVD recording of Guarnieri s works for violin and orchestra. During the research a biographical study was done, focusing on relevant facts of Guarnieri s life right before and after the composition of this concerto. Based on this information, we verified that the Concerto no.1 was the beginning of a very important period in his professional life. This research also takes into consideration the analysis of the compositional style employed by Guanieri in this concerto. We have observed the use of compositional elements inherited from the European tradition combined with elements from the Brazilian popular culture. We have also noticed the presence of musical instruments, scales, rhythms and melodic fragments that are characteristics of some popular melodies. These elements were carefully selected, which allowed us to show their use in several passages in which Guarnieri placed them. This study also focused on the observation of the formal structure and the thematic and motivic development employed by Guarnieri in all three movements of this concerto. This research culminated with a performance edition of the work for violin and piano based on the manuscripts.
Este trabalho objetivou o estudo do Concerto n.º 1 para Violino e Orquestra de Camargo Guarnieri, tendo como uma de suas principais metas a busca por elementos do nacionalismo musical brasileiro presentes nesta obra. Para alcançar este primeiro objetivo foi feita uma análise, com base no Ensaio sobre a música brasileira de Mário de Andrade, sobre as diretrizes que os compositores nacionalistas deveriam seguir para comporem música brasileira com características nacionais. Desta forma, pudemos constatar a presença de vários elementos da estética nacionalista usados por Guarnieri na composição da obra estudada. O estudo teve como fonte primária, o manuscrito do concerto em cópia digital cedida pelo Arquivo Camargo Guarnieri, Instituto de Estudos Brasileiros, São Paulo. Foi também verificado o conteúdo existente na mídia digital Camargo Guarnieri 3 Concertos para Violino e a Missão , que representa a primeira gravação em DVD da obra de Guarnieri para violino e orquestra. Durante a pesquisa foi realizado um levantamento biográfico sobre alguns fatos ocorridos na vida de Guarnieri, referentes ao período anterior e posterior ao da composição deste concerto. Diante desses dados, verificou-se que o Concerto n.º 1 foi o início de uma fase de significativas conquistas na vida do compositor. Outro ponto de destaque desta pesquisa refere-se à análise do estilo composicional de Guarnieri neste concerto. Verificamos a presença de elementos composicionais herdados da música européia, em perfeita harmonia com os elementos de nossa cultura popular. Constatamos no concerto a utilização de instrumentos, escalas, ritmos e reminiscências melódicas que são características de certas melodias populares. Estes elementos foram cuidadosamente selecionados e foi possível demonstrar o seu uso nos vários trechos em que Guarnieri os inseriu. Este estudo também teve como foco, a observação da estrutura formal empregada por Guarnieri e o tratamento dado ao desenvolvimento temático e motívico nos três movimentos do concerto. A pesquisa teve o propósito de fazer uma edição da parte do concerto no formato para violino e piano a partir de seus manuscritos.
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Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.
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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to evaluate his essential self-characterization shift in his compositional style, the so-called "five lines."
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Platt, Jessica K. "A methodolology of study for Samuel Barber's Concerto for violin and orchestra op. 14." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/783.
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Platt, Jessica K. "A methodology of study for Samuel Barber's Concerto for violin and orchestra op. 14." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1467040.
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In this study the author develops a methodology for the study of the Samuel
Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic
components of the work, presenting important pedagogical principles, and offering an
array of performance practice techniques. The primary tool used to formulate the
methodology was a survey of exceptional violinists and pedagogues. Twenty-six
professional violinists responded to a survey that asked their suggestions for preparing
and performing five specific excerpts from the Concerto. The compilation of the
responses provides an invaluable guide for violinists who are studying or teaching this
staple of the instrument’s repertoire.School of Music
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Greene, Adam. "A breath between : a double concerto for flute and violin with small ensemble /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099906.
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Thesis (Ph. D.--Music)--University of California, San Diego, 2003.Vita. For flute and violin with ensemble of clarinet, violin, viola, violoncello, piano, oboe, bassoon, and double bass. Performance instructions precede score.
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Kwak, Anna. "A performer's analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966575.
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Tagawa, Laura. "David Amram's Concerto for Violin and Orchestra (1974): An Exploration of Amram's Diverse Style." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/297059.
