Relevant bibliographies by topics / Mozart Music for Violin

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Academic literature on the topic 'Mozart Music for Violin'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Mozart Music for Violin"

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WALLS, PETER. "Mozart and the violin." Early Music XX, no. 1 (1992): 7–30. http://dx.doi.org/10.1093/earlyj/xx.1.7.

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Irving, J. "Mozart duos for fortepiano and violin." Early Music 41, no. 1 (2013): 180–82. http://dx.doi.org/10.1093/em/cas165.

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EDGE, DEXTER, and MICHAEL LORENZ. "THE MOZARTS’ VIENNESE LODGINGS IN 1762 AND THE HOUSE ZUM ROTHEN SÄBEL." Eighteenth Century Music 17, no. 2 (2020): 243–59. http://dx.doi.org/10.1017/s1478570620000263.

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ABSTRACTIt is generally believed that when the Mozart family arrived in Vienna on 6 October 1762, they initially may have spent a night or two in the inn ‘Zum weißen Ochsen’ on Fleischmarkt, then moved for the remainder of their stay to lodgings on Tiefer Graben, either in a house belonging to Johann Heinrich Ditscher (Otto Erich Deutsch, 1961) or one belonging to Gottlieb Friedrich Fischer (Walter Brauneis, 1991). All modern Mozart biographies transmit either Deutsch's claim or Brauneis's, and many continue to state that the Mozarts stayed at ‘Zum weißen Ochsen’. We have been able to show that none of these claims has any merit, and no primary evidence supports them. The notion that the Mozarts stayed at ‘Zum weißen Ochsen’ can be traced back to an article published in 1860, where it is asserted without evidence; the idea was then popularized in a children's story about Wolfgang. The claim that the Mozarts lodged on Tiefer Graben is based on a fanciful interpretation of a mistranscribed street name in Schiedermair's 1914 edition of Leopold Mozart's letter of 19 October 1762.Leopold actually wrote that the family lodged in ‘Fierberggaßl’. We argue that this refers to the still-existing Färbergasse, and that the Mozarts may have stayed in a house on that street (today the site of Färbergasse 3), with a long narrow wing fitting Leopold's description of their cramped quarters. We present other new details about this episode in Wolfgang's early life, including the identity of a customs official to whom he played a minuet on the violin, and the literary source of Leopold's remark that their lodgings were ‘1000 Schritt lang und 1. Schritt breit’. We also discuss the history of the house name ‘Zum rothen Säbel’, which is used incorrectly in the Mozart literature; at the time of the Mozarts’ visit in 1762, it referred to the house on Färbergasse in which – we argue – they actually stayed.
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Hall, Cordelia, and John T. O'Donnell. "Regular Expressions as Violin Bowing Patterns." Computer Music Journal 36, no. 2 (2012): 74–84. http://dx.doi.org/10.1162/comj_a_00120.

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String players spend a significant amount of practice time creating and learning bowings. These may be indicated in the music using up-bow and down-bow symbols, but those traditional notations do not capture the complex bowing patterns that are latent within the music. Regular expressions, a mathematical notation for a simple class of formal languages, can describe precisely the bowing patterns that commonly arise in string music. A software tool based on regular expressions enables performers to search for passages that can be handled with similar bowings, and to edit them consistently. A computer-based music editor incorporating bowing patterns has been implemented, using Lilypond to typeset the music. Our approach has been evaluated by using the editor to study ten movements from six violin sonatas by W. A. Mozart. Our experience shows that the editor is successful at finding passages and inserting bowings; that relatively complex patterns occur a number of times; and that the bowings can be inserted automatically and consistently.
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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.
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Eisen, Cliff, Wolfgang Amadeus Mozart, and Gabriel Banat. "The Mozart Violin Concerti: A Facsimile Edition of the Autographs." Notes 45, no. 3 (1989): 612. http://dx.doi.org/10.2307/940822.

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Link, Dorothea. "The Fandango Scene in Mozart's Le nozze di Figaro." Journal of the Royal Musical Association 133, no. 1 (2008): 69–92. http://dx.doi.org/10.1093/jrma/fkm011.

