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Dissertations / Theses on the topic 'Potpourris (Violin with orchestra)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Gorby, Roderick B. "An Appalachian Fantasy for Violin and Orchestra." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275451979.

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2

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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3

Girling, Jonathan. "The Ice Palace for Violin Solo and Large Orchestra." Thesis, Birmingham City University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434261.

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4

Arriaga, Sophia L. "A Study of the Process: A Guide for Aspiring Orchestral Violinists." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583155006163813.

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5

Mavroudis, Anastasios Ruper Arthur. "Performing Sicilianos : selected chamber works and Concerto for Violin and Orchestra." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11857/.

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Yorgos Sicilianos (1920–2005) was educated in the tradition of Greece’s National School Movement, but managed to break away and to define his own musical personality. Over a 30-year period from 1954, he experimented with atonal neoclassical styles, the twelve-tone method and integral serialism, while searching for solutions to problems of form and structure. After 1980, Sicilianos concluded that the term ‘post-diatonic music’ best described his compositional style, which by then drew inspiration from literary works to give form and meaning to his music. This thesis analyses the compositional i

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6

Massoud, Raymond. "In defense of grey areas (2012) for violin and chamber orchestra." Thesis, Boston University, 2012. https://hdl.handle.net/2144/21214.

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Thesis (M.M.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>The following piece is comprised of one long movement lasting approximately fifteen minutes and is scored for a violin soloist and a chamber orchestra. Initially conceived as a concerto, the work explores the interactivity between

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7

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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8

Platt, Jessica K. "A methodolology of study for Samuel Barber's Concerto for violin and orchestra op. 14." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/783.

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Platt, Jessica K. "A methodology of study for Samuel Barber's Concerto for violin and orchestra op. 14." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1467040.

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In this study the author develops a methodology for the study of the Samuel Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic components of the work, presenting important pedagogical principles, and offering an array of performance practice techniques. The primary tool used to formulate the methodology was a survey of exceptional violinists and pedagogues. Twenty-six professional violinists responded to a survey that asked their suggestions for preparing and performing five specific excerpts from the Concerto. The compilation of the responses provides an invaluable g

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10

Golombisky, Matthew. "Determining What's Next: A Slow Movement for Chamber Orchestra." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/362.

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This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strin

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11

Kwak, Anna. "A performer's analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966575.

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12

Tagawa, Laura. "David Amram's Concerto for Violin and Orchestra (1974): An Exploration of Amram's Diverse Style." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/297059.

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This document examines David Amram's (b. 1930) diverse compositional style, as represented by his Concerto for Violin and Orchestra (1974). Amram's unique background as a performer in various genres allows him to blend styles seamlessly. He highlights the use of a wide range of styles in this work, which makes this concerto a significant work in the twentieth century, American violin concerto repertoire as well as bridging the classical, jazz, and world genres creating a truly American style of music. This document examines how these influences--including classical, jazz, world music, and "Bea

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13

Chang, Ai-Wei. "Utilizing Standard Violin Orchestral Excerpts As a Pedagogical Tool: an Analytical Study Guide with Functional Exercises." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700032/.

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Orchestral excerpts have been used as a teaching material by violin pedagogues to develop violin techniques in addition to scales and etudes in the twentieth century. However, instructions on developing specific techniques and the relationship to its musical content have been left out. This dissertation provides an analytical study guide addressing the common challenges for violinists. Ten orchestral excerpts are selected from surveying frequently requested orchestral excerpts for the first violin. Through analysis of each excerpt, insight from the other violinists and pedagogues are included.

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14

Houglum, Daniel Patrick. "Sola fides sufficit: Concerto for violin and ensemble." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1633.

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Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expan

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15

Sabey, Benjamin James Sabey Benjamin James. "Phenomena and, Phoenix /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355794.

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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>First work for large ensemble; 2nd for violin and electronics. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Accompanied by disc containing PDF file of thesis and recordings of performances of works.

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16

Bottelli, Roberta M. "Double concerto for violin, violoncello, and orchestra by Frederick Delius : historical context, form and performance challenges from a cellist's perspective." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46727.

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Double Concerto for Violin, Violoncello, and Orchestra by Frederick Delius: Historical context, form and performance challenges from a cellist’s perspective covers different issues related to the Delius Double Concerto, including historical context, the form of the Concerto, and the challenges faced by the soloists when preparing the work for performance, especially from the solo cellist’s perspective. The History of the Work chapter includes an overview of Delius’ life, how the Double Concerto fits into his compositional output, and background about the performers for whom the work was writt

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17

PHELAN, VINCENT J. "AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148174895.

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18

Phelan, Vincent J. "An analysis of the first movement of the concerto for violin and orchestra, Op.77 by Johannes Brahms applications in performance /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148174895.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed Sept. 14, 2006). Includes abstract. Keywords: Brahms Violin Concerto Analysis Performance Themes Harmony Rhythm Melody Dynamics Includes bibliographical references.