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This document examines David Amram's (b. 1930) diverse compositional style, as represented by his Concerto for Violin and Orchestra (1974). Amram's unique background as a performer in various genres allows him to blend styles seamlessly. He highlights the use of a wide range of styles in this work, which makes this concerto a significant work in the twentieth century, American violin concerto repertoire as well as bridging the classical, jazz, and world genres creating a truly American style of music. This document examines how these influences--including classical, jazz, world music, and "Beat Generation" artists--have influenced David Amram's compositional style as represented in his Concerto for Violin and Orchestra. Biographical information about David Amram, including his life, compositional output, and a brief musical analysis with an emphasis on performance information useful to violinists are presented. In addition an interview with Amram was conducted, in which his compositional style and in particular his Concerto for Violin and Orchestra was discussed. A transcript of the interview is provided in the Appendix of this document.
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Seebacher, Robert J. "AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/29.
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The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.
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Chatziiosifidis, Stelios. "Tracing the idea in Schoenberg's Violin Concerto: an interpretation through performance practice, analysis and recording analysis." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592679.
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Schoenberg's twelve-tone music has attracted widespread musicological research and attention. The performance of his twelve-tone music, however, has not received the same prominence. The tension between these two opposing trends is the foundation of this thesis, which applies academic research to shaping an interpretation that leads to a performance of Schoenberg's Violin Concerto. In order to understand Schoenberg's musical thinking this study begins with the exploration of his concept of performance practice, identifying and organising the manifold issues around the concept of the Idea. In chapter two the Idea is traced in the material of the Violin Concerto, demonstrating how it can be associated with a specific group of notes, the tetrachord set-class 4-3. The appearance of this tetrachord in key moments, and the intention to project large-scale sections of the movements, influence the performer-oriented analysis at the end of chapter two. The performer-oriented analysis includes graphs that combine information about dynamics, tempo and a score reduction in order to assist the performer in his task of shaping each section. Chapter three explores the extent to which the projection of these large-scale sections occurs successfully in other recordings. The recording analysis program Sonic Visualiser has been employed in order to assist this research. The research focuses mainly on a contemporary recording, which at the time of the research was the most recent, and a recording that was in close proximity to Schoenberg and his circle: the 2000 recording with Rolf Schulte and Robert Craft (Philhannonia Orchestra) and the 1967 recording of Rudolf Kolisch and Rene Leibowitz (Wisconsin Festival Orchestra). Louis Krasner's 1954 recording with Dimitri Mitropoulos (Cologne Radio Orchestra) is also briefly examined, in order to make a comparison with another violinist that premiered the Concerto and was close to Schoenberg's circle. Chapter four amalgamates the previous research findings in order to produce three graphs, one for each movement, that outline a personal interpretation of the Concerto. The emphasis of these graphs focuses on the handling of tempo and how it influences the projection of large-scale sections that " organically connect to each other. At the end of the chapter the discussion returns to the performance practice issues outlined in chapter one, in order to demonstrate how they fit within the proposed interpretation of the piece.
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Kim, Min Hwa. "Performance Guide to Selected Violin Works of Béla Bartók." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321894138.
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Burns, Caryn L. "CONCERTO FOR HARPSICHORD, FLUTE, OBOE, CLARINET, VIOLIN, AND VIOLONCELLO BY MANUEL DE FALLA: AN (AUTO)BIOGRAPHICAL READING." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1144356651.
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Kim, Yun Jeong. "Isang Yun's Violin Concerto No.1 (1981): A Fusion of Eastern and Western Styles, and the Influence of Taoism." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1368086330.
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Scott-Burt, Nicholas. "A commentary on submitted works : Sinfonia Concertante, Sonate en Tableaux, Elegy, Concerto for Violin and Orchesra, Lyric motets." Thesis, University of Bristol, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557263.