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This article concerns the use of dance in the Act 3 finale of Mozart's Le nozze di Figaro, starting from the problem articulated by Alan Tyson in his Mozart: Studies of the Autograph Scores. Tyson points out that the absence of the fandango from the Viennese musical sources is at odds with Da Ponte's statement that the dance scene was restored at the emperor's command. New evidence shows that the fandango was performed for the three performances that constituted a première at this time in Vienna and was then removed from the score. However, before its removal, the score with the fandango intact was copied for at least one other theatre, hence accounting for the two versions that circulated through Europe. The article goes on to consider the dramatic function of the fandango by exploring the nature of the dance itself and examining the stage directions in the autograph in combination with those in Beaumarchais's play, several early librettos and editions, and the original first-desk first-violin part.
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Killam, Rosemary N., Philip C. Baczewski, and Bert Hayslip. "A Model of Performing Musicians' Melodic Perception through Transcription of Two-Voice Contrapuntal Music." Musicae Scientiae 7, no. 2 (2003): 263–91. http://dx.doi.org/10.1177/102986490300700204.

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This article reports findings from two experiments examining strategies utilized by professional musicians who transcribed a Mozart duet, wherein we explored the possibility that their cognitive processes would be revealed through their transcription strategies on multiple sequential presentations of the same stimulus. We hypothesized that transcription accuracy would be influenced by four factors: Scale degrees, conjunct/disjunct melodic motion, vertical consonance/dissonance, and melody position. In Experiment 1, we reduced the foreground of Mozart's 1783 B-flat Major Duo for Violin and Viola, and used three taped repetitions of the reduction as the experimental stimulus. Participants transcribed the music as the tape played, adding to their transcription during an additional three minutes following each presentation on forms permitting them to see their previous transcriptions, but precluding change of their previous work. Experiment 2 inverted the melodic lines of the stimulus. Our results examined pitch accuracy as the unit of analysis, on each note of the multiple stimuli presentations. Data analysis confirmed the influence of scale degrees, melodic motion and melodic relationship on perceptual accuracy, but showed no influence of vertical consonance/dissonance.
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SCHMIDT-BESTE, THOMAS. "WOLFGANG AMADEUS MOZART (1756–1791) SONATAS FOR FORTEPIANO & VIOLIN Petra Müllejans (violin), Kristian Bezuidenhout (fortepiano) Harmonia Mundi HMU 907494, 2009; one disc, 73 minutes." Eighteenth Century Music 7, no. 1 (2010): 154–55. http://dx.doi.org/10.1017/s1478570609990674.

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Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.

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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.
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Dissertations / Theses on the topic "Mozart Music for Violin"

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Jacobsson, Miriam. "Va'-vil-du, Mozart? : Två transkriberingar från klarinett och violin till flöjt." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79089.

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I min uppsats utforskar jag möjligheterna att transkribera verk till mitt eget instrument tvärflöjt. Jag har arbetat med satser ur två konserter, en för violin och en för klarinett, och transkriberat om dessa till flöjt. Jag har fokuserat på en sats ur vardera konsert.   Mitt arbete börjar med att välja vilka instrument jag skulle transkribera från. Sedan har jag valt notutgåva för dessa och skrivit in dem i det notskrivningsprogram jag har valt, och därefter påbörjat transkriberingsarbetet. När transkriberingen var klar tog jag kontakt med pianist och påbörjade min instudering av verken, för att därefter spela in de instuderade satserna. Vid inspelningen tog jag hjälp av en medstudent som också hjälpte mig med att editera inspelningarna. Slutligen har jag jämfört de satser jag spelat in på tvärflöjt med inspelningar för originalinstrumenten, violin respektive klarinett. Det resulterade i noter som finns som bilaga och inspelningar jag länkat till.   I arbetet med transkription och förberedande litteraturstudier har jag lärt mig att transkription är ett stort ämne i sig och att det kräver efterforskning och förberedelser genom att studera noter, spela och lyssna till musiken som jag har transkriberat. Arbetet gav mig en känsla för vad kompositörernas musik bottnar i och har gett mig en riktning i mitt fortsatta arbete med transkribering.
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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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Silva, Lilian Maria Pereira da. "Extratos do tratado sobre os princípios fundamentais para tocar violino de Leopold Mozart: tradução e análise." Universidade Federal da Paraí­ba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6623.

