Academic literature on the topic 'Concertos (Violin)'
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Journal articles on the topic "Concertos (Violin)"
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Whitmore, Philip. "Towards an Understanding of the Capriccio." Journal of the Royal Musical Association 113, no. 1 (1988): 47–56. http://dx.doi.org/10.1093/jrma/113.1.47.
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An extended, unaccompanied violin passage labelled ‘Capriccio’ occurs towards the end of the first and last movements of each of the 12 solo violin concertos, op. 3, by Pietro Antonio Locatelli (1695–1764). These concertos, all of which observe the three-movement fast-slow-fast layout, were published in 1733 by Le Cène in Amsterdam under the title L'arte del violino, but were probably written in the late 1720s. The capriccios may last up to a few pages, and some are longer than the whole of the rest of the movement to which they belong.
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Forsberg, Suzanne, Maddalena Laura Lombardini Sirmen, and Jane L. Berdes. "Three Violin Concertos." Notes 50, no. 3 (1994): 1173. http://dx.doi.org/10.2307/898605.
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Tyniec, Andréa. "Three Violin Concertos." Circuit: Musiques contemporaines 28, no. 2 (2018): 112. http://dx.doi.org/10.7202/1051300ar.
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Pu, Lihua. "Performance Perspectives in Jenő Hubay's Violin Concertos." Studia Musicologica 63, no. 3-4 (2023): 329–46. http://dx.doi.org/10.1556/6.2022.00014.
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AbstractJenő Hubay (1858–1937) attained his greatest stature as the founder of the Hungarian Violin School. Although Hubay's name is mostly mentioned in violin pedagogy, he was also a popular composer during his lifetime. He composed over 300 violin works, and his role as composer is underestimated unlike those of contemporaries such as Eugène Ysaÿe. The present paper focuses on the performance perspectives in Hubay's violin concertos, by examining the historical background of each concerto, followed by a systematic approach to violin and musical techniques. This includes guidelines for determining tempo, dynamics/dynamic planning, bowing/articulation, tempo rubato, and portamenti/vibrato to create a style of performance appropriate to Hubay's works.
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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.
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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.
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Lysychka, Oleksandr. "INTROSPECTION AS A SIGN OF LYRICALLY-DRAMATIC GENRE TYPE IN E. ELGAR’S VIOLIN CONCERTO." Aspects of Historical Musicology 25, no. 25 (2021): 57–86. http://dx.doi.org/10.34064/khnum2-25.03.
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Statement of the problem. Edward Elgar’s instrumental concertos occupy the special place in European music. Most of the violin concertos of Romantic composers were written before E. Elgar created his own (1910); the concertos by J. Sibelius (1904) and M. Reger (1908) are closest to this work in time, and Elgar’s Concerto almost coincides with the chronology of K. Nielsen’s Violin Concerto (1911), which has already been, however, significantly influenced by neoclassical aesthetics. In five years, K. Szymanowski’s First Violin Concerto (1916) will appear, rejecting the romantic way of expression, and later a new “era” in the development of this genre will begin. Elgar’s Violin Concerto (1910), the first of his two instrumental concerts, is another step of the composer on the way to mastering various musical genres, the accumulation of new creative ideas. In a number of parameters, the work is closer to the First Symphony, becoming almost a doppelganger of it but with a solo violin, an instrument played by the composer himself. Thus, the study of the Concerto is relevant, at least, in three aspects: in the analysis of the creative evolution of the composer, for understanding his attitude to the concert genre, and for revealing the meaning of the composer’s self-expression. Consideration of the work in the aspect of the latter – identifying features of introspection in the music of the Violin Concerto as part of its genre structure – is the purpose of this study, which is the first attempt of its kind. Conclusions. Elgar’s Violin concerto follows the tradition of lyricallydramatic type of symphonism, which the composer employed in his First symphony written shortly before the Concerto. It can be seen both in thematically-intonational content and in special features of dramaturgy and composition (“throughout” themes, large duration, conflict dramaturgy). The genre of instrumental concerto suggests additional dimension of the work, relation between solo and orchestral parts, and in this case the composer maintains a balance in such things as distribution of themes and their development and interpretation of soloist’s part. The introspective character of the Violin concerto is most obvious in its Cadenza – the most significant episode for this genre – due to its significant length, the lyrical way of expression, reminiscences and derivative themes, the rejection of a clear metrorhythmic organization that allows the perception of Cadenza as a stop in time for lyrical reflection. Other aspects of introspectiveness include the predominance of lyrical themes, a large number of fragments with quiet dynamics and the genre’s predicted concentration of attention on the soloist, although the composer retains balance between solo and orchestral parts.
