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1
Low, Sheau-Fang. "Applied violin instruction : factors and strategies contributing to effective teaching of three master teachers in Sydney." Master's thesis, Sydney Conservatorium of Music, 2000. http://hdl.handle.net/2123/8146.
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Villaret, Amanda Louise. "The Franco-Belgian and Russian methods of bowing : a pedagogic study." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535903.
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Two important parts of violin pedadogy are left hand and right hand technique. Of these two parts, the right hand technique is eminently more complex, and causes greater frustration for the player. Bow technique Is a combination of many diverse functions in the left arm, and requires great agility and cooperation from the arm and back muscles. Because most of the expression and interpretation of the music comes through the bow, it is important that there be no obstacles confronting the player that would hinder a quality performance.How, then, is such a complicated art taught to students of the violin? In the years preceding World War II, the majority of teachers developed their own methods based on personal experience and pedagogic knowledge. Because pedadogic knowledge was often scant, personal experience was the basis of one's technique, which consisted of a system of rules designed to work for that individual. This method could be impractical when applied to others.By the twentieth century, two schools of bowing technique had been developed and proved to be the most successful in producing superior violinists. Both the Franco/Belgian andRussian methods of bowing are grounded in the Viotti tradition, which, through the past two centuries, has proven to contain the basic, fundamental principles of successful bow technique.It took a few more years to commit these methods to paper and be published, which allowed standard bowing technique to circulate beyond the few prominent music schools and conservatories. Yet, even today, many teachers are unaware of these two schools of bowing, and how they can guide both the teacher and pupil to satisfactory results when confronted with bowing problems.This dissertation presents the history of bowing technique from the first appearance of the violin to the development of Franco/Belgian and Russian bowing techniques. It compares and contrasts the two methods, and examines how the use of either bow grip will affect the execution of the bow strokes. Finally, this work analyzes the strengths and weaknesses of each method, and how one determines which method will accomplish the desired results and help each student to develop to his/her full potential by allowing for individual differences.<br>School of Music
3
Núñez, Mario Leoncio. "A Comparison of Aural and Visual Instructional Methodologies Designed to Improve the Intonation Accuracy of Seventh Grade Violin and Viola Instrumentalists." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3122/.
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The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.
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Kalverboer, Kenda. "Parental involvement in private violin lessons : survey of teacher attitudes and practices." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116058.
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The primary research question of this paper examines teachers' philosophies concerning parental involvement and pedagogical practices. Specifically, what are violin teachers' attitudes and practices concerning parental involvement? Secondary research questions were formulated as a result of major topics arising from the review of literature and focused on how and why teachers formed their personal philosophies towards parental involvement. The following research is unique in that it defines the concept of parental involvement directly from the perspective of the teacher. Because anyone teacher oversees the development of many violin students, he/she is in an extraordinary position to comment on factors, conditions and behaviours across a large sample of students with differing types and degrees of parental involvement. Specifically, this study investigates factors of parental involvement that violin teachers believe to have a positive impact on student success.
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Dubach, Joyce Keith. "An encyclopedic index of commonly used etudes catalogued and organized pedagogically by technical difficulty." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063297.
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In the study of the violin, teacher and student are involved in an on-going process of identifying, analyzing and overcoming technical and musical obstacles on the way to complete mastery of the instrument. Etudes often bridge the gap between exercises and "real music," and, as such, are extremely valuable as a step to mastering various playing skills in a musical setting. Nevertheless, without an encyclopedic memory, a teacher may find it difficult to locate appropriate etudes for an individual student with a specific technical problem.The charts from this study are designed to be used as an aid in locating and assigning etudes to students based upon their grade level and the technical difficulty they are having. The etudes selected were determined by their availability in three or more published editions to be those most commonly used.First, each etude was assigned a grade level. Next, each etude was catalogued by performance difficulty. Each performance category was carefully defined and limited. Finally, the writer determined whether the performance problem being studied was a "primary" difficulty of that etude, or whether the problem existed as a "secondary" component.After determining the technical difficulty to be studied, a violinist may consult the list of etudes addressing that particular difficulty. The list of etudes is organized from the simplest to the most difficult, and for each etude it is noted whether the problem is of primary (P) or secondary (S) importance. Finally, each etude is cross-referenced with other technical problems, and a teacher or student may make the decision whether to study the problem in isolation or in conjunction with other technical difficulties.<br>School of Music
6
Madsen, Eric. "The genesis of Suzuki : an investigation of the roots of talent education." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22406.
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In its short history, Talent Education, also known as the Suzuki Method, has had a profound impact on the teaching of music to the young. However, despite continued guidance from its founder, Shinichi Suzuki, misconceptions about the method persist among both its practitioners and critics. One route to understanding of pedagogical theory is to look at its origins. To that end, this thesis makes a study of history of the method and its founder, drawing on available sources. Further investigation is carried out on the philosophy and teaching techniques. An exploration is then undertaken of the possible antecedents of Suzuki's method taking into account the prevailing ideas and practices of his cultural environment as they relate to the history, philosophy and teaching techniques of Talent Education. Findings indicate that, while Suzuki's method is clearly appropriate to contemporary society, it represents, in many of its aspects, a continuation of several beliefs and practices of traditional Japanese arts.
7
Gao, Jie (Violinist). "The Influence of Chinese Instruments on the Violin: A Practice Guide of Three Violin Techniques." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011757/.
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Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.
