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Journal articles on the topic 'Technology in violin teaching'
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1
Dolski, Tomasz. "Technika w procesie dydaktycznym jako narzędzie do rozwijania zainteresowań muzyką poważną dzieci i młodzieży. Implikacje dla edukacji muzycznej." Kwartalnik Pedagogiczny, no. 65/4 (July 19, 2021): 37–49. http://dx.doi.org/10.31338/2657-6007.kp.2020-4.3.
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The article presents the difficulties and challenges in music education. The author tries to show the causes and answer the question if this branch of science is needed. For this purpose, the results of research in the field of musical education, cognitive neuroscience, psychology, as well as theoretical concepts, which are confronted with the original educational project “Symphony for Violin and DJ”, are analysed in order to show practical possibilities and solutions. The main problem of the article concerns the relevance of teaching methods to the digital world in which students live. It is presented from various perspectives and its implications are indicated.
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Lei, Sum Yi, Dickson K. W. Chiu, Mavis Man-wai Lung, and Cheuk Ting Chan. "Exploring the aids of social media for musical instrument education." International Journal of Music Education 39, no. 2 (January 5, 2021): 187–201. http://dx.doi.org/10.1177/0255761420986217.
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With the rapid development of information communication technology, social media has become a necessary part of people’s daily life. Recently, many music teachers have applied social media to augment their classes and enhance their teaching. This article explores the use of social media for musical instrument education, with a focus on the violin and piano. A qualitative semi-structured interview was conducted with eight music teachers from music centers and studios. Our participants revealed that social media creates a virtual environment to extend (but not to replace) face-to-face instruction, which facilities knowledge sharing, arouses students’ interest, and supports communication. For pedagogy, social media helps students improve musical instrument playing techniques (e.g., posture, fingering, and rhythm) and musical styles. Drawbacks of applying social media are mainly the quality of content, difficulties in differentiating subtle differences (e.g., intonation), and inadequate talent of some students. Therefore, teachers need to pay attention to these issues and use social media to develop a better educating environment for individual learners.
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Su, Di. "Fundamental Concepts in Violin Studio Teaching." American String Teacher 66, no. 2 (May 2016): 34–37. http://dx.doi.org/10.1177/000313131606600207.
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Sarch, Kenneth L. "Violin Playing and Teaching in the '90s." American String Teacher 46, no. 4 (November 1996): 52–54. http://dx.doi.org/10.1177/000313139604600412.
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Hazlewood, Donald G., Sandy Stouffer, and Max Warshauer. "Suzuki Meets Pólya: Teaching Mathematics To Young Pupils." Arithmetic Teacher 37, no. 3 (November 1989): 8–10. http://dx.doi.org/10.5951/at.37.3.0008.
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The Suzuki method (Suzuki 1969, 1981, 1984) of teaching young pupils to play the violin has been widely used with remarkable results. Suzuki credits his approach to a simple observation, namely that all Japanese children learn to speak their native language and, thus, must have high ability for learning. Suzuki reasoned that this ability, if properly developed. would enable children to learn to play the violin. Since his basic premise was that all children are capable of high achievement, the problem for any child who could not learn music must be in the way music was taught.
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Herzog, William. "Teaching High-Quality Violin and Viola Vibrato, Virtually." American String Teacher 71, no. 1 (January 28, 2021): 53–55. http://dx.doi.org/10.1177/0003131320975870.
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Shipps, Stephen B. "The Influence of Lucien Capet on Teaching Violin." American String Teacher 43, no. 1 (February 1993): 65–68. http://dx.doi.org/10.1177/000313139304300123.
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Fauzi, Ade, and Uyuni Widiastuti. "INOVASI INSTRUMEN BIOLA BERFRET DI MTS NURHASANAH KABUPATEN BATUBARA." Grenek Music Journal 9, no. 1 (January 30, 2021): 1. http://dx.doi.org/10.24114/grenek.v9i1.23292.
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The purpose of this study 1) To determine the learning process of the violin using the innovation of the fret violin instrument at MTs Nurhasanah Batubara Regency, 2) To determine the process of making the violin instrument innovation. The theories used are innovation theory, learning theory, violin theory, and fret (tone barrier). Data collection techniques through observation, interviews, and documentation. The results of this study indicate 1) The learning process of the violin includes an explanation of the parts of the violin and their functions followed by reading music notation with tabulated numbers and teaching material from the Suzuki method manual. 2) The production of the stringed violin instrument consists of several stages, including: (1) the manufacturing process, (2) the manufacturing steps, (3) the materials used, and (4) the advantages and disadvantages of the stringed violin instrument. The manufacturing process is quite simple, just adding a fret that is planted on the fingerboard and then measured by a cromatic tuner measuring instrument.
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Pressley, Margaret, and Rebecca Henry. "A Personal Journey toward Teaching Success." American String Teacher 44, no. 2 (May 1994): 69–72. http://dx.doi.org/10.1177/000313139404400227.
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Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the faculty of the Indiana University Summer String Academy, a member of the advisory board of the Seattle Young Artist Music Festival and the National Music Teachers Association Competition String Repertoire Committee, and string chair for the Washington State Music Teachers Association. She was named ASTA's 1994 Washington State Studio Teacher of the Year.
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Hildebrandt, Horst, Oliver Margulies, Barbara Köhler, Marta Nemcova, Matthias Nübling, William Verheul, and Wulf Hildebrandt. "Muscle Activation and Subjectively Perceived Effort in Typical Violin Positions." Medical Problems of Performing Artists 36, no. 3 (September 1, 2021): 207–17. http://dx.doi.org/10.21091/mppa.2021.3023.