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Abramson, Michael. "Some Intermediate-Level Violin Concertos." American String Teacher 47, no. 2 (1997): 53–55. http://dx.doi.org/10.1177/000313139704700210.
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Druce, D. "Violin concertos, arias and sextets." Early Music 42, no. 1 (2014): 136–38. http://dx.doi.org/10.1093/em/cau004.
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Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.
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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to track the evolution of the melody ofS. Prokofiev. Scientific novelty claims relevance because, unfortunately,very little attention is paid to the unique lyrics of Prokofiev, which standsout very clearly among other composers. Therefore, the study of thecharacteristics of the canted melody reveals the melodic style in itsmainstream. Especially since it is the cantilena that contains the mostimportant artistic discoveries of the composer in the field of melody, this iswhere the peculiarity of his melodic thinking manifested itself.Conclusions. Prokofiev was one of the first composers of the twentiethcentury, who brought the violin art back to its natural, for centuries acertain lyrical-emotional direction. The violin in his works appears mostoften in the role of „actorˮ, who predominantly distinctly „singsˮ. Thisfeature is inextricably linked with the lyrical direction – very strong in allProkofievʼs works. The lyrical direction, we can assume, dominatesProkofievʼs entire violin heritage. His innovation in the field of updatingthe melody from the inside consisted in updating its imaginative,intonational, mode. Over the years, the Prokofievʼs violin style haschanged, reflecting the general evolution of its artistic and aestheticprinciples. The last period of his work was marked by the desire forsimplicity, clarity of musical thinking, and hence to even greater modesty,transparent texture, and wise savings in the means of expression.
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Yaropud, Natalya. "Double concertos for violin and cello with orchestra by Johannes Brahms and Vitalyi Kyreiko: genrе and style dimentions". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 138 (22 грудня 2023): 161–74. http://dx.doi.org/10.31318/2522-4190.2023.138.294810.
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The relevance of the article. The Concertos for violin and cello with symphony orchestra by J. Brahms (a moll, op. 102) and V. Kyreikо (a moll, op. 65) are considered in terms of embodying the artistic pursuit of composers of different eras and national schools. Genre-stylistic features are outlined, their individual and common features are revealed, which testify to the preservation and development of the tradition of the concert genre, the reinterpretation of the Brahms concert model in a new cultural context. It is emphasized that works belong to the type of symphonized concert, in which the means of symphonic transformation of thematic material, a rich polyphonic texture, complex forms of interaction between soloists and orchestra prevail. It is noted that the methods of symphonizing the musical fabric take place in accordance with the creative attitude of each composer, whose common stylistic space fits into the paradigm of romanticism — neoromanticism. Special attention paid to the V. Kyreiko’s concerto for violine and cello with orchestra, as the first in Ukraine double concert for string instruments, which is considered from point of imitation and development of the genre of instrumental concert. Emphasized the uniqueness of the author’s concept, which is revealed in the combination of deep musical content and clear form, understanding of the expressive possibilities of the violin and cello, and the disclosure of the natural beauty of the sound of the instruments.
The main objective of the article is to compare the genre-stylistic features of the double concertos for violin and cello with the orchestra by J. Brahms and V. Kyreiko and to reveal the possibilities of their modern performance interpretation.
The methodology of the research methodology includes the following methods: historical, which made it possible to determine the historical framework and attribute the work of composers to a certain era and style; genre-style analysis, which made it possible to reveal the stylistic features of musical expressiveness in the specified works of the composers; comparative analysis, thanks to which it became possible to compare intonation genre-style complexes in the work of composers; performance analysis, with the help of which the artistic and performance specifics of the double concerto for violin and cello with orchestra are highlighted in the aspect of updating the genre tradition of the 19th - second half of the 20th centuries.