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Ferreira, Isaías Lopes 1984. "A relevância do estudo dos excertos orquestrais na formação violinística /." São Paulo, 2016. http://hdl.handle.net/11449/143097.
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Orientador: Ricardo Lobo Kubala<br>Banca: Emerson Luiz de Biaggi<br>Banca: Luiz Britto Passos Amato<br>Resumo: Este trabalho tem por objetivo investigar aspectos técnicos e interpretativos presentes em excertos orquestrais de violino e estudar o potencial de seu uso como ferramenta para o desenvolvimento do violinista. No primeiro capítulo, discorre-se sobre levantamento de material, em que se buscaram informações acerca de excertos orquestrais de violino, no que concerne tanto a seu uso em processos seletivos como a aspectos técnicos e estilísticos relativos a sua preparação e execução. Encontrou-se, além de material acadêmico usual - como dissertações, teses e artigos - vasta referência em sites, blogs, videoaulas e outros meios, com conteúdo substancial, divulgados na internet. São apresentados também os critérios que orientaram a escolha dos excertos investigados no capítulo seguinte. No segundo capítulo, investigam-se aspectos técnico-interpretativos significativos de cada excerto escolhido, e são feitas sugestões de possíveis abordagens interpretativas desses excertos. Por fim, no terceiro capítulo, procura-se estabelecer paralelo entre aspectos presentes no repertório tradicional do violino e nos excertos orquestrais investigados. A relação encontrada entre o material estudado no capítulo 2 e obras como sonatas e concertos - usualmente estudados por violinistas - é rica e evidencia as possibilidades de exploração dos excertos orquestrais como meio de aprendizagem do instrumento. O presente estudo é voltado para estudantes de violino em nível de graduação e, de modo mais amplo, ... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This work aims to investigate technical and interpretative aspects present in orchestral violin excerpts and to study the potential of its use as a tool for the violinist's development. In the first chapter, we broached the material survey, in which information was sought about violin orchestral excerpts, with respect both to its use in orchestral auditions as well as in the technical and stylistic aspects regarding their preparation and execution. In addition to usual academic material - such as dissertations, theses and articles - it has been found extensive reference in websites, blogs, video lessons and other means, with substantial content released on the Internet. The paper also presents the criteria that guided the choice of excerpts investigated in the following chapter. In the second chapter technical and interpretative aspects of each significant excerpt chosen are scrutinized and suggestions are made for possible interpretative approaches to these excerpts. Finally, in the third chapter, we try to establish a parallel between aspects present in the traditional violin repertoire and orchestral excerpts investigated. The association between the material studied in Chapter 2 and works such as sonatas and concerts, usually studied by violinists, are rich and it highlights the exploration of possibilities of orchestral excerpts as a mean of learning the instrument. This study is aimed at violin students at the undergraduate level and, more broadly, for violinists who ar... (Complete abstract click electronic access below)<br>Mestre
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Santos, Déborah Wanderley dos 1985. "Abordagens de ensino de violino : um panorama histórico /." São Paulo, 2018. http://hdl.handle.net/11449/180515.
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Orientador: Ricardo Lobo Kubala<br>Banca: Emerson Luiz de Biaggi<br>Banca: Esdras Rodrigues<br>Resumo: Este trabalho apresenta um panorama histórico do desenvolvimento dos meios de ensino de violino, buscando contextualizá-los historicamente e investigá-los por meio de abordagem de caráter interdisciplinar, que procurou suporte, entre outras áreas, na ciência da expertise. Dessa forma, objetivou-se contribuir para a discussão acerca de práticas de ensino atuais. No primeiro capítulo apresentamos metodologias de dois ospedali italianos - instituições precursoras ao conservatório onde ocorria a internação e educação da juventude em situação de vulnerabilidade social. No segundo capítulo, disserta-se sobre a ascensão da música instrumental nos séculos XVI e XVII, o surgimento de uma literatura voltada uma metodização progressiva do estudo do violino e o legado de mestres do Barroco como Arcangelo Corelli e Giuseppe Tartini. Discorre-se, então, sobre aspectos pedagógicos envolvidos no sistema mestre/aprendiz. No terceiro capítulo, investiga-se o advento do Conservatório de Paris e suas consequências para o ensino musical. O quarto e último capítulo tem enfoque na produção dos séculos XX e XXI, quando pedagogos como Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian e Simon Fischer desenvolveram metodologias caracterizados por viés marcantemente analítico e cognitivista. Verificou-se, ao longo da história das práticas de ensino de violino, uma constante - e crescente - preocupação no que se relaciona à qualidade do estudo do instrumento. Concluiu-se que, independentemente da me... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This work presents a historic panorama of the development of the methods of violin study, seeking to contextualize them historically and research them through an approach of interdisciplinary character, which sought support, among other areas, in the science of expertise. Thus, the aim is to contribute to the discussion about current teaching practices. In the first chapter we present methodologies from two Italian ospedali - precursory institutions to the conservatory where the lodging and education of youth in situations of social vulnerability occurred. In the second chapter, we discuss the rise of instrumental music in the 16th and 17th centuries, the emergence of literature aimed at a progressive method of studying the violin and the legacy of Baroque masters such as Arcangelo Corelli and Giuseppe Tartini. We then discuss pedagogical aspects involved in the master/apprentice system. In the third chapter, we investigate the advent of the Paris Conservatory and its consequences for musical education. The fourth and final chapter focuses on 20th and 21st century production, when pedagogues such as Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian, and Simon Fischer developed methodologies characterized by substantial analytical and cognitive perpectives. Throughout the history of violin teaching practices, there has been a constant - and growing - concern regarding the quality of the study of the instrument. It was concluded that, regardless of the methodology used, ef... (Complete abstract click electronic access below)<br>Mestre
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Edelman, Rhea. "Selected Works by Female Composers of the Nineteenth and Twentieth Centuries for Advanced Suzuki Violin Students." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011798/.