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Violinists display a high incidence of task-specific musculoskeletal problems. Sources pertaining to violin playing and teaching traditions as well as musicians’ medicine research offer only imprecise and contradictory recommendations regarding suitable instrument positions. The aim of this study was to add to a growing scientific base for teaching and medical counseling regarding violin positioning. The study evaluated muscle activation (EMG) and subjectively perceived effort (Borg scale) in four standardized typical violin positions, as well as the violinists’ normally used one. The hypothesis, the smaller the angle between the instrument’s longitudinal axis (LoAx) and the player’s central sagittal plane (CSP) and the angle between its lateral axis (LatAx) and the player’s horizontal plane (HP), the more muscle activation and perceived effort in the violinist’s left arm, was confirmed: Decreasing the LoAx-CSP angle from 50° to 20° and the LatAx-HP angle from 50° to 20° resulted in a highly significant and independent increase of EMG and Borg scale self-ratings mean values. Results may allow for a first step in decision-making on violin positioning for ergonomic adaptations in teaching as well as prevention and therapy of playing-related health problems at all levels of proficiency.
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Budiawan, Hery, and Nurul Ulfa Aulia. "Violin Teaching in Sanggar Merah Putih: Case Study of Budi Yuntono's Teaching Style." Gondang: Jurnal Seni dan Budaya 6, no. 2 (December 6, 2022): 272. http://dx.doi.org/10.24114/gondang.v6i2.35692.
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The purpose of this study is to find out how the teaching style used by Sanggar Merah Putih. The uniqueness of this sanggar is that it uses traditional teaching on musical instruments originating from the western, namely the violin. The research method used is a qualitative research method with a case study approach. The data search method for this study, researchers made observations, literature studies, documentation, and also interviews to several speakers including sanggar teachers and students at Sanggar Merah Putih which were carried out offline and also online. The results obtained in this study, Sanggar Merah Putih applied several methods, namely oral methods, demonstrations, and imitations in its teaching. sanggar also applies the technique of memorizing the notation of songs instead of reading the notation. Teachers use number notation and also solmization in their teaching, instead of using block note scores as in the teaching of violin instruments in general. With teaching techniques and methods like this, it is able to make children faster to master their musical instruments. Sanggar Merah Putih plays many songs from various genres, ranging from traditional songs, Country, Irish, Pop, and others.
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Akutsu, Taichi. "Constructing a “fast protocol” for middle school beginner violin classes in Japan." International Journal of Music Education 36, no. 1 (February 3, 2017): 96–107. http://dx.doi.org/10.1177/0255761417689918.
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This study aimed to investigate the process of constructing a “fast-protocol” for violin instruction. Since learning string instruments has not been common, and because there are limited hours for music in Japanese schools, the author, a violinist, collaborated with the general music teacher at a middle school in the Tokyo metropolitan area, and co-created the protocol which contains three lesson units as follows: (1) to play an open string on the violin; (2) to discriminate pitch by string crosses on the violin; (3) to discriminate pitch by using fingers on the violin. As for data collection, the study videotaped students’ learning, and maintained log notes. This study also collected students’ commentary focusing on perceived challenges after each class ( N = 120). Based on all gathered data, after completing the coding process, researcher and teacher co-constructed the narrative. Findings include critical examinations of readiness in violin teaching and learning, and variations on violin-specific challenges associated with enjoyment and satisfaction for beginners.
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Gholson, Sylvia A. "Proximal Positioning: A Strategy of Practice in Violin Pedagogy." Journal of Research in Music Education 46, no. 4 (December 1998): 535–45. http://dx.doi.org/10.2307/3345349.
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The research problem for this study was the identification and characterization of patterns of expert teaching practice as they occurred in context. The primary participant, renowned violin pedagogue Dorothy DeLay, was observed in the natural setting of her studio, and her teaching practices were documented through field notes, audiotapes, and contextual artifacts. The theory of proximal positioning represents a dominant theme within the educational environment Delay created. This pattern of teaching practice accounts for the adjustments that a pedagogue makes in order to assist students through zones of proximal development. Two categories of teaching strategies support this theory. Preparatory strategies are characterized by teacher actions that reveal the overall goals of instruction and processes for probing student frames of reference. Facilitative strategies are characterized in terms of lesson-goal development, cognitive magnification of performance details (an attention-directing tactic), the use of metaphor (a cognitive structuring strategy), and the creation of contextual regions of comfort and challenge.
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Rooke, Marion. "Constructive Creations." British Journal of Music Education 8, no. 3 (November 1991): 219–44. http://dx.doi.org/10.1017/s0265051700008494.
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The author, troubled by doubts about the value for pupils’ general education of violin teaching, sets about finding out, by interview and open discussion, what the problems are, for teachers and pupils alike; and having analysed them, sets herself the task of trying solve some of them.Encouraging pupils to compose music that will help them overcome their own technical difficulties is a fruitful start, and one that can lead to further developments of great promise for the future of music education. By evaluating the processes and outcomes of this creative work it is possible to throw light and understanding on learning and teaching processes in both violin playing and composition.
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Suroso, Panji, Danny Ivanno Ritonga, Wiflihani Wiflihani, Mukhlis Mukhlis, and Tri Tri. "The Repertoire of Traditional Malay Ensemble as a Source of Violin Practice Learning Material." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 4 (October 31, 2020): 1750–58. http://dx.doi.org/10.33258/birle.v3i4.1334.
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This study aims to examine in depth how the process of applying the Malay traditional music ensemble reportoar as a teaching material in practical learning to play violin instruments in unimed music education study programs in the odd semester 2020-2021.Based on the monitoring carried out by the lecturer team in the learning process to play the violin that has occurred so far, the practice of playing the violin is still being carried out with teaching material playing western classical music and playing popular music styles. This study was conducted using a qualitative approach, namely following the opinions of Miles and Huberman (1984), namely (1) data collection, which was carried out through interviews, document digest observation, recording and recording; (2) data reduction, which is done by summarizing, selecting the main things, focusing on the important things, looking for themes and patterns and removing unnecessary ones; (3) data display (data presentation), which is done by showing the data and presenting it in the form of narrative text and charts; (4) conclusion drawing / verification which is carried out by drawing conclusions and verifying the research findings. In this study, the findings suggest that: 1) The learning process carried out in learning the violin in this study is to apply the tiered learning method, starting from the preparatory level learning, basic learning, middle level learning, and advanced learning. 2). The introduction of the main principle in recognizing cengkok and grenek in violin playing is in the form of the jump tone technique. For example, a violin melody can be played 7 notes or 8 notes in one beat, but the melody interval steps vary between second, terts, quart, quint and so on. However, in a grenek melody, the intervals played are only in the form of a second up or a second down.