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Made available in DSpace on 2015-05-14T12:52:37Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4566769 bytes, checksum: d9acd3e725af5c1a5cd9a4125639edeb (MD5) Previous issue date: 2014-04-30<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This paper takes as its object of exegetical analysis, based on the translation from English to Portuguese, the treatise on the fundamental principles for violin, written by Leopold Mozart, first published in 1756. The Portuguese version was based on the English version made by Editha Knocker and edited in 1948 by the Oxford University Press. The translation into Portuguese brings the possibility of a careful and specific study of the treatise, making possible an effective and clear apprehension of the ideas about the music and the violin, proposed and supported by Leopold Mozart. The fundamental categories elaborated in that work are explained in a more substantive and understandable way, which constitutes the core of this project. That treatise is a work of undeniable historical relevance and, along with the treatise for flute by J. J. Quantz and the one for keyboard by C. P. E. Bach, is one of the most significant works of the genre. In his work, L. Mozart deals not only with the technique for the violin and musical styles, but also displays an honest concern with the musical training of instrumentalists. In his didacticism, leads the reader to study the characteristics of violinistic musical practice, as well as the string instruments with bow, from the eighteenth century to the present day.<br>O presente trabalho toma por objeto de análise exegética, a partir da tradução do inglês para o português, o Tratado sobre os princípios fundamentais para tocar violino escrito por Leopold Mozart, publicado pela primeira vez em 1756. A versão para o português foi feita a partir da tradução para o inglês realizada por Editha Knocker e publicada, em 1948, pela Oxford University Press. A versão para o português abriu a possibilidade de seu mapeamento cuidadoso e específico, fazendo ser mais clara e efetiva a apreensão do ideário musical e violinístico proposto e sustentado por Leopold Mozart e explicitando, em termos mais substantivos e compreensíveis, as categorias fundamentais elaboradas no Tratado e que constituem o núcleo central desse projeto. O referido tratado é obra de relevância histórica incontestável e, configura, ao lado do tratado para flauta escrito por J. J. Quantz, e ao de C. P. E. Bach, para teclado, como uma das mais expressivas obras do gênero. Na sua pena tratadista, L. Mozart discorre não apenas sobre a técnica do violino e estilos musicais, mas, também, apresenta franca preocupação com relação à formação musical dos instrumentistas. Em seu didatismo, leva o leitor a conhecer as características da prática musical violinística, bem como dos instrumentos de corda com arco, desde o século XVIII até os dias atuais.
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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.
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Marshall, Adrienne Marie. "The Clarinetist’s Guide to the Performance of the Clarinet, Viola, and Piano Trios by Mozart, Bruch, and Larsen." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366379914.

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Goodall, John W. (John Williams). "A Stylistic Analysis of Charles Martin Loeffler's Deux Rapsodies for Oboe, Viola and Piano, L'étang and La cornemuse, After Poems by Maurice Rollinat: A Lecture Recital, Together with Three Recitals of Selected Works by E. Rubbra, D. Beaty, B. Britten, W.A. Mozart, and Others." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332159/.

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At the turn of this century, Charles Martin Loeffler (1861-1935) was considered to be among the finest of the handful of well-known American composers of the time. His music was often performed by major symphony orchestras, chamber groups and solo artists. Deux rapsodies for Oboe, Viola and Piano: L'Etang and La Cornemuse, after poems by Maurice Rollinat (1846-1903), show Loeffler's affinity for programmatic concepts. These works, completed in 1901, are revisions of settings of 1898 for low voice, clarinet, viola and piano, and are now, unfortunately, out of print; but the oboe, viola and piano setting has been published (originally as Deux rapsodies by G. Schirmer, 1905; the latest edition, Two Rhapsodies, is by McGinnis and Marx, N.Y., 1979) and recorded several times. Loeffler has reflected Rollinat's poetry in his settings by means of melodic, rhythmic and harmonic devices unique to his style. Formal and articulative devices also tend to point to his dependence on the poetry as a source of inspiration and as means for defining the final musical product. Indeed, the music seems incapable of existence independent of its source in the richly imagistic poetry of Rollinat.
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Romare, Barth-Croon Michelle. "Hur startar man en stråkkvartett?" Thesis, University of Skövde, School of Humanities and Informatics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-4182.

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<p>Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.</p>
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Rego, Eusiel Silva do. "Fernando Sor e as transcrições Opus 19 para violão de Seis árias escolhidas de A flauta mágica de Mozart: uma abordagem estético-analítica." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-06032013-160229/.