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The intent of this dissertation is to identify and analyze several pieces by female composers that are technically suitable for the specific development of an advanced Suzuki violin student studying in Suzuki books 7 or 8. The selected pieces can then be used by trained Suzuki teachers, in conjunction with the male-composer-dominated Suzuki repertoire, to enhance students' technical development while also increasing their well-rounded musicianship by exposing them to female composers. The development of off-the-string bow strokes, string crossings, shifting, left-hand articulation and musical expression will be traced through the first six volumes of the Suzuki repertoire in order to understand a Suzuki student's expected abilities pertaining to these technical elements when beginning the repertoire in books 7 and 8. Pieces by female composers highlighting and enhancing the referenced techniques will be identified and analyzed in a similar manner. These pieces will be compiled into a document for Suzuki students and teachers to use, along with appropriate editorial markings and biographies of the composers. This document can be an inspirational supplement to Suzuki students' musical development and help develop an awareness of female composers.
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Lückman, Paulo Egídio 1969. "O método de cordas duplas de Luis Soler Realp : análise e comparação com publicações afins." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284538.
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Orientador: Esdras Rodrigues Silva<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T13:00:31Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O objeto de estudo deste trabalho é um método de ensino de cordas duplas escrito por Luis Soler Realp (1920-2011), violinista catalão naturalizado brasileiro. O método foi analisado e depois comparado com algumas obras referenciais que trabalham cordas duplas escritas por Sevcik, Flesch, Galamian e Sitt. À luz desta comparação, foram discutidos os méritos do trabalho de Soler, seus fundamentos, e algumas de suas idiossincrasias. Além disso, foram comentados brevemente pontos relacionados ao estudo das cordas duplas no contexto geral da formação violinística<br>Abstract: The objective of this paper is a double stops method developed by Luis Soler Realp (1920-2011), a Catalan naturalized Brazilian violinist. The method was analyzed and compared with several references that work with double stops written by Sevcik, Flesch, Galamian and Sitt. In the light of this comparison, the merits of Soler Realp were discussed, as well as his fundaments and some of his idiosyncrasies. Aspects related to the study of double stops within a general context of violin teaching were also briefly discussed<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música
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Campbell, Velma-Jean. "The implications of Ned Herrmann’s whole-brain model for violin teaching : a case study." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1889.
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Thesis (MMus (Music))--University of Stellenbosch, 2008.<br>This study is concerned with determining whether the application of Ned Herrmann’s
“whole-brain” model would impact violin teaching in any way.
Our educational system places great importance on what has become known as the
left-brain modes, that is, reading, writing and arithmetic, to the neglect of the socalled
right brain’s cognitive abilities, such as, music, art, intuition and dance. Wellintentioned,
yet ill-informed teachers teach learners in ways that make learning
difficult or impossible, as they are unaware of how to determine and use the preferred
learning style of each learner. When a learner’s learning style is not matched with the
method of instruction, the learner’s discomfort level may be so great that it not only
interferes with the learning process but it could also ultimately prevent learning from
taking place.
The researcher, therefore, set out to determine whether the use of whole-brain
development would lead to any significant changes in the learning process. For a
period of two school terms, case studies using action research were conducted on five
of the learners that received instruction from the researcher. The research participants
were so chosen as to make the experimental group as homogenous as possible. Data
was collected qualitatively by means of diaries and was presented descriptively. Every
week the learners received a printed copy of the homework exercises. They recorded
their feedback weekly, in their diaries. The researcher, as the teacher of the learners,
made weekly observations during lessons.
During this research the process of triangulation was used. This process added
validity to the study as information about specific aspects was gained from three
different perspectives, namely, that of the learners, the teacher and the learners’
accompanists. The accompanists gave their feedback before the start of the research
and again at the end. After applying Herrmann’s model for two terms, the following
became apparent: • The learners practised more, were more motivated and there was a general
improvement in their attitude.
• The learners felt that having received a printed copy of the exercises, a whole
brain exercise in itself, had helped them to know what and how to practise.
• There was a significant change in the playing of the majority of learners (three
of the five).
• The learners, where significant changes were not apparent in their playing,
indicated that their understanding of their practising methods and playing had
increased.
• The learners felt that they had benefited from the experiment as they all
indicated that they would like future lessons to be conducted in the same
manner.
In view of the positive outcome of the research, and given that this was a pilot study,
the researcher suggests that similar studies using larger numbers of learners and
involving a longer period of time, be conducted. The inclusion of a control group
would also render the findings more conclusive. The researcher also suggests that
violin teachers become knowledgeable about learning styles and whole-brain learning
if they wish to reach all learners and enable them to achieve their potential.
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Kruse, Steven Lewis. "The viola school of technique : etudes and methods written between 1780 and 1860." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/435169.