Results and conclusions. A comparative analysis of two original in design and methods of musical implementation of concertos for violin and cello and symphony orchestra by J. Brahms and V. Kуreiko allowed us to outline the wide genre and style space of existence of these bright artistic phenomena, which extends from the romanticism of the 19th century to the neo-romanticism of the 20th century, demonstrates the durability genre tradition, reveals the common features and individual differences of these works. Despite the different national and cultural context, both works embody the symphonic scale of the development of musical thought, they are marked by the breadth and ambiguity of lyrical and dramatic images. The thematic layer of the concerts is distinguished by its imaginative breadth: an epic story, elegiac romantic-song episodes, a multifaceted lyricaldramatic sphere, genre-dance finales with different emotional moods. The principle of thematic development is built on the basis of complementarity, contrasting juxtapositions of theme-images, avoidance of sharp clashes, associatively reminiscent of romantic poetic dramatic concepts. The double concertos for violin and cello by J. Brahms and V. Kуreiko demonstrate perfect skill in the presentation of each of the soloists, the construction of ensemble dialogues, and the interaction of the soloists with the orchestra. As a general trend, we state that both concerts continue the tradition of symphonizing the genre. Reviews of concerts performed by leading Ukrainian musicians of different generations (O. Horokhov — V. Chervov, B. Pivnenko — K. Polyanska) provide examples of standard performance versions, the performers' deep understanding of the composer's concepts, their inclusion in the general cultural and historical process. Undoubtedly, they are guidelines for further revealing the artistic potential of concerts.
Dissertations / Theses on the topic "Concertos (Violin)"
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Billing, Sally. "Bacewicz : the violin concertos." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.
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This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devoted to a contextual analysis of Bacewicz's series of seven violin concertos and the study concludes with a consideration of a number of factors affecting Bacewicz's career and subsequent reception, addressing issues such as Polish cultural policy, the status of women composers, and her juggling of a number of professional and domestic roles. Appendices provide comprehensive listings of both her catalogue of works and recordings. Most importantly, however, the study uncovers the merit and originality of a number of works which exhibit a creative approach to string writing and a highly imaginative use of timbre. Such research should provide the invitation to others for further investigation into a catalogue containing over two hundred works.
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Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.
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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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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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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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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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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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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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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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Lewis, Stephen Edward Lewis Stephen Edward Lewis Stephen Edward Lewis Stephen Edward. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464858.
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Thesis (M.A.)--University of California, San Diego, 2009.The 1st work for violin, clarinet, violoncello; the 2nd for piano with chamber orchestra; the 3rd for 2 flutes (1 doubling on piccolo), 2 clarinets, 2 violoncellos. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.
Books on the topic "Concertos (Violin)"
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Carter, Elliott. Violin concerto. Hendon Music, 1992.
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Carter, Elliott. Violin concerto. Hendon Music, 1991.
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den, Booren Borika van, Verhey Emmy, Starker Janos, et al., eds. Violin concerto: Double concerto. Brilliant Classics, 2008.
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1956-, Kennedy Nigel, and Tennstedt Klaus 1926-, eds. Violin concerto. Picture MusicInternational, 1991.
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Prokofiev, Sergey. Two violin concerti for violin and piano. Kalmus, 1999.
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Shostakovich, Dmitriĭ Dmitrievich. Piano concertos. Harmonia Mundi, 2011.
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Stowell, Robin. Beethoven, Violin concerto. Cambridge University Press, 1998.
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Lewis, Peter Scott. First violin concerto. T. Presser, 1998.
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Amram, David. Concerto for violin and orchestra: Violin and piano. C.F. Peters, 1995.
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Delius, Frederick. Concerto for violin (1916): For violin and piano. Masters Music Publications, 1995.
Book chapters on the topic "Concertos (Violin)"
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Falletta, JoAnn. "Conducting Amram's Violin Concerto." In The Many Worlds of David Amram. Routledge, 2023. http://dx.doi.org/10.4324/9781003299745-11.
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Santa, Matthew. "Violin Concerto in D Major (1878)." In Anthology for Hearing Form, 3rd ed. Routledge, 2022. http://dx.doi.org/10.4324/9781003146056-22.
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"Violin Concertos." In The Szymanowski Companion. Routledge, 2016. http://dx.doi.org/10.4324/9781315552378-52.
