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Dissertations / Theses on the topic 'Concerto (Violin)'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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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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2

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 con

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3

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 University<br>In 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

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4

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

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5

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 expan

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6

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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7

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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8

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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9

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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10

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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11

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.<br>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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12

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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13

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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14

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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15

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 i

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16

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

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17

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 Bartó

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18

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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Made available in DSpace on 2015-05-14T12:52:38Z (GMT). No. of bitstreams: 1 parte1.pdf: 3911167 bytes, checksum: c16331e624baa522e3f4f2912d83fec9 (MD5) Previous issue date: 2009-11-30<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>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 Má

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19

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. Neith

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20

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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21

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 g

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22

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.<br>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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23

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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24

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 "Bea

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25

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

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26

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 c

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27

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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28

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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29

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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30

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 ha

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31

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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32

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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33

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 writt

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34

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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35

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.<br>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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36

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

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37

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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38

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 specialise

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39

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 ma

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40

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 as

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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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42

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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43

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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44

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 interdisciplinai

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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

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46

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<br>輔仁大學<br>音樂研究所<br>101<br>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 Roma

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47

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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48

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<br>國立臺灣師範大學<br>音樂學系<br>107<br>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

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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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