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Zhang, Cheng Zhong, Bang Yan Ye, Xi Zhi Hu, Xue Zhi Zhao, and Yun Feng Cao. "Finite Element Simulation Application for Vibration Characteristic of Violin." Key Engineering Materials 620 (August 2014): 662–67. http://dx.doi.org/10.4028/www.scientific.net/kem.620.662.
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In this paper, Finite Element Technology is applied to study the vibration state of violin sounding box using numerical simulation. By means of geometric modeling for the complicated shape of violin sounding box and Finite Element Analysis, the structural parameters of violin box, including thickness of violin plate, height and distribution and change of the shape of arch in front plate geometry, status of bass bar and sound-post etc, are investigated for their influence on vibration patterns and frequency response of violin box. Experiment is carried out for measuring the frequencies responses of violin box to verify the results of the Finite Element Analysis. This research provides a feasible way of theories for violin makers to improve the vibration characteristics of violin.
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Ioniță, Raluca Dobre. "15. Polonaise for Violin and Piano OP. 4 in d Major by Henryk Wieniawski." Review of Artistic Education 1, no. 23 (April 1, 2022): 120–27. http://dx.doi.org/10.2478/rae-2022-0015.
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Abstract Wieniawski’s creations for violin imposed themselves in the romantic musical literature both by their special melodic musicality and by the difficulty of the technical passages. Polonaise for violin and piano, op. 4 in D major is one of the most beautiful musical jewels of the romantic century. The piece has become famous since the time of the composer, who performed it quite frequently in his tours. In this composition, Wieniawski emphasizes to the maximum the timbre, technical and interpretive potential of the violin.
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Gabrielyan, Nikolay Z. "Features of the development and rise of national pedagogical violin art from L. Auer to Y. Yankelevich." Tambov University Review. Series: Humanities, no. 191 (2021): 116–22. http://dx.doi.org/10.20310/1810-0201-2021-26-191-116-122.
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The work is devoted to the development and rise of national pedagogical violin art of the period from L. Auer to Y. Yankelevich. The works of violin teachers themselves and their contemporaries of the 20th century (L. Auer, V. Grigoriev, L. Mordkovich, A. Yampolsky, Y. Yankelevich) and the latest research in the history of violin art and pedagogy are considered as scientific sources (I. Lezhnev, A. Misharin, A. Nurgayanov, E. Safonov, T. Sukhanov). Despite the sufficient consecration of various issues of the national violin school in the literature, the relevance of this topic is determined by the need to highlight the factors of the rise of the national violin school in general and to determine the characteristic methodic directions and pedagogical trends of the specified historical period in particular. The principles indicated by L. Auer, aimed at the devel-opment of an individual performing manner, and the interpretational direction in violin perfor-mance are developed and supplemented by his followers, among whom the activity of A. Yam-polsky was of fundamental importance. The development of a system of music education due to a well-built policy of the state and the activities of individuals and organizations, the mutual influ-ence of the tandem “composer – performer” also contributed to the growth of interest in the violin art. It is concluded that the close continuity of pedagogical, methodic and performing principles, combined with innovative teaching methods, led to the flourishing of the violin school, which was supported by state and close interaction between performers and composers.
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Lin, Yixuan. "Design of the Violin Performance Evaluation System Based on Mobile Terminal Technology." Mathematical Problems in Engineering 2022 (September 20, 2022): 1–7. http://dx.doi.org/10.1155/2022/8269007.
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In order to solve the problem that violin performance evaluation is too subjective, this paper proposes a violin performance evaluation system based on mobile terminal technology. Violin sound evaluation mainly includes two indicators such as pronunciation quality and distance transmission ability. LabVIEW 8.2 is used to collect data, and fast Fourier transform (FFT) is used to analyze the time-domain signal in frequency domain, and the pronunciation process of violin is discussed in depth. Using statistical methods to process the test data of pronunciation distance transmission, a parameter model representing the pronunciation distance transmission ability is proposed, and finally the WeChat applet is used to control the recording and display. The results show that the process of violin sound production is accompanied by the weakening of octave peaks and the development of overtone peaks. The stable stage is marked by the stability of each octave peak and overtone peak. The sound head initially presents a simple excitation response, with only one near octave overtone and three cycles. Its maximum overtone peak/dominant frequency peak ratio coefficient is k = 0.36; the back entry complex excitation response has about nine cycles, with k = 0.735. Then enter the quasi-stable excitation response, whose waveform is similar to the typical A-string empty string pull waveform in the later stage, with k = 0.36; the maximum overtone peak/main frequency peak proportional coefficient is k = 0.39 in the rising section of the start, k = 0.2 in the loudest section, and k = 0.26 in the stable section. Conclusion. The system has initially established a new instrumented evaluation method, which provides a way of thinking for improving the quantifiable evaluation system in the future.
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GUO, YUANYUAN. "Analysis of the Application of “Inspiration-Exploration” Method in Violin Teaching." Convergence of Humanities, Social Science an Art’s Academy 2, no. 2 (August 17, 2018): 115–34. http://dx.doi.org/10.37846/soch.2.2.115.
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Ho, Tracy Kwei-Liang. "A computer-assisted approach to the teaching of violin tone production." ACM SIGCUE Outlook 21, no. 2 (November 1991): 73–83. http://dx.doi.org/10.1145/122463.122472.