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Discussion in this document is divided into three main areas. Chapter One is an introduction, describing the scope, purpose, and procedures of the document. Chapter Two discusses the evolution of the viola and violin to 1800, emphasizing viola design, luthiers, theoretical writings, and literature for the viola. Further discussion of writing for the viola during the first half of the nineteenth century is provided in Chapter Five.Chapter Four provides a brief analysis of the famous violin etudes of this period, placing emphasis on their tranferability to the viola. The analysis is prefaced by a discussion of the value of etudes and the technical differences between violin and viola. The writer concludes that, although the violin etudes do not speak directly to all the peculiar technical problems of the viola, their thoroughness and progressiveness make them useful study material for violists.The main emphasis of this document is on Chapters Three and Five. Chapter Three discusses the early viola methods written between 1780 and 1800. Included are methods by Corrette, Cupis, Woldemar, Gebauer, and an anonymous English tutor. As the modern application of these methods to technical study was found to be impractical, emphasis was placed more on their historical importance.Chapter Five provides an analysis of the viola etudes and methods written during the first half of the nineteenth century. Included are works by Martinn, Kayser, Praeger, Bruni, Hoffmeister, Cavalini, Rolla, Blumenthal, Campagnoli, Casimir-Ney, Garaude, and Giorgetti. Each of these works was compared to the violin etudes on the same technical level.The writer did not find the same technical progression and thoroughness in the viola etudes that was found in the violin studies. However, several of the etudes were deemed useful technical studies for the violist. These viola etudes often placed more emphasis on tone development and unusual fingerings and positions. Of particular note were the etudes of Cavalini, Rolla, Blumenthal, Giorgetti, Campagnoli, and Casimir-Ney. The writer has included an appendix of selected viola etudes, chosen for their usefulness and variety.
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Silva, Ulisses Rocha Loureiro da 1960. "Dez estudos para violão, de Ulisses Rocha : uma análise do processo composicional da obra." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285197.
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Orientadores: Claudiney Rodrigues Carrasco, Paulo José de Siqueira Tiné<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-28T02:47:09Z (GMT). No. of bitstreams: 1
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Previous issue date: 2015<br>Resumo: Os 10 Estudos para violão escritos por mim em 1997 e publicados em 2000, foram o resultado de uma vivência prática, que exigia revisões constantes dos princípios técnicos utilizados em minhas experiências musicais, que ocorriam sempre na tentativa do equilíbrio entre a estética do violão clássico, do violão popular brasileiro e do jazz. Esta dissertação é uma análise do trabalho sobre tais estudos, desde o fator desencadeante do processo, até os elementos utilizados no âmbito técnico e musical, buscando relatar de forma detalhada as questões envolvidas na elaboração de uma obra artística de aplicação didática, além de uma avaliação dos objetivos alcançados em cada um dos casos, propondo uma reflexão em amplo espectro sobre a questão da composição de estudos para o instrumento<br>Abstract: 10 Studies for guitar written by myself in 1997 and published in 2000, are the result of practical experiences, requiring regular review of the fundamentals of technique used in my musical activity, which always occurred in an attempt to reach the balance between the aesthetics of classical guitar, the brazilian guitar and jazz. This thesis is an analysis of the work on such studies, considering the triggering factor of the process and the data used in the technical and musical contexts, seeking to report in detail the issues involved during the development of an artistic work applied to didactics, in addition to a review of the goals achieved in each case by proposing a broad spectrum reflection on the question of composing studies for the instrument<br>Doutorado<br>Processos Criativos<br>Doutor em Música
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Salinas, Ashley. "Original Viola Study Literature: Analyzing the Pedagogical Contributions of Marco Frank." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157561/.
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Viola pedagogy has historically been closely intertwined with and highly dependent upon violin repertoire. As the viola emerged as an instrument worthy of independent study, many still rely on transcriptions of violin etudes. Fortunately, the efforts of performers, teachers, and scholars have brought forth discoveries of original viola literature and thus shifted toward the perception that viola should begin to embrace its individual pedagogy. Viennese composer and violist Marco Frank contributed three volumes of Viola-Etuden and a method book, Praktische Viola-Schule, which are suitable for the intermediate violist. This document explores and analyzes the usefulness of an original viola series in comparison to the ‘tried and true' violin transcriptions.
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Smarçaro, Julio Cesar Caliman. "O Cantador : a musica e violão de Dori Caymmi." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284776.
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Orientador: Marcos Siqueira Cavalcante<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-07T06:48:05Z (GMT). No. of bitstreams: 1
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Previous issue date: 2006<br>Resumo: A presente dissertação tem como propósito estudar a vida e a obra do músico Dori Caymmi. Neste trabalho sua discografia é divida em três fases distintas, representando cada uma delas um momento específico de sua carreira. Serão analisados neste estudo as composições de sua autoria, e seus respectivos arranjos, presentes quase em sua totalidade nas duas primeiras fases, que cobrem o período de 1972 a 1994. As análises vão buscar as características principais de sua música, com um enfoque mais aprofundado em seu violão<br>Abstract: This study encompasses the life and work of composer, arranger and guitar player Dori Caymmi. His discography is presented in three main periods, each representing a specific moment of his career. Most of his compositions and arrangements are analyzed in the two first periods, spanning from 1972 to 1994. This analysis aims at finding major characteristics of his music, focusing c1osely on his approach to the guitar<br>Mestrado<br>Mestre em Música
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Pellegrini, Remo Tarazona. "Analise dos acompanhamentos de Dino Sete Cordas em samba e choro." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284798.