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Riepel, Joseph. "Violin Concertos." In Recent Researches in the Music of the Classical Era, 90. A-R Editions, 2013. http://dx.doi.org/10.31022/c090.
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Tessarini, Carlo. "Twelve Violin Concertos, Opus 1." In Recent Researches in the Music of the Classical Era, 61. A-R Editions, 2001. http://dx.doi.org/10.31022/c061.
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Hopkins, Antony. "Violin Concerto in D Major, Op. 61." In The Seven Concertos of Beethoven. Routledge, 2019. http://dx.doi.org/10.4324/9780429430688-7.
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Ramnarine, Tina K. "Legacies." In Jean Sibelius's Violin Concerto. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611538.003.0007.
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This chapter reflects on the legacies of Sibelius’s Violin Concerto in D Minor (op. 47), noting the establishment of the Sibelius Violin Competition and listing violin concertos composed by Finnish composers after Sibelius. It discusses concerto writing as an exploration of the relationship between soloist and orchestra. By situating virtuosity as a trope in relational thought within philosophical discourses on human tendencies, this chapter argues that a politics of possibility emerges because the element of risk in a virtuoso’s performance is haunted by a moral drama played out on public stages with uncertain outcomes. This chapter, and the book as a whole, ends by moving away from a political view of the concerto to the question of how performing traditions are formed over time. The chapter concludes with a reading of the Sibelius violin concerto within the long ecological histories of musical transmission.
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Careri, Enrico. "The Sonatas." In Francesco Genminiani (1687–1762). Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0006.
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Abstract THE three main sets of sonatas composed by Francesco Geminiani suffered the same fate as his concertos: they were elaborated, transcribed for different instruments, and ‘nuovamente ristampate econ diligenza corrette’. Op. I alone was published in five different versions: the original version for violin (1716), the trio sonatas (performable as concertos by adding the ripieno parts provided), the edition of 1739, the harpsichord transcriptions, and the transcriptions for flute. The second set of violin sonatas, Op. IV (1739), of which a version for concerto grosso also exists, were transcribed almost in their entirety for harpsichord. The cello sonatas, Op. V (1746), were published simultaneously with their transcription for violin. The remaining sonatas, with few exceptions, are drawn from earlier compositions: the two sets of Pieces de Clavecin (1743, 1762) from Opp. I, II, IV, V, and VII, and the treatises for violin and cittem.
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Careri, Enrico. "The Concertos." In Francesco Genminiani (1687–1762). Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0005.
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Abstract ‘GEMINIANI with all his harmonica! abilities, was so circumscribed in his invention, that he was obliged to have recourse to all the arts of musical cookery, not to call it quackery, for materials to publish.’ The charge that Burney levels against the composer refers to his alleged lack of imagination, which caused him to recycle the same compositions several times over. Indeed, if we exclude all his numerous elaborations and transcriptions, the musical output of Geminiani seems rather exiguous: two sets of violin sonatas (Opp. I and N), one of cello sonatas (Op. V), three of Concerti grossi (Opp. II, ill, and VII), The Inchanted Forrest, and the compositions published in his treatises. Nevertheless, the same reproof could be addressed to Corelli and several other contemporary composers of note. Burney’s irritation probably stemmed from the disproportion between the success of Geminiani in England, where he had no rivals in the instrumental domain and was considered the equal of Handel, and the reason for this same success, which was almost entirely connected with his Op. ill concertos. His other compositions, with few exceptions, were rarely performed and little appreciated; in contrast, his Op. ill enjoyed an extraordinarily wide circulation, which even rivalled that of the celebrated works of Corelli. ‘Handel, Geminiani & Corelli’, Burney notes elsewhere, ‘were the sole Divinities of my Youth, but I was drawn off from their exclusive worship before I was 20, by keeping company with travelled & heterodox gentlemen, who were partial to the Music of more modem composers whom they had heard in Italy.’ The openmindedness of the young Burney was an exception in contemporary English musical circles, which in the years around the middle of the eighteenth century remained faithful to Corelli and Geminiani and showed little interest in what was going on beyond the English Channel.
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Hudson, Richard. "The Earlier Rubato in Violin Music." In Stolen Time. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161691.003.0005.