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Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente.<br>This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.
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Barth-Croon, Michelle. "Chaconne : modern stråke vs. barockstråke." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2241.

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Den här studien handlar om min upplevelse av att spela Johann Sebastian Bachs Chaconne med en barockstråke och med en modern stråke. Den handlar också om huruvida detta påverkar mitt val av hur jag väljer att spela stycket på i slutändan. På ett tidstroget sätt eller på ett modernt sätt. Mitt syfte är att undersöka om det är någon skillnad att spela ett stycke med en tidstrogen stråke samt med en modern stråke. Finns det några fördelar och nackdelar med samtliga och har någon utav dem bättre förutsättningar i valet av stycke som man ska spela. Arbetet har utförts i Kungliga Musikhögskolans lokaler och inspelningarna i min egen studio. Några av de resultat jag kommit fram till är att jag ännu inte har hittat endast ett sätt att spela chaconne på. Det beror helt från dag till dag och vilket humör jag är på. Det vill säga att jag väljer att spela på ett sätt som känns bäst i stunden. Jag har också upplevt att det känns bättre att spela med den barocka stråken när jag spelar på ett tidstroget sätt och vice versa.
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Wohlert, Nina. "Fiolmetodiken hos Leopold Mozart och Paul Rolland." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-929.

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Books on the topic "Mozart Music for Violin"

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The Mozart season. Scholastic, 1991.

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The Mozart season. Holt, 1991.

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Mozart chamber music. Ariel Music, BBC Publications, 1986.

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King, Alec Hyatt. Mozart chamber music. Ariel Music, 1986.

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R, Galante L., Cappon Manuela, and Studio Boni-Pieri-Critone, eds. Mozart and classical music. Barron's Educational Series, 1998.

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Mozart: His life & music. Sourcebooks MediaFusion, 2006.

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ill, Miyake Yoshi, ed. Mozart, young music genius. Troll Associates, 1990.

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Harbar, Mary Ann. Cabaret violin treasures: Solo violin edition. Mel Bay Publications, 2008.

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Varga, Ovidiu. Wolfgang Amadeus Mozart. Editura Muzicală, 1988.

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International Musical Festival (26th 1991 Brno, Czech Republic). Mozart, Dvořák a dnešek =: Mozart, Dvořák, and today. Mezinárodní hudební festival, 1991.

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Book chapters on the topic "Mozart Music for Violin"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Violin." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-28.

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Reich, Steve. "Violin Phase (1967)." In Anthology of Post-Tonal Music, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-35.

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Proksch, Bryan. "Schönberg’s Analyses and Reception of Haydn’s Music." In Mozart und Schönberg. Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792208.243.

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Visi, Federico, Esther Coorevits, Rodrigo Schramm, and Eduardo R. Miranda. "Analysis of Mimed Violin Performance Movements of Neophytes." In Music, Mind, and Embodiment. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_6.

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Wrzeciono, Piotr, and Krzysztof Marasek. "Violin Sound Quality: Expert Judgements and Objective Measurements." In Advances in Music Information Retrieval. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11674-2_11.

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Fyk, Janina. "Intonational protention in the performance of melodic octaves on the violin." In Music, Gestalt, and Computing. Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034130.

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Yu, Lauren Jane, and Andrea Pohoreckyj Danyluk. "Predicting Expressive Bow Controls for Violin and Viola." In Computational Intelligence in Music, Sound, Art and Design. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55750-2_24.

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Hart, Heidi. "Mozart in Space: A Love Story." In Music and the Environment in Dystopian Narrative. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01815-3_2.

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Bartók, Béla. "“Song of the Harvest,” No. 33 from Forty-Four Violin Duets (1931)." In Anthology of Post-Tonal Music, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-5.

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Ireland, David. "Mozart, Harmonicas, and Aesthetic Incongruence in The Shawshank Redemption." In Identifying and Interpreting Incongruent Film Music. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00506-1_6.

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Conference papers on the topic "Mozart Music for Violin"

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Jie, Wei, Jonathan Boo, Ye Wang, and Alex Loscos. "A Violin Music Transcriber for Personalized Learning." In 2006 IEEE International Conference on Multimedia and Expo. IEEE, 2006. http://dx.doi.org/10.1109/icme.2006.262644.