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Orientador: Ricardo Goldemberg<br>Dissertação (mestrado) - Universidade Estadudal de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-05T01:40:02Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: O "regional" é conjunto típico que inicia sua trajetória junto ao choro no fim do século XIX. Na época de ouro do rádio, nos anos 40, estabiliza a formação de sua base, com dois violões, cavaquinho e pandeiro, e tem seu nome definido na época de ouro do rádio, nos anos 40. Horondino José da Silva, violonista profissional desde os 18 anos, integra os regionais mais renomados desde 1936 e, por influência de grandes músicos como Tute e Pixinguinha, agrega à formação de seus grupos o violão de sete cordas, renovando a linguagem do instrumento e tornando-se a maior referência na área até os dias de hoje. Este trabalho consiste na transcrição e análise de uma amostra de sua obra, com a finalidade extrair e catalogar elementos que sirvam de subsídio ao estudo do violão de sete cordas<br>Abstract: The "regional", a typical Brazilian ensemble that started its trajectory next to the choro in the Iate 19th century, stabilized its formation, with two guitars, a cavaquinho and a pandeiro, and had its name defined in the golden age of the radio, in the 40's. Horondino José da Silva, a professional guitar player since age 18, integrated the most well-known regionais since 1936 and, under the influence of great musicians such as Tute and Pixinguinha, aggregated to the formation of its groups the seven-string guitar, renewing the instrumenfs language and becoming the greatest reference in the field up to these days. This paper consists of the transcription and analysis of a sample of his work, aiming to extract and catalog elements that can aid in the study of the seven-string guitar<br>Mestrado<br>Mestre em Música
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Lemos, Caio Victor de Oliveira [UNESP]. "O estatuto enunciativo do intérprete violonista." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151465.
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Previous issue date: 2017-07-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O presente trabalho investiga o estatuto do intérprete de violão. Partindo da hipótese de que o intérprete contribui para a construção de sentido em uma realização musical, constatou-se a insuficiência de um instrumental teórico que possibilitasse a averiguação de sua relevância enquanto instância participativa do fazer musical. A perspectiva de uma abordagem enunciativa mostrou-se oportuna para os propósitos deste trabalho, além de contribuir para a construção de uma cientificidade na área musical. A dissertação foi desenvolvida em quatro capítulos. O primeiro trata das principais designações atribuídas à atividade do intérprete e das consequências teóricas de cada assunção. No segundo, é traçado um paralelo entre linguística e música, apresentando a afinidade de problemáticas presentes em ambas as áreas, ao mesmo tempo em que desenha paulatinamente o panorama enunciativo sobre essas questões. No terceiro, foram apresentados os princípios da teoria enunciativa, basicamente: as categorias de pessoa, tempo e espaço; os mecanismos de instauração dessas categorias no enunciado; além dos conceitos de dialogismo, uso linguístico e contrato veridictório. Foram apontadas algumas possibilidades de transposição desses princípios e sua aplicação mostrou-se, assim, exequível na área musical. Por fim, no quarto capítulo, foram analisados, dentro de uma perspectiva enunciativa, dois enunciados musicais em vídeo de diferentes intérpretes —Paul Galbraith e Kazuhito Yamashita—tocando a mesma obra, Nocturnal op. 70 de Benjamin Britten. Concluiu-se que é possível atribuir um estatuto ao intérprete de violão por meio de uma abordagem enunciativa. As marcas da enunciação no enunciado nos permitiram depreender como se deu a construção de sentido, as estratégias discursivas, a imagem que o enunciador construiu de si mesmo, além da intencionalidade marcada, atribuindo assim um lugar central ao intérprete na construção do sentido musical.<br>This work investigates the status of the guitar performer. Starting from the hypothesis that the performer contributes to the construction of meaning in a musical performance, we have come across the insufficiency of the theoretical tools to ascertain his/her relevance as a participating instance in music making. The perspective of an enunciative approach has proven to be opportune for the purposes of this investigation, also contributing to the establishment of a more specific perspective in the music field. This Master’s thesis is divided into four chapters. The first one deals with the most prominent designations attributed to the performer’s activity and the theoretical consequences of each assumption. On the second one, a parallel is drawn between linguistics and music, presenting the kinship between the issues in both areas, at the same time progressively sketching an overview of the enunciation aspects related to them. On the third chapter, the principles of the enunciation theory were presented, in short: the categories of person, time, and space; the mechanism for the establishment of these categories on text/speech; as well as the concepts of dialogism, linguistic usage, and veridictory contract. Some possibilities of transposition of these principles were presented and thus their application has proven viable in the music domain. Finally, on the fourth chapter, two performances were analyzed from an enunciative perspective: videos of two different interpreters — Paul Galbraith and Kazuhito Yamashita — playing the same piece, Benjamin Britten’s Nocturnal op. 70. Our investigation and its application to concrete texts led us to conclude that a status can be attributed to the guitar performer through an enunciative approach. The enunciation marks inscribed on the text allowed us to capture the process of the construction of meaning, the discursive strategies, the image that the enunciator created for him/herself, as well as the intentionality outlined on the text, thus assigning a central role to the performer in the construction of musical meaning.
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Alcorn-Oppedahl, Allison A. (Allison Ann). "A Study of Style and Influence in the Early Schools of Violin Making Circa 1540 to Circa 1800." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501217/.
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Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authentication, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tradition of the craft rather than on the individual maker.