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Presler, Anna. "Teaching Pure Mad Joy: Duet Resources for Violin Teachers and Students." American String Teacher 69, no. 4 (October 23, 2019): 15–19. http://dx.doi.org/10.1177/0003131319871445.
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Kohn, Andrew. "Issues of Rhythm & in Teaching Orchestral Bass Excerpts Tempo." American String Teacher 51, no. 1 (February 2001): 62–65. http://dx.doi.org/10.1177/000313130105100109.
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“Beyond question the student's progress depends very heavily upon his being properly guided and taught.” 1 This simple statement from the great violin pedagogue Leopold Auer has very complex ramifications for string teachers, especially when preparing students to perform orchestral excerpts. The issues to be examined have many sides, and students look to their private teachers as their first source of information and guidance.
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Mio, Vanessa Andrea. "The Need for Remedial Pedagogy in Undergraduate Violin Instruction: A Case Study of Postsecondary Instructors’ Perceptions." Update: Applications of Research in Music Education 37, no. 3 (January 30, 2019): 36–45. http://dx.doi.org/10.1177/8755123319826243.
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Postsecondary violin instructors often implement remedial pedagogy with first-year performance/music education students to holistically nurture individual artistic goals and overall well-being. Using a qualitative multiple case study research design, 10 postsecondary violin instructors from across North America were interviewed to investigate their perceptions of why remedial pedagogy is often required for incoming first-year students. The interview data and external data sources were analyzed through the lens of empiricism, attribution theory, and teacher attribution scaffolding theory. The results indicated that some secondary instructors may require further knowledge in terms of effective communication and pedagogical approach with individual students. Other factors may be equally critical throughout the learning process, including student motivation, resistance, and parental support. The pedagogical expertise presented in this research can inform violin instructors about the factors/challenges that may affect teaching and learning as students prepare for higher education.
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Uludağ, Ali Korkut, and Ferhat Devecioğlu. "Determining the level of usability the techniques of the Western music violin performer for the field of Turkish music violin teaching." Journal of Human Sciences 17, no. 2 (April 16, 2020): 432–57. http://dx.doi.org/10.14687/jhs.v17i2.5788.
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This work has been made in order to see how much the techniques are useful at West music playing violin on teaching Turkish music playing violin. Studying group was formed by the graduate students (n=8) who attends Kafkas University State Conservatory Traditional Turkish Music during Autumn- sprig term.
Experimental value which contains pre test and final test groups is used in the investigation. The investigation consists of control groups (n=4) and experience groups (n=4). During the experimental process which lasted 8 weeks, Although experience group students were applied a teaching programme which was prepared by the researcher, control group students were applied traditional teaching methods. At the first stage of experimental process equivalance test and then pre test – post test was applied to them. In order to designate musical and technical skills of working group students, performance evaluation scale was used with expert opinions. There was a kind of song during the equivalance test. There were peşrev, saz semâi and a kind of song during the pre test and post test precess. Student`s instrument performance was recorded by a camera and then marked by experts.
In order to analyze the datas, Mann – Whitney U Test was used to see whether there was a huge difference between pre test and final test between control and experiment groups. Datas were analyzed by using “SPSS 20” pocket programme.
Considering the outcomes as a whole, we can conclude that the teaching programme which was prepared by the researcher is effective and good outcomes arised.
Extended English summary is in the end of Full Text PDF (TURKISH) file.
Özet
Bu çalışma, Batı müziği keman çalım tekniklerinin Türk müziği keman öğretimi alanında kullanılmasının öğrenciler üzerinde ne derece etkili olduğunu belirlemek amacıyla gerçekleştirilmiştir. Araştırmanın çalışma grubu, 2015 – 2016 eğitim – öğretim yılı güz – bahar yarıyılında Kafkas Üniversitesi Devlet Konservatuvarı Geleneksel Türk Müziği Bölümünde öğrenim gören lisans öğrencileri (n=8) tarafından oluşturulmuştur.
Araştırmada ön test ve son test kontrol gruplu deneysel desen kullanılmıştır. Çalışma grubu öğrencileri yansız atama yoluyla kontrol grubu (n=4) ve deney grubu (n=4) olarak belirlenmiştir. Sekiz haftalık süreci kapsayan deneysel işlem süreci içerisinde deney grubu öğrencilerine araştırmacı tarafından hazırlanan bir öğretim yaklaşımı uygulanırken kontrol grubu ile dersler geleneksel yöntemlerle sürdürülmüştür. Deneysel işlem süreci öncesinde ilk olarak denklik testi ve devamında ise ön test – son test uygulamaları gerçekleştirilmiştir. Çalışma grubu öğrencilerinin müzikal ve teknik becerilerinin belirlenmesi amacıyla uzman görüşleri doğrultusunda hazırlanan performans değerlendirme ölçeği kullanılmıştır. Araştırmanın denklik testinde 1 adet şarkı türü, ön test ve son test aşamalarında ise peşrev, saz semâi ile şarkı türlerinden birer esere yer verilmiştir. Öğrencilerin çalgı performansları kamera ile kayda alınmış ve uzmanlar tarafından puanlandırılması sağlanmıştır.
Elde edilen verilerin analizi için, kontrol ve deney grubu öğrencilerinin ön test ve son test sonuçları arasında anlamlı bir fark olup olmadığını belirlemek amacıyla Mann – Whitney U Testi kullanılmıştır. Toplanan veriler, “SPSS 20” paket programları kullanılarak analiz edilmiştir.
Elde edilen sonuçlar bir bütün olarak ele alındığında araştırmacı tarafından hazırlanan deneysel işlem süreci üzerinden olumlu sonuçlara ulaşıldığı görülmektedir.
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Kneer, Joseph. "An Integrated Approach: Eight Tips for Teaching, Learning, and Improving Violin Vibrato." American String Teacher 68, no. 4 (October 16, 2018): 41–45. http://dx.doi.org/10.1177/0003131318795861.