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This dissertation is a commentary upon five scores presented as a portfolio of research by musical composition. Background My compositional work prior to 2004 arose from neo-classical techniques, in a familiar-sounding tonal musical language. The works of the portfolio seek to depart from this. A post-modem view of musical language is that it may embrace multifarious sound-worlds, directly or obliquely referring to music of previous ages - using language as material. The way in which such material is presented is through structure, and this may exert as much influence on the style as do the harmony, melody and rhythm. Originality in music can be defined as the individuality of a composer's technique, (as opposed to merely the external effect of the music), and this taken to extremes may define the outer limits of a personal style, within which a much broader spectrum of style may exist. Method In Part Lmy own techniques in tonality, rhythm and structure are briefly examined in general terms before in-depth analyses of each work in Part 2. These reveal an evolution of technique: from the pure structuring of the Sinfonia Concertante, via the extreme but characterful Sonate en Tableaux, to the Romantic and semi-programmatic Violin Concerto, where rigorous structure is still fundamental to the effect of the music, but is much subservient to musical character. The shorter pieces (Elegy and Lyric Motets) demonstrate how the procedures of the other works may be scaled down to meet the needs of more intimate and less virtuosic music with the same level of craftsmanship. Conclusions Through the extreme working of my own structural procedures in these works I have established the parameters of a personal style, within which falls a broad range of musical language, and a consistency of approach from the grandest to the briefest of pieces; this now defining my personal voice as a composer.
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Chiang, I.-Chun. "A Historical Technique from a Modern Perspective: The Transcription Scordatura in Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169540.
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Krengiel, Elwira. "Rodolfo Halffter's Violin concerto fusion of nationalistic Spanish elements and neoclassical style, analysis and a study of performance issues /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/2177.
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Bottelli, Roberta M. "Double concerto for violin, violoncello, and orchestra by Frederick Delius : historical context, form and performance challenges from a cellist's perspective." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46727.
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Double Concerto for Violin, Violoncello, and Orchestra by Frederick Delius: Historical context, form and performance challenges from a cellist’s perspective covers different issues related to the Delius Double Concerto, including historical context, the form of the Concerto, and the challenges faced by the soloists when preparing the work for performance, especially from the solo cellist’s perspective. The History of the Work chapter includes an overview of Delius’ life, how the Double Concerto fits into his compositional output, and background about the performers for whom the work was written, cellist Beatrice Harrison and violinist May Harrison. The Form and Analysis chapters provide different interpretations of the form of the work, particularly double-function and cyclic form models, and compare the Double Concerto with works with similar formal designs, specifically the Liszt Sonata in B Minor and the Saint-Saëns Cello Concerto No. 1 in A Minor. The final chapter addresses the specific challenges faced when performing the Double Concerto, including discrepancies in the score, balance and ensemble issues, and non-idiomatic writing for both soloists.
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PHELAN, VINCENT J. "AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148174895.
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Phelan, Vincent J. "An analysis of the first movement of the concerto for violin and orchestra, Op.77 by Johannes Brahms applications in performance /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148174895.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed Sept. 14, 2006). Includes abstract. Keywords: Brahms Violin Concerto Analysis Performance Themes Harmony Rhythm Melody Dynamics Includes bibliographical references.
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Hong, Dayeon. "The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505269/.
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This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love and revival also in his instrumental music. It is noteworthy that he borrowed only the "love themes" from his film scores for the first two movements of the violin concerto. The violin concerto was the first work written after Korngold returned to absolute music after a decade of composing for films to ensure his and his family's survival during the war. After the Anschluss, during his exile in California as a Jewish refugee, Korngold's love for his homeland Austria, his philanthropic concern for humanity, and longing for peace became his primary focus; these concerns are reflected in his Violin Concerto through his use of specific motives. By researching the historical and biographical materials, as well as employing linear analysis, this study seeks to explore the meanings of the linear motives in Korngold's music; more specifically, it attempts to show how particular motivic figures and tonal structures express the composer's ideas of transcendental "love." It argues that an in-depth understanding of both the technical and semantic aspects is also the first and foremost requirement for performing this piece.
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Flores, Jose. "The Violin Concerto and the Second Symphony by Johannes Brahms: Musical Resemblance as a Result of the Proximity in their Dates of Composition." Diss., Tucson, Ariz. : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1446%5F1%5Fm.pdf&type=application/pdf.
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Cross, Edward William. "Musical timing in the Adagio from Brahms' Violin Concerto, Op. 77 : an empirical study of rubato in recorded performances dating from 1927-1973." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2452.