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Abstract Early in the Baroque period the solo violin, a relatively new instrument at that time, became the instrumental equivalent of the solo voice. In canzonas, sonatas, and eventually in concertos, the violin imitated the styles and forms of vocal music. We have already noted the practice of improvised embellishment in Corelli’s violin sonatas. Tempo rubato was therefore a part of this practice, in fact if not in name, as it had been in vocal music long before North and Tosi. The expression does not actually appear in violin sources, however, until the early Classic period, slightly after 1750.1
Conference papers on the topic "Concertos (Violin)"
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Pu, Lihua. "Jenő Hubay and His Four Violin Concertos." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.253.
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Talambuta, Radu, and Diana Bunea. "Aspects of interpreting the themes of folklore inspiration in the Concerto for violin and orchestra by Valerii Poleacov." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.18.
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The concerto for violin and orchestra by V. Poleacov has a special value both within the composer's creation and for the national musical culture, representing an example of the approach to the concerto genre in Moldovan composition, through the synthesis of the classical concerto model with elements characteristic of instrumental folk music. The author appeals to the stylization of the Moldovan melos, expressed in its rhythmic and intonational themes and formulas. In this context, the article deals with the issue of the interpretation of diverse themes, which can be highlighted through technical and artistic violinistic means focused on the knowledge of both folk music and folk violin performance traditions. This perspective, in the opinion of the author, could be the basis of a new interpretive vision of this concerto.
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White, Julian. "Emotion and Enyoranca: Gerhard, the Gralles and the slow movement of the Violin Concerto." In Roberto Gerhard (1896-1970): Re-appraising a Musical Visionary. University of Huddersfield, 2021. http://dx.doi.org/10.5920/emotionenyoranca.vid.
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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.
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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.
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Roman, Iulia. "Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.
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The composer Dumitru Capoianu is part of the romanian composers who have given valuable works to contemporary music. His creation includes theater music, film music, symphonic music, vocal-symphonic music, choral music, chamber music. Habanera for violin and piano is the work that belongs to the genre of instrumental miniature, a composition in which the elements of jazz café concert blend harmoniously with passages of virtuosity.
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Brown, Alexander L. "Impact and Fire Modeling Considerations Employing SPH Coupling to a Dilute Spray Fire Code." In ASME 2009 Heat Transfer Summer Conference collocated with the InterPACK09 and 3rd Energy Sustainability Conferences. ASMEDC, 2009. http://dx.doi.org/10.1115/ht2009-88493.
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Transportation accidents and the subsequent fire present a concern. Particularly energetic accidents like an aircraft impact or a high speed highway accident can be quite violent. We would like to develop and maintain a capability at Sandia National Laboratories to model these very challenging events. We have identified Smoothed Particle Hydrodynamics (SPH) as a good method to employ for the impact dynamics of the fluid for severe impacts. SPH is capable of modeling viscous and inertial effects for these impacts for short times. We have also identified our fire code Lagrangian/Eulerian (L/E) particle capability as an adequate method for fuel transport and spray modeling. A fire code can also model the subsequent fire for a fuel impact. Surface deposition of the liquid may also be acceptably predicted with the same code. These two methods (SPH and L/E) typically employ complimentary length and timescales for the calculation, and are potentially suited for coupling given adequate attention to relevant details. Length and timescale interactions are important considerations when joining the two capabilities. Additionally, there are physical model inadequacy considerations that contribute to the accuracy of the methodology. These models and methods are presented and evaluated. Some of these concerns are detailed for a verification type scenario used to show the work in progress of this coupling capability. The importance of validation methods and their appropriate application to the genesis of this class of predictive tool are also discussed.
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Khademian, Z., M. A. Van Dyke, J. Beale, and J. Wickline. "Investigation of Parameters Affecting Seismic Potentials in a Deep Longwall Mine." In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0434.