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Onishchenko, Aleksandra. "Violin and non-violin in the performing activity (the Concert for violin with orchestra D-dur, op. 35 is consideredby P. I. Tchaikovsky)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 132–49. http://dx.doi.org/10.34064/khnum1-57.08.
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Background. The matters of performing and composing art of the XIXth century are considered in this article. The way of formation and changes that have been brought into the violin literature for 100 years ‒ extension of performing techniques, breaking stereotypes that had been built for centuries ‒ were taken as a standard in the repertoire of the violinists of that time. The development of the concert genre by famous performers – composers and division of these two functions by the end of the century encouraged musicians to talk about «violin» and «non violin», limiting performer’s opportunities, by giving them anti violin tasks. It was encouraged by the presence of certain templates that were formed in the period of Italian violinists-composers, who defined a specific format of sound performances, formed definite formulas of technical phrases, and developed a full range of performing tools that built the violin-performing machine. In their turn, composers of the late XIX century had an opportunity to look at the performing structure from another perspective, bringing new acoustic author’s expressions into the violin literature. E. Lalo, A. Dvořák, К. Saint-Saens, J. Brahms, P. Tchaikovsky laid the foundation for new trends and performances that created a discussion about violin and non-violin. During 5 years (from 1874 until 1879), the mentioned authors were divided into two camps – followers of traditions E. Lalo, A. Dvořák, К. Saint-Saens and innovators in the concert genre J. Brahms and P. Tchaikovsky. The latter ones managed to avoid violin clichés and despite much resentment in the musical world showed those sides of performer’s characteristics that could not be positioned with related to violin performance. Objectives. This article is aimed at defining the range of techniques that allow to talk about «violin» and «non-violin» following the analysis of musical edition of the Concert for violin with orchestra by P. Thaikovsky. Results. Every era of violin art has brought its elements of expressive means that extended the violinists’ capabilities, thereby enriching the performing palette with new techniques and at the same time a range of complicated figurativesemantic objectives are given to performers. During a long period (from the seventeenth until the mid-nineteenth centuries), performers-composers, creating compositions for violin, did some methodical work as well, using specific technical tools for specific artistic objectives. In other words, musical value was intrinsically connected with the comfort while performing. Types of fingerings, dashes, chord techniques, timbres – what makes a performer’s toolbox ‒ was determined in the study and performance practice as a certain template. Over time teaching materials in form of «schools of violin performance», used for mastering performer’s technique, focused the composers on certain sound technical models, that particular «violin» structure that could be easily «read» not only the time of the composition creation but its style belonging and even its authorship. However, in the history of musical art the cases when the author’s imagination goes beyond templates, setting difficult objectives, including technical ones, for the performer are not so rare. Premier failures, musicians’ refusal to participate in the performance of a new composition ‒ all of it was the consequence of inertial processes of concert practice, its «delay» towards the composer’s practice. A clear example of such a situation is the Concert for violin with orchestra by P. Tchaikovsky, the composition that generated a discussion about «violin» and «non-violin» in musical art. It is evident that the modern performing toolbox allows mastering and overcoming those difficulties, which created an opinion about the composition as inconvenient and «non-violin» in days of the composer. So, what is the meaning of «violin» and «non violin»? Can «non violin» be outdated or is it a phenomenon at different stages of the evolution of musical stylistics? Conclusions. The end of the XIXth century was marked not only by the renewal of violin material, but also by extension of performer’s techniques, withdrawal of stereotypes that had been built for centuries and were taken as a standard in the repertoire of the performers of that time. The richness of the Concert for violin by P. Tchikovsky with technical discoveries, going ahead of the time, caused L. Auer’s refusal to take part in the premiere. A young soloist A. Brodsky needed more than a year to learn the musical language, dramaturgy and all those difficulties that were mentioned above. Nowadays the Concert for violin by P. Tchaikovsky is a mandatory composition in all prestigious violin contests. It is evident that modern violinist’s toolbox allows them to master and overcome all those difficulties that earlier were told to be «inconvenient» and «non-violin» in the composition. These days «non violin» can be considered a thing of the past. A range of authors of remarquable methodical works of the XX‒XXI centuries (К. Flesch, K. Mostras, I. Yampolsky, Yu. Yankelevich, L. Gurevich, M. Berlianchik) relied on their own experience while answering the questions that worried all the performers without any exception during the development of the whole complex of techniques. However, none of them studies the notion «non violin» as a methodological problem because the practice proves: the technical inconveniences are overcomed in case the performer can hear and understand the innovations, offered by a composer, that raise the performer above any stereotypes.
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Maezawa, Akira, Katsutoshi Itoyama, Kazunori Komatani, Tetsuya Ogata, and Hiroshi G. Okuno. "Automated Violin Fingering Transcription Through Analysis of an Audio Recording." Computer Music Journal 36, no. 3 (September 2012): 57–72. http://dx.doi.org/10.1162/comj_a_00129.
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We present a method to recuperate fingerings for a given piece of violin music in order to recreate the timbre of a given audio recording of the piece. This is achieved by first analyzing an audio signal to determine the most likely sequence of two-dimensional fingerboard locations (string number and location along the string), which recovers elements of violin fingering relevant to timbre. This sequence is then used as a constraint for finding an ergonomic sequence of finger placements that satisfies both the sequence of notated pitch and the given fingerboard-location sequence. Fingerboard-location-sequence estimation is based on estimation of a hidden Markov model, each state of which represents a particular fingerboard location and emits a Gaussian mixture model of the relative strengths of harmonics. The relative strengths of harmonics are estimated from a polyphonic mixture using score-informed source segregation, and compensates for discrepancies between observed data and training data through mean normalization. Fingering estimation is based on the modeling of a cost function for a sequence of finger placements. We tailor our model to incorporate the playing practices of the violin. We evaluate the performance of the fingerboard-location estimator with a polyphonic mixture, and with recordings of a violin whose timbral characteristics differ significantly from that of the training data. We subjectively evaluate the fingering estimator and validate the effectiveness of tailoring the fingering model towards the violin.