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The inter-war period of the twentieth century represents something of a ‘golden age’ in solo violin playing. In addition to an unprecedented degree of technical prowess, a huge amount of variety existed between different performers, with the majority of well-known artists exhibiting their own unique sound and manner of delivery. One area of expression in which a divergence of approach is most evident is that of musical timing, whereby performers utilise what is generally termed ‘rubato’ in order to convey either the structure or emotional character of the music. This thesis utilises specialised computational methods of empirical analysis in order to investigate how rubato is used in thirty recordings of the Adagio from Brahms’ Violin Concerto, Op. 77, made by eminent performers who were active during this period. By comparing these recordings in detail, the principle aim is to ascertain just how much performers differ in their approaches to musical timing and, conversely, where there is some degree of common practice. Literary sources pertaining to rubato from the late-nineteenth and early-twentieth centuries are also scrutinised, in order to determine to what extent these written descriptions of rubato relate to use of the device in real-life performances. Key stylistic traits are identified and categorised, in order to inform performers who are looking to incorporate something of this twentieth-century style of rubato into their own playing. To date, the vast majority of empirical studies of performance have been conducted in the field of music psychology, with musicological approaches tending to favour closelistening methods in order to identify key stylistic traits. This study has attempted to use both empirical analysis and close-listening in tandem, which allows for the identification of common timing patterns across all thirty recordings, as well as the detailed examination of idiosyncrasies within their respective musical contexts. Sonic Visualiser software has been used to create a number of innovative video examples that incorporate tempo graphs with the original recorded sound, in order to see and hear what is happening in the music simultaneously.
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Price-Brenner, Paul Alan. "Concerto for viola section and orchestra." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5605.
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Concerto for Viola Section and Orchestra is a two-movement work lasting nineteen minutes. Its first movement in entitled Frenetic, and the second, Song and Finale, is made up of a slow and fast section. The concerto is scored for piccolo, two flutes, two oboes, two clarinets in B-flat, bass clarinet, two bassoons, two horns in F, two trumpets in C, tenor trombone, bass trombone, four percussion, a section of seven violists, violins 1, violins 2, violoncellos, and double basses.
Balance can be one of the main problems with writing a work for solo viola and orchestra. While the viola’s timbre makes it an enticing instrument, there is a restriction that keeps it from easily projecting over an orchestra. Composers have devised several methods for solving the problem. For example, Paul Hindemith was careful not to over orchestrate in his concerto entitled Der Schwanendreher. By limiting the number of cellos and basses to four and three respectively, and by omitting violins and other violas altogether, Hindemith thinned out and removed timbres that might obstruct the viola.
In my concerto for a section of violas, I also consider orchestration as a solution to the problems of balance and projection. However, I focus on the soloists in contrast to the orchestra. By composing for seven violas, I utilize the thickness of sound achieved through chorusing. Using any combination of the violas, it becomes easier for the listener to perceive the viola timbre. Furthermore, this use of multiple violas allows for more complex counterpoint in solo passages, something a single instrument is not able to manage on its own. This piece is not a concerto grosso in any sense. The soloists do not perform as a smaller chamber ensemble extending from the larger orchestra. Instead, the soloists are treated as a single entity. They act as one unit, using seven performers to do the work of one soloist.
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Camacho, Hermes. "Concerto for violin and wind ensemble." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3148.
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Concerto for violin and wind ensemble is a 25-minute virtuosic work for the violin and accompanying winds, brass, and percussion. As a trained violinist, among the first works I learned were the concerti of J.S. Bach. Thus, I pay special homage to Bach in this piece by using the famous B-A-C-H motive (each letter corresponding to a pitch) to generate much of the musical material in the work. The analysis of the Concerto details the processes in which B-A-C-H affected and shaped the melodic and harmonic language of the piece, while also touching upon the use of orchestration and the problems associated with balancing a single solo instrument against a large ensemble. I also discuss the several existing works for violin that were highly influential in composing the Concerto and the "anxiety of influence" associated with each model.text
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Lin, Jenny, and 林佳妮. "Bruch, Max. Violin Concerto G minor." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/13190461090267366951.
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Curcin, Katarina. "Double concerto for violin, percussion and orchestra." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=510529&T=F.
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Crawford, Heather A. "Joan Tower's Violin concerto an organic approach to composition /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075612.
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Smith, Jenna. "Sofia Gubaidulina's violin concerto Offertorium : theology and music in dialogue." Thèse, 2010. http://hdl.handle.net/1866/5171.