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Calitz, Wilken Craill. "A multidisciplinary study of the phenomenon of violin vibrato." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1792.
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Thesis (MMus (Music))--University of Stellenbosch, 2009<br>Violin vibrato is the action by which a violinist periodically changes the frequency of a sustained note by moving the finger on the string, rapidly backwards and forwards. If it is artistically applied, it adds life, character and warmth to an otherwise dull sounding note. Although it has been used since the sixteenth century, very little research has been done on the reason why humankind would experience such periodic fluctuations as an object of beauty in violin performance.
In answering the question, this study explores a variety of angles of approach in order to understand the phenomenon in its full context. The history, development and geographical origin of the technique are firstly discussed in a diachronic fashion and provide the background for the subsequent synchronic research on the physical nature of violin sound and violin vibrato. The vibrato rates and widths of four virtuosi are measured and compared to highlight the differences and individuality which are argued to be a contributing factor to the perception of beauty of the technique. It is established in the final chapter that the brain is stimulated more by sounds with periodic changes than those that are presented in the steady-state which cast some light on why vibrato may be experienced as an appreciated addition to sound.
The thesis aims to present a unique view on the possibilities of interdisciplinary research of the phenomenon of violin vibrato. It further aims to present the research findings in a concise, logical, and systematic manner that could be of interest to both musician and scientist.
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Bruderer, Conrad David. "A study of twentieth-century violin and viola duos : including critical reviews and analyses of selected works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839494.
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Thesis (Ph. D.--Music)--University of California, San Diego, 1998.<br>Vita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.
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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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Cho, Eun. "Geonyong Lee's Violin Works, Rhapsody for Violin and Piano and Heoten Garak: A Study of Compositional Style and Stylistic Influences." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157559/.
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The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.
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Mueller, Rodney Alan. "The development and pilot testing of a hypermedia program to supplement undergraduate string techniques class instruction in upper string vibrato." Full text available online (restricted access), 1997. http://images.lib.monash.edu.au/ts/theses/Mueller.pdf.
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Devetzoglou, Ilias. "Violin Playing in France 1870-1930 : a Practice-Based Study of Performing Practices in French Violin Music from Faure to Ravel." Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521449.
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Fernandez, Luis M. "Paul Desenne’s Sonata for Violin Solo: A Theoretical and Practical Study." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/535.
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Numerous influential composers are associated with the program known as "El Sistema" in Venezuela. Despite a richly prolific output from many of these figures, only a few are known in the United States and throughout the world. Among the most influential is Paul Desenne (b. 1959), whose Sonata for Violin Solo is the subject of this doctoral essay. Throughout his youth and musical education, Desenne was exposed to an eclectic variety of musical styles and idioms. This eclecticism influenced his compositional style from the time of his earliest compositions and is also evident in his more recent works. The Sonata for Violin Solo reflects this cultural interweaving that incorporates music from Desenne’s native Venezuela and utilizes elements from indigenous tribes, Spanish settlers, and African peoples that are combined with global musical elements. This essay explores these elements from a theoretical perspective, as well from the practical viewpoint of the performer.
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Rodrigues, Ruth Elizabeth. "Selected students of Leopold Auer : a study in violin performance-practice." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/739/.
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This thesis investigates the teaching and legacy of Leopold Auer; it addresses, in particular to what extent his promulgation of the ‘German’ School of Violin Playing was instrumental in establishing the ‘Russian’ and ‘American’ Schools. Recent research in late 19th-century violin performance-practice has focused mainly on the ‘German’ and ‘Franco-Belgian’ Schools, and on tracing ‘genealogies’ of violin playing, especially within the ‘German’ school itself. Auer, however, has been little studied, as remarkably is also true for descendents of the German school such as Ossip Schnirlin, Benno Rabinof, and Mischa Weisbord. This research will also briefly examine the authority of Joachim and Auer (who were both native Hungarians) on their students with regards to Hungarian musical gestures and Gypsy performance styles, in an era where violin playing was more uniform and the style hongrois gradually disappearing from Western music altogether. A clearer picture of Auer, his influence and the achievements of his students, allows us to form a more sophisticated image of late 19th-century to early 20th-century violin performance practice, and of the much disputed question of the existence of distinct national schools in this important transitional era.
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Shen, Keh-Shu. "An analytical study of Paganini's Twenty-four caprices for solo violin /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11338.
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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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James, Casie Dawn. "Strategic spelling instruction." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/2993.
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The study proposes an alternative way for elementary school educators to instruct students in spelling. It suggests that spelling instruction should allow ample time for students to manipulate letters and patterns in their spelling words and provide time for writing. It also offers a two-week lesson plan of spelling instruction backed by research. The study was conducted using a mixed design with a predominantly Hispanic 6th grade class at a Title I school, with 60% of the students classified as English Language Learners. The study design consisted of observations of the students manipulating the spelling words, anecdotal notes taken while observing the students, and the collection of writing samples across time. Data was collected by four formal language arts tests and bimonthly spelling assessments.
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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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Jin, Yei-in. "A Study of Quarter-Tone Music for Solo Violin by Alois Haba." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427984021.
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DeWitt, S. Lloyd Hesse Douglas Dean. "Hypertextualizing composition instruction a research study /." Normal, Ill. Illinois State University, 1992. http://wwwlib.umi.com/cr/ilstu/fullcit?p9234461.