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Gorsev, Gonca, Uğur Türkmen, and Cihat Aşkın. "Caka E-Learning Model." World Journal on Educational Technology: Current Issues 9, no. 4 (November 17, 2017): 166. http://dx.doi.org/10.18844/wjet.v9i4.2532.
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In today's world, in order to obtain the information in education, various approaches, methods and devices have been developed. Like many developing countries, e-learning and distance learning (internet based learning) are used today in many areas of education in Turkey. This research aims to contribute to education systems and develop a 'Cihat Aşkın and Little Friends' e-learning model in order to improve the project. 'Cihat Aşkın and Little Friends' is an education system project by worldwide by Turkish violin virtuoso Cihat Aşkın. The aim of this system is to encourage people to play violin and disseminate playing violin as an instrument. In this project, individuals are accepted into the 'Cihat Aşkın and Little Friends' program regardless of their age and talent. In 2001, Cihat Aşkın’s project has started in Bursa and today it proceeds in twelve different cities of Turkey. Thanks to this education system of 'Cihat Aşkın and Little Friends', hundreds of children without musical foreknowledge have started to play violin in Turkey. This paper aims to evaluate teachers’ thoughts and opinions about e-learning technology use for 'Cihat Aşkın and Little Friends' Project. Survey method was used and educators’ attitude towards 'Cihat Aşkın and Little Friends' e-learning model was analyzed. The results reveal that teachers in the project have positive feelings and opinions about the e-learning model. It is believed that by teachers of the project, e-learning technology use will improve in violin education thanks to the project to a great extent. Moreover, it is thought that this study contributes to violin education in Turkey and related researches in the future.
Keywords: E-learning, CAKA (Cihat Aşkın and Little Friends), violin education.
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Hall, Cordelia, and John T. O'Donnell. "Regular Expressions as Violin Bowing Patterns." Computer Music Journal 36, no. 2 (June 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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Zavalko, K. "Features and experience of implementation of the violin teaching method Colourstrings in Ukraine." Art and education, no. 4 (2019): 19–24. http://dx.doi.org/10.32405/2308-8885-2019-4-19-24.
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Yagisan, Nihan, Hakan Karabork, Ayhan Goktepe, and Nazim Karalezli. "Evaluation of Three-Dimensional Motion Analysis of the Upper Right Limb Movements in the Bowing Arm of Violinists Through a Digital Photogrammetric Method." Medical Problems of Performing Artists 24, no. 4 (December 1, 2009): 181–84. http://dx.doi.org/10.21091/mppa.2009.4036.
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Violin is one of the most widely taught string instruments in the world. The positions of the right upper arm, elbow, and wrist and the vertical inclinations of the arm and forearm differ among violin players. The objective of this study was to measure the angular changes in the wrist and elbow joints, as well as the vertical inclinations of the arm, forearm, and hand, which are active in basic bow drives in violin playing, by using digital photogrammetric methods. In this way, we could determine the angular changes of the joints during bow drives, allowing us to incorporate this information into teaching proper bow techniques as well as preventing possible problems due to excessive force. This study involved nine male university violin players. Certain anatomic areas were marked on the players for measurement. The wrist and elbow joints of the right upper extremity were filmed on a calibrated test field using a metric camera, and images were transferred to the computer for photogrammetric evaluation using Pictran software (Technet GmbH, Germany). The angles of the elbow and wrist as well as the vertical inclinations of the arm, forearm, and hand of the right arm were ascertained from these marks on the photographs. The study showed that there are significant interindividual differences in the angular changes and inclinations on the E string and in the vertical inclinations on all strings among the different players.
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Ko, Chantelle, and Lora Oehlberg. "Construction and Performance Applications of an Augmented Violin: TRAVIS II." Computer Music Journal 44, no. 2-3 (2020): 55–68. http://dx.doi.org/10.1162/comj_a_00563.
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Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also trigger presets via four sensors attached to the body of the violin. The instrument is completely wireless, giving the performer the freedom to move throughout the performance space. Although the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin. Our design allows violinists to naturally create music for interactive performance and improvisation without requiring new instrumental techniques. The first author composed two compositions to highlight TRAVIS II: “Dream State” and “Kindred Dichotomy.” Both of these compositions involve improvisation in their creative process and include interactive visuals. In this article we describe the design of the instrument, experiments leading to the sensing fingerboard, performative applications of the instrument, and compositional considerations for the resultant pieces.
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Lee, Calvin KC, and Bo-Wah Leung. "Factors in the motivations of studio-based musical instrument learners in Hong Kong: An in-depth interview study." International Journal of Music Education 38, no. 3 (June 3, 2020): 400–414. http://dx.doi.org/10.1177/0255761420926663.
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In this study, we investigated the factors affecting the motivation of studio-based instrumental learners in Hong Kong. We interviewed a total of 13 participants who learnt the violin and/or the piano. We analyzed the interview data by selective coding accordingly to the three basic needs in the conceptual framework of Basic Psychology Needs Theory, which is one of the mini-theories from Self-Determination Theory. The thematization of basic needs are (1) autonomy, (2) relatedness, and (3) competency. We found relatedness and competence were more related to our participants. This study contributes to the understanding of studio-based, learning-environment characteristics as well as specific motivation factors attributed to the distinctions between the violin and the piano learning environments in Hong Kong. We also discussed the issues of music learning in school and teacher's style of teaching practice.
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Arıca, Eylem. "Third Position as a Home Position Alternative: A Survey of Views and Approaches of Violin/Viola Instructors." SAGE Open 11, no. 2 (April 2021): 215824402110151. http://dx.doi.org/10.1177/21582440211015197.