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ABSTRACT Seismicity can be induced by rock failures or slips along geologic structures around mine workings. Depending on their intensity and proximity to the working area, seismic events may raise safety concerns in underground mining operations. However, the geological and mining parameters leading to destructive seismic events are poorly understood. Monitoring seismic events coupled with geomechanical modeling can be useful tools for understanding underlying mechanisms and main factors causing destructive seismic events. This paper reviews seismic events recorded in a deep longwall mine (>450 m) in Virginia and evaluates the geologic conditions that lead to areas with high seismic event activities (> 1 ML) during mining of longwall panels. Two pseudo two-dimensional models of areas with high and low seismic event activities are constructed in 3DEC software. The variation in the energy content of elastic models is monitored, and potentially damaging events with compression-type and shear-type signatures are identified. The modeling results are compared with historic seismic data to evaluate the model performance in forecasting the seismic potential in each model. The results show the applicability of energy balance calculations for forecasting the approximate location and timing of destructive seismic events. INTRODUCTION One source of potential hazards for underground mining operations is mining-induced seismicity. Seismic events during mining are recognized to be violent failure in close proximity to the mining area. The violent failures can occur due to sudden crushing of rock in compression or sudden slip along preexisting weakness planes such as fault and dyke contacts. Deployment of seismic networks and recording the events during the operation has become one of the industry routines for managing risks associated with the seismicity. However, in most cases the main challenge is to find the link between geologic structures, mining parameters, and seismic activities. If no clear link is apparent, it is difficult to design effective proactive measures to reduce seismic potential in a mining design. To better understand the causal mechanism of mining-induced seismicity, seismological and rock mechanics’ analyses need to be mutually investigated. Following (Salamon, 1970), many studies have shown the energy budget consideration as the missing link between seismology and rock mechanics (Sears, 2009; Garvey, 2013; Khademian & Ozbay, 2018) One possible approach is to use numerical modeling to analyze the state of energy of the rock before and after mining. The occurrence and intensity of a seismic event can be recognized when there is a relatively significant release of energy in the system. However, the uncertainty in the required field data to perform such analyses has limited their applicability.
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Wong, Kaufui V., and John Plackemeier. "Policies for Effective Trading Scheme to Reduce Carbon Dioxide Emissions." In ASME 2010 International Mechanical Engineering Congress and Exposition. ASMEDC, 2010. http://dx.doi.org/10.1115/imece2010-39723.
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The World Bank and the Intergovernmental panel on climate change have concluded that human activities such as fossil fuel combustion have caused higher average temperatures, more violent weather patterns and higher sea levels. Governments, politicians and corporations have started to take steps to curb emissions of carbon dioxide and other greenhouse gases to reduce its imbalance in the atmosphere, and in so doing, diminish the impacts it will have in the near future. While these parties have recognized the importance of significantly reducing emissions in the coming decades, there are currently no policies in the USA to accomplish these goals. At the same time that the need to reduce emissions become more and more apparent, the realization that the world’s current economy is highly carbon-dependent and that shifting to renewable energy sources would be extremely expensive as well, thus compelling governments to approach the problem cautiously. Maybe because of this reality, governments have preferred emissions trading schemes over emissions caps and taxes with no trading. Unlike a cap affecting carbon emitters uniformly, the trading schemes that have been introduced recently allow for a collective cap on emissions under which emitters are held to standards which can be achieved by reducing emissions or by buying carbon credits, which are emissions reductions that have been achieved by a different third party. At this time, the Kyoto Protocol is the most comprehensive of the commitments governments have made toward the ultimate aim of curbing greenhouse gases. Under its umbrella, many of the world’s industrialized nations (excluding the US, which signed but did not ratify owing to economic concerns) agreed to an emissions reduction of 6 to 8 percent from 1990 levels by 2012. Governments are responsible for reducing overall emissions and do this by passing on reduction goals to specific emitters who can reduce their emissions through a slew of methods. The methods include directly reducing carbon emitted as gas or purchasing carbon credits that provide a reduction in place of emissions that cannot be directly reduced. While fossil fuels have played an important role in the development of the world in the past century, financial markets have had an equally important role in creating economic growth. Emissions trading schemes have emerged in the past five years as a method to reduce carbon dioxide emissions through market forces. They are an attractive solution because they grant economic leeway to subject parties. While they carry this benefit, they are not universally ideal. This paper aims to identify the most effective ways in which emissions trading schemes can be used. An analysis of the limitations of emissions trading schemes is conducted with respect to technological and regulatory concerns in addition to different economic sectors. Further analysis of the benefits of large scale emissions trading schemes over other large scale emissions reduction methods is conducted. From this analysis, a full recommendation of strategies which would maximize the effectiveness of an emissions trading scheme is provided.