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Thesis (D.A.)--Illinois State University, 1992.<br>Title from title page screen, viewed January 25, 2006. Dissertation Committee: Douglas D. Hesse (chair), James R. Kalmbach, Janice G. Neuleib, Anne Rosenthal. Includes bibliographical references (leaves 194-202) and abstract. Also available in print.
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Platt, Jessica K. "A methodology of study for Samuel Barber's Concerto for violin and orchestra op. 14." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1467040.
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In this study the author develops a methodology for the study of the Samuel
Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic
components of the work, presenting important pedagogical principles, and offering an
array of performance practice techniques. The primary tool used to formulate the
methodology was a survey of exceptional violinists and pedagogues. Twenty-six
professional violinists responded to a survey that asked their suggestions for preparing
and performing five specific excerpts from the Concerto. The compilation of the
responses provides an invaluable guide for violinists who are studying or teaching this
staple of the instrument’s repertoire.<br>School of Music
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Wang, Changhua. "A comparative study of Chinese EFL reading instruction and American ESL reading instruction." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3861.
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Reading instruction in China and that in the United States are so different that they are not compatible. In fact, they seem to go in opposite directions. This study examined some of the differences between Chinese EFL reading instruction and American ESL reading instruction through analyzing selected tape-recordings of reading classes from China and the United States, and comparing Chinese EFL reading textbooks with American ESL reading textbooks.
This study was intended to answer the following questions.
1. Is a bottom-up method of reading really taught in China while a top-down method is taught in the United States?
2. Compared with the ESL reading textbooks used in the United States, do the Chinese EFL reading textbooks have a larger proportion of exercises dealing with vocabulary, grammar and pronunciation and fewer items in reading skills?
3. Compared with the American ESL subjects, what are the strengths and weaknesses of the Chinese EFL subjects in reading comprehension in terms of recognizing main ideas, understanding direct statements and drawing inferences?
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Kwong, Chung-yuk. "A classroom study of collaborative study at the computer." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20137424.
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Kim, Si Hyung. "A study of the Violin Concerto in D Minor by Ralph Vaughan Williams." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28443/.
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The focus of this study is to provide a clear understanding of Vaughan Williams' Violin Concerto in D Minor. In terms of form and compositional technique, this concerto is particularly challenging, because of Vaughan Williams' use of rhythmic motives and modes. This study is undertaken through an analysis. For a better understanding, a historical background, including overall form of each movement and key relationships, is explored and discussed. Then, Vaughan Williams' use of a ritornello-like motive, melody and modality as unifying elements is also identified and examined. In identifying the major features of Vaughan Williams' compositional style of this violin concerto, musicians will be able to understand better his unique musical expression. This study may serve as an introduction to the music of Vaughan Williams for musicians and society worldwide. It is hoped that it will motivate all violinists to perform this concerto more frequently.
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Harper, Nelson Owen. "John Ireland's first Sonata for violin and piano : an introduction to its study /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu148776035782379.
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Park, Siryung. "George Rochberg’s Caprice Variations for Unaccompanied Violin: A Stylistic Study and Performance Guide." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491818327037456.
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Ersoy, Halil. "Blending Online Instruction With Traditional Instruction In The Programming Language Course: A Case Study." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1063429/index.pdf.
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This study investigated the students&rsquo<br>perceptions about the web-based
learning environment in the blended learning environment in terms of web-based
instruction, online collaborative learning and the online instructor. The study tried to
show the contributions of the web-based instruction in traditional face-to-face
instruction.
In this case study, Programming Languages II Course (CEIT211), a
undergraduate course at Computer Education and Instructional Technology
Department (CEIT), at Middle East Technical University, at the 2002-2003 Spring
semester, was delivered as blended learning with a new web site. Totally 65 subjects,
2nd year CEIT students, attended the course in the term and participated to the study.
The course was delivered via traditional face-to-face instruction and supported with
the web site. At the end of the semester, three questionnaires were administrated in order to
understand the students&rsquo<br>perceptions about web-based learning environment in terms
of web-based instruction, online collaborative learning and online instructor. The
time spent on the web site and the numbers of messages posted to forum were other
data sources in this study. The data were statistically analyzed.
The quantitative data showed that the students&rsquo<br>perceptions about web-based
instruction and online instructor were positive, but online collaborative learning
perceptions are about neutral. Beside the research questions, some design
considerations in the blended learning case were presented.
The study results may be used in evaluation of the blended learning
environment for the instructor and for the department, may show a direction in the
future design of the course.
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CARVER, TIMOTHY A. "A STUDY OF ADAPTIVE COMPUTER ASSISTED INSTRUCTION." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006187967.
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Mikajlo, Ibolya. "The influence of the scale of C major on violin instruction : a survey of elementary training systems for the left hand from 1650 to 1993 /." Title page, table of contents and abstract only, 1994. http://web4.library.adelaide.edu.au/theses/09MUM/09mumm636.pdf.
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Roos, Johanna Wilhelmina. "Violin playing : teaching freedom of movement." Diss., 2002. http://hdl.handle.net/2263/30005.
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Yuen, Maureen. "Are U.S. Violin Majors Ready? An Exploratory Study of Violin Professors’ Perceptions." Thesis, 2021. https://doi.org/10.7916/d8-37tw-b555.