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19

Laux, Charles Clair Jr. "The Effect of a Tonic Drone Accompaniment on the Pitch Accuracy of Scales Played by Beginner Violin and Viola Students." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429280299.

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20

Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.

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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neith

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21

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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22

Mendes, Isis Regina dos Santos. "Cidadania e autoestima com crianças e jovens da Orquestra de Violinos do Centro Cultural Cartola." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5543.

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Esta pesquisa parte da relação música/projeto social para estudar de que forma os integrantes da Orquestra de Violinos Cartola-Petrobras, do Centro Cultural Cartola, no Rio de Janeiro, tiveram reforçada a autoestima pelo aprendizado de uma nova linguagem a musical e pelo convívio com os professores e com os demais companheiros músicos. Nesse percurso, foram analisadas as dificuldades de se morar em uma favela carioca, dentre elas o preconceito, seja do ponto de vista geográfico, seja do ponto de vista social, uma vez que a maioria dos componentes da Orquestra mora na Mangueira. O ponto de pa

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23

Hong, Dayeon. "The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505269/.

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This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love

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24

Jones, Timothy David. "The musical trajectories and professional responsibilities of five concertmasters of Brazilian symphony orchestras." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/164583.

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The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazi

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25

Martens, Hester Susanna. "Vakdidaktiese beskouing van geselekteerde Suid-Afrikaanse vioolmusiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2525.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical

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26

Lewis, Lucy Karelyn. "A model for developing a holistic collegiate curriculum for string performance and pedagogy." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638399.

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<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of wheth

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27

Cohen, Bezerra Letierce Claudia. "Le violon dans les œuvres orchestrales de Maurice Ravel : Les techniques orchestrales et instrumentales au service de l’expression musicale." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL041.pdf.

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Ce travail de thèse propose une analyse des techniques instrumentales et orchestrales liées au violon dans treize partitions de Maurice Ravel. Dans le cadre de l’orchestre symphonique, sont ainsi présentées diverses observations concernant le traitement de cet instrument ainsi qu’une approche comparative de ses modes de jeu dans les œuvres de ce compositeur. Ces observations conduisent à une réflexion sur la façon dont les nombreuses possibilités violonistiques sont mises au service de la constitution d’un style et de modes d’expression caractéristiques, notamment à travers le timbre et une co

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28

Dai, Yu-Lung, and 戴于倫. "Robert Schumann：Fantasy for Violin and Orchestra." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/60777845411210386781.

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碩士<br>實踐大學<br>音樂學系碩士班<br>102<br>The "C Major Violin Fantasy" was written by Robert. Schumann (Robert Schumann, 1810-1856). This work is not only grand but gorgeous. It shows many different kinds of violin playing skills. This work is his only one fantasy for violin. The author will compare this fantasy with the other piano fantasies of Schumann, and seeking in common with musical words, structures and emotions in order to explore Schumann's style of composition. In this paper, the author will discuss the "C Major Violin Fantasy" in the following order: the first chapter is an introduction, m

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29

Curcin, Katarina. "Double concerto for violin, percussion and orchestra." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=510529&T=F.

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30

Tartini, Giuseppe 1692-1770. "Six concertos for violin and string orchestra, 1733." 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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31

Burden, Michael. "Six concertos for violin and string orchestra, 1733 Giueseppe Tartini." Thesis, 1987. http://hdl.handle.net/2440/103147.

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32

Tomlin, Laura Anne. "A study of Gian Carlo Menotti's Concerto for violin and orchestra." 2009. http://purl.galileo.usg.edu/uga%5Fetd/tomlin%5Flaura%5Fa%5F200912%5Fdma.

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33

Lai, Chiao-Jen, and 賴巧壬. "The Analysis and Interpretation of Barber's Concerto for Violin and Orchestra." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/64918457388651005089.

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碩士<br>輔仁大學<br>音樂研究所<br>101<br>Samuel Osborne Barber, one of the most famous composer in America in the mid-twenty century, whose work includes opera, chorus, orchestra, sonata and concerto. The most popular which also been performed in the concert is the Adagio for strings, Op.11, （1936）. Barber was born in the USA, where nurture the immigrations from all over the world. Different cultures melt together to make the music style more diversity. That is why his work mixed all these components and add a flavor of his own to make it more outstanding from others. Though his works tend toward to Roma

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34

Wang, Szu-Ying Ballena David Chang Kai-Ching. "The many faces of Paul Hindemith." 2006. http://hdl.handle.net/1903/9716.

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35

Pin-Fang, Wu, and 吳品枋. "Mozart Concerto in A Major for Violin and Orchestra No.5 KV219." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/38060129161576346143.