Reports on the topic "Concertos (Violin)"
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Scrivens, Ryan, Steven M. Chermak, Joshua D. Freilich, Thomas W. Wojciechowski, and Richard Frank. Detecting Extremists Online: Examining Online Posting Behaviors of Violent and Non-Violent Right-Wing Extremists. RESOLVE Network, 2021. http://dx.doi.org/10.37805/pn2021.21.remve.
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Like most of us, violent extremists often leave a digital footprint behind. Researchers, practitioners, and policymakers raise questions about whether violent individuals can be identified online prior to their attacks offline based on their online posting behaviors. Despite ongoing concerns, few empirically grounded analyses have identified which online users have engaged in violent extremism offline and then assessed their digital footprints, and fewer analyses have identified differences in posting behaviors of those who share extreme ideological beliefs but are violent or non-violent in the offline world. This policy note highlights the importance of both identifying and examining the online behaviors of violent and non-violent extremists in preventing and countering violent extremism (P/CVE) and provides researchers, practitioners, and policymakers with a number of recommendations for detecting and analyzing the online behaviors of violent and non-violent extremists in the future.
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Sumpter, Cameron, and Yuslikha K. Wardhani. Hopes and Hurdles for Indonesia’s National Action Plan to Prevent Violent Extremism. RESOLVE Network, 2022. http://dx.doi.org/10.37805/pn2022.2.sea.
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This policy note outlines the key details of Indonesia’s National Action Plan for P/CVE before discussing the evident challenges and opportunities moving forward. The ambitious strategy (known by its Indonesian acronym, RAN PE) could decentralize P/CVE programming in Indonesia, facilitate the formalization of working relationships between civil society organizations and local government authorities, mainstream gender perspectives, and streamline activities to improve targeting and avoid overlap. But constructive outcomes will depend on overcoming thorny obstacles, such as coordinating the varied interests, motivations, and capacities of the many stakeholders involved, and allaying concerns over applicable definitions that some perceive as overly broad and possibly divisive.
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Palani, Kamaran. The Low Likelihood of ISIS Resurgence in Iraq. ICCT, 2024. http://dx.doi.org/10.19165/2024.4079.
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ISIS was militarily defeated and lost territorial control in Iraq over six years ago. Since then, the group has struggled to mobilise support and restore its influence. This Policy Brief examines the contextual shifts in Iraq since 2017 that have hindered ISIS’s ability to radicalise and recruit, addressing the critical question: why is a resurgence of ISIS in Iraq unlikely? Drawing on field observations and previous research, this Policy Brief carefully argues that the decreasing prevalence of sectarian grievances, particularly among Iraqi youth, diminishes the potential for community support for ISIS and other forms of violent extremism compared to the post-2003 period. To substantiate this argument, the Brief analyses the decline of sectarian demands that once contributed to the emergence of violent extremist groups in Iraq. It also revisits the primary drivers of radicalisation in the pre-2014 period that facilitated ISIS’s rise and explores how post- Caliphate developments, including demographic changes, have altered people’s needs and concerns, diverging from the narratives ISIS previously used to attract recruits.
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Hunt, Charles T., and Shannon Zimmerman. Counter-Terrorism & Peace Operations: The Impacts of UN Security Council Approaches to Tackling Terror on the Pursuit of Peace. RESOLVE Network, 2022. http://dx.doi.org/10.37805/sfi2022.2.
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United Nations peace operations are generally considered a poor vehicle for counter-terrorism. Yet, UN peace operations are regularly deployed by the Security Council to settings affected by terrorism and violent extremism. The confluence of terrorism and conflict make this co-existence inevitable, but some missions have also engaged more directly in countering these elements. For example, the UNSC continues to support the mission in Somalia, which actively faces terrorist threats, and has also deployed a peacekeeping mission to Mali amid a jihadist insurgency. At the same time, in places like the Democratic Republic of Congo, peace operations have engaged in offensive military operations that target groups labelled as “terrorists” by their host government partners. Academics and peacekeeping experts have raised concerns and noted the initial impacts of counter-terrorism efforts on UN peace operations. Building on this work, this brief draws on illustrative examples from the field to examine how the UNSC’s counter-terrorism framework has impacted the mandates and practice of the UN’s peace operations, particularly the large stabilization operations deployed in Africa. It shows that counter-terrorism efforts at the level of the UNSC have blurred the normative distinctions between peace operations and counter-terrorism to the detriment of the former. This brief concludes by providing recommendations to ensure that UNSC responses to terrorism and violent extremism do not unintentionally undermine the effectiveness of UN peace operations.