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Barbancho, Isabel, Cristina de la Bandera, Ana M. Barbancho, and Lorenzo J. Tardon. "Transcription and expressiveness detection system for violin music." In ICASSP 2009 - 2009 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2009. http://dx.doi.org/10.1109/icassp.2009.4959552.

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"Music Computer Technologies and the ‘Soft Way to Mozart‘ System." In Jan. 29-30, 2019 Cebu (Philippines). Emirates Research Publishing, 2019. http://dx.doi.org/10.17758/erpub3.uh0119403.

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Amminger, Agnes, and Franz Kelnreiter. "Leopold Mozarts „Gründliche Violinschule“. Zur Textcodierung und -präsentation einer digitalen Edition." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.97.

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Leopold Mozart‘s Violin Tutor (Versuch einer gründlichen Violinschule [= “Essay on a well-founded instruction for the violin”], Augsburg 1756) is one of the most important sources concerning the aesthetics of violin playing in the 18th century. A critical digital edition, prepared within the Digital Mozart Edition (DME) at the International Mozarteum Foundation (Salzburg), has been freely accessible online since 14 November 2019; see &lt;https://dme.mozarteum.at/digital-editions/violinschule&gt;. At present, the digital edition includes the first edition of 1756 only; further early releases (1769, 1787) and translations will follow. The editorial concept encompasses features like interactive searchability, synopses of various edited texts and the integration of facsimiles. The article describes how the encoding of the source material accomplishes these objectives and how the digital edition is presented online. The pathway from the textual sources to the online presentation is discussed considering the relations of the sources with each other, their intratextual structure as well as their data types and formats.
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Cividini, Iacopo. "Zwischen klassischer Musikphilologie und angewandter Informatik: Die Digitale Mozart-Edition (DME) der Stiftung Mozarteum Salzburg." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.51.

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With the Digital Mozart-Edition (DME), the Salzburg Mozarteum Foundation and the Packard Humanities Institute, Los Altos (California), intend to build a bridge between music philology and informatics using the example of Wolfgang Amadé Mozart’s oeuvre. The aim of the project is to edit Mozart’s complete works as well as letters, documents and text sources according to scholarly criteria and in a fully digital format available free of charge on the internet. The core project of the DME, the Digital Interactive Mozart Edition (DIME), is conceived as a further development of the Neue Mozart-Ausgabe (NMA). Following the principle “code equals edition”, all musical texts and their critical documentation are encoded in the XML-based format by the Music Encoding Initiative (MEI). All variants and editorial interventions of the music can be made visible through The Digital Mozart Score Viewer (MoVi), a visualisation tool built around the Verovio music engraving library.
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"Emotion Recognition of Violin Music based on Strings Music Theory for Mascot Robot System." In 9th International Conference on Informatics in Control, Automation and Robotics. SciTePress - Science and and Technology Publications, 2012. http://dx.doi.org/10.5220/0003991500050014.

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Suarmini, Kadek Ayu, H. M. A. Ashari, and Esti Nugraheny. "Relative Effectiveness of Mozart Classical Music and Balinese Traditional Music in Labor Pain Reduction in Buleleng, Bali." In The 5th Intenational Conference on Public Health 2019. Masters Program in Public Health, Universitas Sebelas Maret, 2019. http://dx.doi.org/10.26911/theicph.2019.05.05.

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Volta, Erica, and Gualtiero Volpe. "Automated Analysis of Postural and Movement Qualities of Violin Players." In 2019 International Workshop on Multilayer Music Representation and Processing (MMRP). IEEE, 2019. http://dx.doi.org/10.1109/mmrp.2019.00018.

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Volta, Erica, and Gualtiero Volpe. "Automated Analysis of Postural and Movement Qualities of Violin Players." In 2019 International Workshop on Multilayer Music Representation and Processing (MMRP). IEEE, 2019. http://dx.doi.org/10.1109/mmrp.2019.8665374.

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Ren, Haoran, Xinyu Jiang, Ke Xu, et al. "Evaluation of the Effects of Mozart Music on Cerebral Hemodynamics in Preterm Infants." In 2019 IEEE Biomedical Circuits and Systems Conference (BioCAS). IEEE, 2019. http://dx.doi.org/10.1109/biocas.2019.8919100.

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Reports on the topic "Mozart Music for Violin"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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