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L’objectif de ce mémoire est de comprendre comment une certaine vision du monde, basée sur des croyances théologiques, a contribué à la composition du concerto pour violon Offertorium de Sofia Gubaïdulina. C’est par le biais de cette œuvre qu’est explorée l’idée du dialogue musicothéologique, en proposant des façons par lesquelles la pièce musicale en question peut servir de porteuse ou d’interprète d’une pensée théologique. Afin d’appuyer cette idée, la démarche intertextuelle employée par Heidi Epstein est utilisée. Cette méthode permet de faciliter non seulement le travail interdisciplinaire, mais aussi la lecture théologique de l’œuvre musicale.
Le premier chapitre explore les sources, les questions et la problématique qui entoure le dialogue musicothéologique. La conclusion tirée est que l’étude d’Offertorium nécessite une approche équilibrée. Nous entendons par cela, une approche qui prend en ligne de compte la réflexion théologique autant que la recherche musicologique tout en respectant les contributions théologiques que l’œuvre musicale peut apporter en soi.
Dans le deuxième chapitre, une analyse thématique d’Offertorium a été tentée ainsi qu’une étude du discours théologique et spirituel de la compositrice. Il a été conclu que l’arrière-plan russe orthodoxe de Gubaidulina a beaucoup influencé sa vision du monde et son approche artistique. Le concerto est porteur d’idées et de symboles liturgiques ou théologiques de l’Orthodoxie dans sa structure et dans sa construction thématique.
Le troisième chapitre explore les parallèles entre la pensée de Gubaidulina et les écritures de plusieurs théologiens russes orthodoxes du 20e siècle. La conclusion de ce chapitre démontre que, même s’il est improbable que la compositrice connaisse bien ces auteurs, sa compréhension théologique et spirituelle sort du climat religieux de l’Église Orthodoxe. Cette idée explique les complémentarités et les similarités entre son discours, son œuvre et les propos des théologiens discutés.
Le quatrième chapitre évalue la validité d’Offertorium comme moyen d’expression théologique ainsi que de générateur de réflexion théologique.
La conclusion de la recherche est qu’Offertorium peut bel et bien être un espace théologique. Ce qui veut dire que des idées théologiques peuvent être communiquées par le biais de l’expérience sonore que ce soit par la mélodie ou l’ambiance générale. Également, cela implique que la musique devient un partenaire égal, quoique différent des méthodes de réflexion traditionnelles au sein de la conversation théologique.This paper explores the musico-theological dialogue through the study of Sofia Gubaidulina's violin concerto, Offertorium. Its aim is to understand how theological belief and worldview have influenced and contributed to Offertorium's composition, and in consequence, how the concerto serves as an interpretive conductor of theological thought. To support this idea, the intertextual method developed by Heidi Epstein is employed, which aids not only the interdisciplinary approach, but also a theological analysis of a musical work. Chapter One explores the sources, questions and problematic concerning musico-theological dialogues. It concludes that for studying Offertorium, a balanced approach was in order, one that took into consideration theological reflection as much as musicological research, and that respected the music's theological contributions in its own right. Chapter Two attempts an analysis of Offertorium and a study of the composer's discourse on matters of theology, religion and spirituality. It is concluded that Gubaidulina's background in Russian Orthodoxy has deeply influenced her worldview and artistic approach. Many Orthodox theological and liturgical themes and symbols are present structurally or thematically in the concerto. Chapter Three explores the parallels between the composer's ideas and the writings of several contemporary Russian Orthodox theologians. It concludes that while it is improbable that Gubaidulina is familiar with these writers, hers is a worldview that has emerged from the experience of a Russian Orthodox climate which explains the similarities and complementarities between her work and the work of the discussed authors. Chapter Four evaluates the validity of Offertorium as a means of theological expression, but also as the producer of original theological thought. It concludes that both are possible, rendering Offertorium its own theological ground. The conclusion of the study is that a musical work such as Offertorium can be a “theological ground”. This entails that theological ideas in this case are communicated through experience (experiencing sound, melody and musical ambiance) and not through traditional means of textbook or sermon. This also insinuates that music can be an equal, albeit entirely different, player in the theological dialogue.
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"A New Piano Reduction of the Sibelius Violin Concerto with Commentary." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14454.