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Vargas, Juan F., and Paolo Buonanno. Inequality, Crime, and the Long-Run Legacy of Slavery. Inter-American Development Bank, 2017. http://dx.doi.org/10.18235/0011794.
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Estimating the effect of inequality on crime is challenging due to reversecausality and omitted variable bias. This paper addresses these concerns by exploiting the fact that, as suggested by recent scholarly research, the legacy of slavery is largely manifested in persistent levels of economic inequality. Municipality-level economic inequality in Colombia is instrumented with a census-based measure of the proportion of slaves before the abolition of slavery in the nineteenth century. It is found that inequality increases both property crime and violent crime. The estimates are robust to including traditional determinants of crime (like population density, proportion of young males, average education level, quality of law enforcement institutions, and overall economic activity), as well as geographic characteristics that may be correlated with both the slave economy and with crime, and current ethnic differences. Policies aiming at reducing structural crime should focus on reducing economic inequality.
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Delgado, Caroline, Kristina Tschunkert, and Dan Smith. Food Insecurity in Africa: Drivers and Solutions. Stockholm International Peace Research Institute, 2023. http://dx.doi.org/10.55163/gisr2785.
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This paper explores how climate change, violent conflict, the Covid-19 pandemic and the cost-of-living crisis combine to drive rapidly increasing levels of food insecurity. These drivers play out differently across and within regions and countries, and this paper focuses on how a combination of the drivers plays out on the African continent. It looks at four subregions—North Africa, the Horn of Africa, the Sahel, and Central and Southern Africa—and several countries within these regions. Africa is the continent with the highest proportion of people—just over 20 per cent— facing hunger. Africa also carries the heaviest burden from the impact of climate change. In 2021 18 countries in sub-Saharan Africa experienced armed conflicts. The economic fallout of climate change, conflict and the Covid-19 pandemic has widened inequality and sharpened societal divisions. Addressing the impacts of these compounding crises and breaking the vicious cycle of climate change, food insecurity and conflict requires a concerted effort by local, national, regional and global humanitarian, development and peacebuilding actors, governments and donors. To this end, the paper concludes with nine recommendations on the way forward.
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MGR Quarterly Infographics Report: April – June, 2024. Microgovernance Research Initiative (MGR), 2024. http://dx.doi.org/10.57189/mgrinfq6aj24.
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MGR recorded 3827 violent incidents during April to June 2024, mostly triggered by politics, access to resources, and other socio-economic factors. More than 770 deaths and 4356 injuries have been recorded from these incidents. The highest number of violent incidents have been recorded in the form of clashes and attacks (1318). Some 746 incidents are directly political violence, protests and arrests which resulted in 92 deaths. Geographically, Dhaka (895) scores the highest number of violence followed by Chittagong (890), Rajshahi (650) and Barishal (484). There were 199 protests and demonstrations and only 67 of protests were triggered by politics. While some 20.36% of political violence contributed by Bangladesh Awami League & affiliates, Bangladesh Nationalist Party (BNP) scored only 1.70% of political violence in this quarter. Activists of independent election candidates conducted 27.27% of political violence. Intra-party violence within the Awami League showed a surge in this quarter during the election, a count of 74. Whereas 74% political incidents were rural, 26% political violence incidents took place in urban areas. In this quarter, student violence started to increase again with a total of 138 cases reported across different regions as students have come back to the campus after election. After the election, the Bangladesh Nationalist Party (BNP) experienced a noticeable decrease in its active involvement, mainly due to the government's strengthened control over state mechanisms. In addition, recent activities of Kuki Chin National Front, a rebel group in Chittagong Hill Tracts raised both regional and national security concerns. MGR data team has come across upazila local elections and post-election violence. Supporters and candidates were beaten, assault, injured and killed during elections and post-election time. Some 259 electoral violence and irregularities has been recorded from all over the Bangladesh.