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Although violin/viola pedagogues who use the third position as the home position in beginning-level teaching have reported positive experiences, school curricula and most pedagogues’ repertoires remain limited to method books that use the first position. The reasons for this preference have not been adequately addressed in string pedagogy and music education research. This study therefore aimed to examine the opinions of violin/viola trainers on the use of the third position as home position through a survey. A questionnaire sent to various music associations, schools, and violin/viola educators internationally yielded a sampling of 160. The results showed that 73.1% of the participants hold the opinion that the third position is not widely used in beginning-level training, and 63.5% think that method books that employ the technique are insufficient. However, 53.1% of the participants believe that using the third position as the home position may have benefits; 61.1% think that the left hand takes the ideal shape in the third position; and 68.3% think that a wider availability of method books would increase the number of trainers who use the technique to teach. The study found that further research of the technique is necessary, especially for educators who are interested in using it.
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Melnic, Victoria, and Augustina Florea. "3. Genuistico - Evolving Aspects of Sonata II for Violin and Piano, OP. 19, No. 3, by Constantin Silvestri." Review of Artistic Education 1, no. 23 (April 1, 2022): 18–33. http://dx.doi.org/10.2478/rae-2022-0003.
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Abstract The article addresses the problem of investigating the evolutionary paradigm of the sonata for violin and piano in the Romanian compositional creation of the first half of the twentieth century, analyzing the work of the famous representative of the pleiad of Romanian composers of the Postenescu generation, European personality - Constantin Silvestri. His creation - Sonata II for violin and piano (1939), composed at the end of the interwar period, at the confluence of the ‘30s and’ 40s, revealing a complex emotional and imagistic spectrum, contrasting, generated by the striking antagonism between aspirations to the ideal and ruin of illusions, allegorically transfigures the incandescent atmosphere around World War II. The language of the work presents a stylistic symbiosis distinct from heterogeneous elements: romantic, expressionist, as well as folk resonance.
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Held, Marcus, and Walter Reiter. "Teaching and thinking Early Music in the 21st century: an interview with Walter Reiter." Revista Música 22, no. 1 (August 4, 2022): 1–16. http://dx.doi.org/10.11606/rm.v22i1.195384.
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In this interview granted to Marcus Held, Walter Reiter discourses on his ideas regarding the field of knowledge known as Early Music. Having witnessed and actively participated in the consolidation of this movement in the 1960's and the 1970's, the violinist, chamber musician, teacher and director talks about the challenges and the successes of teaching and thinking music from previous times in the contemporary world. Furthermore, he presents his recently published book, The Baroque Violin & Viola: a fifty-lesson course (Oxford University Press, 2020) and, in the end, narrates his experience of teaching Early Music in Cuba.
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Nagel, Chris. "Teaching Technology." Glimpse 7 (2005): 85–89. http://dx.doi.org/10.5840/glimpse2005712.
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Hill, Janette R. "Teaching Technology." Journal of Research on Computing in Education 31, no. 3 (March 1999): 261–75. http://dx.doi.org/10.1080/08886504.1999.10782254.
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Burns, Daniel. "Teaching technology." Electronics Education 1990, no. 3 (1990): 20–23. http://dx.doi.org/10.1049/ee.1990.0047.
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Pierce, Joy. "Teaching Technology." International Review of Qualitative Research 7, no. 4 (February 2015): 453–64. http://dx.doi.org/10.1525/irqr.2014.7.4.453.
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farrar-royce, janet. "Seven Well-Known Fiddle Players Discuss the Differences in Teaching Classical Violin vs Fiddle." American String Teacher 52, no. 2 (May 2002): 62–67. http://dx.doi.org/10.1177/000313130205200228.
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Zou, Liangjun. "Emotion Recognition of Violin Playing Based on Big Data Analysis Technologies." Journal of Environmental and Public Health 2022 (September 15, 2022): 1–9. http://dx.doi.org/10.1155/2022/8583924.
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The rapid development of Internet technology has promoted the vigorous development of the multimedia. As one of the most classic instruments, the violin has been fully developed in its creation, education, and performance. In the face of more and more violin performances, the effective organization and retrieval of these musical works is an urgent problem to be solved, while it is common to classify and organize music based on the emotional properties of the performance. Deep learning is a model based on feature hierarchy and unsupervised feature learning, which has strong learning ability and adaptability. Based on the recurrent neural network (RNN) method, long short-term memory (LSTM) is one of the classic models of deep learning that can effectively learn the characteristics of time series data and achieve effective predictions. Therefore, based on the classical Hevner emotion classification model, this paper proposes an emotion recognition method for dynamic violin performances based on LSTM, which selects acoustic features and classifies the audio acoustic signals contained in the violin performances. In order to verify the effectiveness of this method, this paper carries out data labeled, feature selection, and model test on the actual violin music data by turn. The results show that the proposed method can greatly reduce the training time and improve the prediction accuracy, which reached 83%, higher than the existing methods. Meanwhile, the accuracy and iteration times of violin playing music of different emotional categories are also counted. Moreover, the method is robust to the genre, timbre, and noise changes, and the emotion recognition effect is superior.
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Visentin, Peter, Shiming Li, Guillaume Tardif, and Gongbing Shan. "Unraveling mysteries of personal performance style; biomechanics of left-hand position changes (shifting) in violin performance." PeerJ 3 (October 1, 2015): e1299. http://dx.doi.org/10.7717/peerj.1299.