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36

LU, TZU-HUI, and 呂姿慧. "The Analysis and Performance of Samuel Barber’s Concerto for Violin and Orchestra." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/57481487601274475775.

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37

Jiang, Yuli. "The Chinese violin concerto "The butterfly lovers" by He Zhanhao (1933) and Chen Gang (1935) for violin and orchestra." 2004. http://hdl.handle.net/2152/12694.

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38

Jiang, Yuli Baltzer Rebecca A. Gratovich Eugene. "The Chinese violin concerto "The butterfly lovers" by He Zhanhao (1933) and Chen Gang (1935) for violin and orchestra." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3128861.

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39

Crane, Emily Hanna Kowalsky Frank Bolcom William. "A performer's approach to William Bolcom's Concerto in D for violin and orchestra." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-04032007-235850/.

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Treatise (D.M.A.) Florida State University, 2007.<br>Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-21-2007). Document formatted into pages; contains 92 pages. Includes biographical sketch. Includes bibliographical references.

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40

Er, Yenn-Chwen. "The historical influences on the works for violin and orchestra by Ludwig van Beethoven." Thesis, 1997. http://hdl.handle.net/1911/19157.

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Many nineteenth-century creative artists saw in Beethoven a substantiation of their own aesthetic ideals and propagated a "mythical" Beethoven who was unique in every respect of compositional styles and forms of music. This incorrect concept has continued to affect our understanding of the Classical period and many significant composers, of whom Beethoven was just one of them, were unduly ignored. Furthermore, this has also influenced our interpretations of Beethoven's music. This present document seeks to place Beethoven's works for the violin and orchestra in a correct historical perspective

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41

Flood, Elizabeth Ruth. "Analysis, interpretation and performance of the concerto for violin and orchestra by Samuel Barber /." 1997. http://digitalcommons.butler.edu/ugtheses/59.

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42

WANG, CHUNG-KAI, and 王重凱. "An Analysis and Interpretation of Ernest Chausson's Poème for Violin and Orchestra, op. 25." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/65734290533412116298.

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碩士<br>輔仁大學<br>音樂研究所<br>101<br>Chausson is not a widely-known composer. And with his premature death, there are only a few songs written by Chausson. However, he was committed to the promotion of music in his lifetime. Therefore, he still has considerable status in his short-lived music career. The time period that Chausson lived, which is about the mid-nineteenth century, was the era of the rise of the middle class individualism. So on the one hand, he followed the trend of the times, while on the other hand he also expressed emotions in music through the concept of a unique and delicate aesth

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"A Performer’s Guide and Structural Analysis of Sergei Taneyev’s Concert Suite for Violin and Orchestra." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53737.

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abstract: This research paper is a study of Sergei Taneyev’s Concert Suite for Violin and Orchestra, Op. 28 and includes Taneyev’s biography, a brief musical analysis which benefits the interpretation, and performance suggestions from the perspective of a concert violinist. The purpose of this paper is to enable performers to achieve a better understanding of this artwork and make informed musical choices. Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important f

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"Instrumental Vibrato: An Annotated Bibliography of Historical Writings Before 1940." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14581.

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abstract: The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this stud

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45

Davis, Rachelle Marie Gratovich Eugene Buhler James. "Walter Piston's Concerto no. 1 for violin and orchestra thematic and motivic transformation, style, and violinistic issues /." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3127083.

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Crawford, Heather A. "Joan Tower's Violin concerto an organic approach to composition /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075612.

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47

Davis, Rachelle Marie. "Walter Piston's Concerto no. 1 for violin and orchestra: thematic and motivic transformation, style, and violinistic issues." Thesis, 2004. http://hdl.handle.net/2152/1139.

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48

Davis, Rachelle Marie 1972. "Walter Piston's Concerto no. 1 for violin and orchestra : thematic and motivic transformation, style, and violinistic issues." 2004. http://hdl.handle.net/2152/12946.

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"A New Piano Reduction of the Glazunov Concerto for Violin and Orchestra in A minor Op. 82." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53905.

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abstract: Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin

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Lin, Yin-Hsin, and 林因欣. "The Study of Mozart''s Concerto in D Major for Violin and Orchestra No.4 (K.218)." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/64283982393446456722.

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碩士<br>國立中山大學<br>音樂學系研究所<br>91<br>Wolfgang Amadeus Mozart (1756~1791) is one of the most important composers in the Classic period. In his early age, he used to be a virtuoso, played across Europe such as England, France, and Italy, etc. Therefore Mozart was influenced by different styles of music. He then took these different music styles into a refined and harmonious integration. Mozart not only had great dedication in operas, but also in the sonata form with “double exposition” which he used in the concertos. We can see this progressing from the piano concertos that Mozart composed through h

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