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abstract: Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing published reductions. These reductions are made by a variety of people: editors, conductors, pianists, but rarely by the composer, and often do not reflect the composer's true intentions. While many reductions are technically playable, including the reduction of the Sibelius Violin Concerto that will form the basis of this paper, the arrangement of the orchestration can be obscured or inaccurate to the point where the violin soloist may not be receiving the best representation of the actual orchestration. A piano reduction should as closely as possible represent the original intention of the composer, both for the sake of the audience and the performers. The pianist should be able to provide the proper support and orchestration of any reduction for the instrumentalist or vocalist so that the same performance style and technique can be used while performing with either a piano reduction or a full orchestra. This research document contains a detailed examination of the various orchestral reductions of the Sibelius Violin Concerto, culminating in a new version by the author. In this discussion, the author will present a basic understanding of how to orchestrate at the piano through an in-depth explanation of piano skill and technique, practice techniques such as listening to a recorded version of the full orchestration while playing the piano, and ways to study and revise an existing piano reduction. The current published reductions of the Sibelius Violin Concerto contain many errors and discrepancies and will be contrasted with the author's own reduction, available for comparison and study in the appendix. This new revised reduction will clearly show the orchestral instruments represented throughout the score, demonstrate new techniques for various orchestral textures, and will yield a playable product that more closely represents the composer's original intentions.Dissertation/Thesis
D.M.A. Music 2011
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Lai, Chiao-Jen, and 賴巧壬. "The Analysis and Interpretation of Barber's Concerto for Violin and Orchestra." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/64918457388651005089.
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碩士輔仁大學
音樂研究所
101
Samuel Osborne Barber, one of the most famous composer in America in the mid-twenty century, whose work includes opera, chorus, orchestra, sonata and concerto. The most popular which also been performed in the concert is the Adagio for strings, Op.11, （1936）. Barber was born in the USA, where nurture the immigrations from all over the world. Different cultures melt together to make the music style more diversity. That is why his work mixed all these components and add a flavor of his own to make it more outstanding from others. Though his works tend toward to Romanticism, he did not be bound. The following presented research will discuss the unique features about Concerto for Violin and Orchestra, 0p. 14 in Barber’s life background.
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Yang, Chun-Chi, and 楊鈞智. "The Analysis and Performance of Béla Bartók Violin Concerto No.2." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/82452469157042392022.
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Chu, Heng-Chih, and 朱恆志. "The Analysis and Conducting Interpretation of Violin Concerto“ The Butterfly Lovers”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/55zuz5.
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碩士國立臺灣師範大學
音樂學系
107
The violin concerto "The Butterfly Lovers" combines the western classical music with the Chinese opera as the foundation of its composition. Since the premiere in 1955, the performance has exceeded a thousand, and the performance has spread across the world. In the Chinese world, it is a famous song that is widely sung and well known. What is special about such classic masterpieces; what kind of breakthrough innovations in the history of Chinese music; and how to interpret such music that has both Eastern and Western music cultures is an important theme of our discussion. This piece is a new milestone in the symbol of Chinese music. He Zhanhao and Chen Gang succeeded in combining the Chinese music and Western music in this piece include practicing the playing techniques of Chinese musical instruments in Western musical instruments. In the other hand, the breakthrough thing was put the style of Chinese opera into the symphony, been used for explaining the storyline. Therefore, in order to intensively study this piece, we both need research the history about this piece and the contents that been used in this piece. Then, analysing the piece and researching the conducting method which been depend on the interpretation. This paper has five chapters. The researcher will explore this paper through the study of the composers , the analysis and conducting interpretation of this piece, and then combine the former research in the fifth chapter, plus the researcher's personal experiments of rehearsal and performance. Researcher hope that through the information I have compiled, supplemented by my own insights, I will provide a comprehensive academic research material for this piece as a reference.
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Shao-Yu, Chien, and 簡紹宇. "Sergey Prokofiev: Violin Concerto No. 1 in D major, op. 19." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/k853v8.
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Tomlin, Laura Anne. "A study of Gian Carlo Menotti's Concerto for violin and orchestra." 2009. http://purl.galileo.usg.edu/uga%5Fetd/tomlin%5Flaura%5Fa%5F200912%5Fdma.
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