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Instrumental music performance ranks among the most complex of learned human behaviors, requiring development of highly nuanced powers of sensory and neural discrimination, intricate motor skills, and adaptive abilities in a temporal activity. Teaching, learning and performing on the violin generally occur within musico-cultural parameters most often transmitted through aural traditions that include both verbal instruction and performance modeling. In most parts of the world, violin is taught in a manner virtually indistinguishable from that used 200 years ago. The current study uses methods from movement science to examine the “how” and “what” of left-hand position changes (shifting), a movement skill essential during violin performance. In doing so, it begins a discussion of artistic individualization in terms of anthropometry, the performer-instrument interface, and the strategic use of motor behaviors. Results based on 540 shifting samples, a case series of 6 professional-level violinists, showed that some elements of the skill were individualized in surprising ways while others were explainable by anthropometry, ergonomics and entrainment. Remarkably, results demonstrated each violinist to have developed an individualized pacing for shifts, a feature that should influence timing effects and prove foundational to aesthetic outcomes during performance. Such results underpin the potential for scientific methodologies to unravel mysteries of performance that are associated with a performer’s personal artistic style.
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Gidion, Gunnar, and Reimund Gerhard. "Characterization of bridge motions on the violin using polymer sensor technology." Journal of the Acoustical Society of America 133, no. 5 (May 2013): 3233. http://dx.doi.org/10.1121/1.4805158.
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Refsum Jensenius, Alexander, and Victoria Johnson. "Performing the Electric Violin in a Sonic Space." Computer Music Journal 36, no. 4 (December 2012): 28–39. http://dx.doi.org/10.1162/comj_a_00148.
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This article presents the development of the improvisation piece Transformation for electric violin and live electronics. The aim of the project was to develop an “invisible” technological setup that would allow the performer to move freely on stage while still being in full control of the electronics. The developed system consists of a video-based motion-tracking system, with a camera hanging in the ceiling above the stage. The performer's motion and position on stage is used to control the playback of sonic fragments from a database of violin sounds, using concatenative synthesis as the sound engine. The setup allows the performer to improvise freely together with the electronic sounds being played back as she moves around the “sonic space.” The system has been stable in rehearsal and performance, and the simplicity of the approach has been inspiring to both the performer and the audience.
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Colprit, Elaine J. "Observation and Analysis of Suzuki String Teaching." Journal of Research in Music Education 48, no. 3 (October 2000): 206–21. http://dx.doi.org/10.2307/3345394.
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This study is an examination of teacher and student behavior in 48 violin and cello lessons taught by 12 expert Suzuki string teachers. One representative excerpt of work on a repertoire piece that had been introduced in a preceding lesson was extracted from each lesson videotape and analyzed in detail. Each excerpt was divided into segments (labeled “rehearsal frames”) that encompassed the instructional activities devoted to proximal performance goals (labeled “targets”) identified by the teacher. Targets were recorded for each rehearsal frame and categorized according to the teacher's description of the target and according to the aspect of performance to which the target pertained. Instructional activities within 338 rehearsal frames were examined in terms of the rates, durations, and proportions of time devoted to aspects of teacher and student behavior. Across all rehearsal frames ( N = 338), approximately 45% of the total time was devoted to teacher verbalizations, 20% to teacher modeling, and 41% to student performance. Episodes of teacher and student activity were frequent and brief, indicating a rapid pace of instruction. Lessons were characterized by high rates of approvals and a clear focus on one aspect of performance at a time.
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Elliott, Robin. "Fact and Fiction in the Life Story of Luigi von Kunits." Nineteenth-Century Music Review 11, no. 2 (December 2014): 239–54. http://dx.doi.org/10.1017/s1479409814000366.
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Luigi von Kunits (1870–1931) had a substantial impact on classical music in Toronto. Born and educated in Vienna, he emigrated to Chicago in 1893 and then moved to Pittsburgh in 1896 as the concertmaster of the Pittsburgh Orchestra. After 17 years in the USA, he returned to Vienna for two years, before moving to Toronto to take up a teaching position at the Canadian Academy of Music. From the time of his arrival in Toronto in 1912 to his death in 1931 he was active on many fronts: teaching violin, composing, editing The Canadian Journal of Music (1914–1919), performing as a chamber musician and violin soloist, and serving as the conductor of the Toronto Symphony Orchestra (1922–1931). To many he seemed the very embodiment of the great Central European musical tradition: a pupil of Bruckner and Hanslick, associated with Brahms and acquainted with celebrated European musicians and composers. Much of what we know about Kunits derives from statements issuing from the musician himself or his immediate circle, with little or no corroborating evidence to support his assertions. As a result, it is difficult at this remove to separate fact from fiction. This article takes stock of the sources of information that are available and attempts to construct as accurate an account of his life and activities as possible.
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Sandu, Ion, Petru Ovidiu Tănasă, Florin Brînză, Viorica Vasilache, Ana Drob, and Vasile Drobotă. "Authentication of a Stradivarius “Petite Violin” Type from 1723." Applied Sciences 13, no. 2 (January 12, 2023): 1048. http://dx.doi.org/10.3390/app13021048.
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By correlating the structural–functional dimensional data with a series of archaeometric and chemometric characteristics determined by dendrochronological analysis and by three instrumental techniques (Scanning Electronic Microscopy, coupled with Energy Dispersive X-ray, µ-FTIR Spectroscopy and Thermal Analysis in Dynamic Mode), a Stradivarius violin was authenticated as having been made by one of the two Stradivari sons (Francesco or Omobono) in 1723. It should be noted that the “petite” type violin, which comes from a private collection and was recently purchased on the open market, has the original label and is in a poor preservation state. There is only one revarnishing intervention on the violin, and it is older than 80 years. There have been several attempts at sampling (all of which are under 30 years old) for the wooden support and varnish (from the top cover of the resonance box), but the existence of some analysis results is unknown. The dimensional characteristics of the structural–functional components place the violin in “petite violins”, and it is one of the more than 40 still preserved as an authentic artifact.
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Geringer, John M., Michael L. Allen, Rebecca B. MacLeod, and Laurie Scott. "Using a Prescreening Rubric for All-State Violin Selection: Influences of Performance and Teaching Experience." Update: Applications of Research in Music Education 28, no. 1 (October 22, 2009): 41–46. http://dx.doi.org/10.1177/8755123309344109.
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