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This dissertation explores the perceived readiness of potential violin majors (PVMs) in the United States for university-level violin study. The purpose of this study was to explore violin professors’ expectations of PVMs in the United States, their perceptions of how these expectations are being met, and how PVMs can be prepared to meet these expectations. A lack of research into how PVMs in the United States are being prepared for the rigors of university-level violin study warranted investigation to define violin professors’ expectations and their perceptions of the preparedness of PVMs.
A descriptive instrumental exploratory study was conducted using qualitative and descriptive statistical data with 121 participants (n = 121). The participants were tenure-track and tenured violin professors in the United States who have taught for at least three years at universities accredited by the National Association of Schools of Music (NASM) and whose teaching loads consist of a minimum of 75% applied violin lessons. Participants were asked to define their ideal expectations of PVMs, their perceptions of how these expectations have been met, and advice they have for the adults who help prepare PVMs. Data were collected online through a Qualtrics survey and Zoom video interviews.
The findings indicated that violin professors generally agreed upon their expectations of PVMs, which include having a solid technical foundation, performing repertoire that is aligned with their technical development, and being open-minded. Violin professors perceived that less than 50% of PVMs have a solid technical foundation and less than 50% perform developmentally appropriate repertoire, though most PVMs were perceived to demonstrate an openness to learning. Most violin professors accept PVMs into their studios whom they perceive to be unready for university-level study, usually due to administrative pressure.
To meet violin professors’ expectations, they suggest that PVMs work with private violin teachers outside of the K-12 music classroom. Private violin teachers should hold PVMs to a high performing standard, be familiar with violin professors’ expectations, and have the subject matter knowledge and pedagogical content knowledge necessary to develop a solid technical foundation and assign level-appropriate repertoire. Other influential adults include K-12 music teachers, although learning outcomes for K-12 music classes differ significantly from violin professors’ expectations.
Overall, this study demonstrated a clear disconnect between violin professors’ expectations and how PVMs are being prepared to meet them. The data showed that participants made the following assumptions: (a) PVMs take private lessons and are already “apprentices” working with a “master,” (b) audition websites present adequate information for PVMs, and (c) private teachers have the subject matter knowledge to prepare PVMs to meet technical expectations and perform with high standards. There appears to be an overall lack of communication and collaboration not just from violin professors, but also from private teachers and K-12 classroom music teachers.
Recommendations for practice and implementation are offered to the three identified populations that interact with PVMs: violin professors, private teachers, and K-12 classroom music teachers.
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Davis, Lauren. "A model view : achievement, recreation and adult beginning violin instruction." Phd thesis, 2009. http://hdl.handle.net/1885/149953.
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黃思怡. "A Study Of The Class Violin Instructions －Xudouqin Violin Teaching ＆ Wong’s Violin Teaching System." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/74012723043839775581.
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碩士<br>國立台北師範學院<br>國民教育研究所<br>91<br>A Study Of The Class Violin Instructions －Xudouqin Violin Teaching ＆ Wong’s Violin Teaching System
Abstract
The United Kingdom and the United States had gradually developed the Class Violin Instruction for their social needs in the 19th century ; The Suzuki Method applied group class to proceed chorus practice and to improve learning motives ; Mainland China has been developing the Class Violin Instruction for years , and organizations drumbeating the Class Violin Instruction are burgeoning in Taiwan for several years .
In my study , I try , through literature review and content analysis , to focus on the
Xudouqin Violin Teaching and the Wong’s Violin Teaching System , to map out these indispensable factors for the Class Violin Instruction , and to offer practical helps for those interested in this field .
This thesis is divided into six parts , the first chapter is the introduction and it aims to depict the motives and goals of this study , research field , literature review and research design; the second chapter reveals the history of violin instruction ; the third chapter tries to introduce some prestigious methods for the Class Violin Instruction , such as the Suzuki Method and the Rolland Method ; the fourth and fifth chapters intend to analyze the Xudouqin Method and the Wong’s Violin Teaching System via variables , such as the origins and features of teaching methods , teaching beliefs , techniques for class instruction . the sixth chapter plans to bring about the necessary elements for the Class Violin Instruction by comparing the following components -- - - teaching beliefs , basic techniques for teaching methods of the analyses of teaching materials , and hopes to unveil the relation between the Class Violin Instruction and social cultures .
According to the final results in this study , and combining theories on “group motivation” and “classroom management”, I try to purpose my suggestions for those who are engaged in Violin Teaching and Class Violin Instruction .
Keywords: Class Violin Instruction, Violin Instruction, Xudouqin Violin Teaching , Wong’s Violin Teaching System
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Croft, Margaret Louise. "A comparative analysis of the violin teaching methods of Shinichi Suzuki and Paul Rolland with reference to the theories of Jerome Bruner." Thesis, 1987. http://hdl.handle.net/10413/2058.
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Watkins, Marlene Jeanette. "The pianist and the Brahms sonata for piano and violin, opus 108 in D minor." Thesis, 1989. http://hdl.handle.net/10413/8934.
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This thesis deals in particular with the pianist's
approach to the Brahms Sonata for Piano and Violin in D
Minor, Opus 108. There are two chapters, the first of
which takes the form of a bibliography in which
different theoretical aspects for consideration in the
learning of the work are presented.
One of the sections in the first chapter which is
entitled The Pianist, should prove helpful to a
prospective piano teacher, as well as a student of the
Brahms Sonata in D Minor, Opus 10 8. In this section
sources presenting different solutions to technical
problems which the pianist is likely to encounter both
generally, and specifically with regard to this Sonata,
are listed.
The other sections in this chapter include a discography
and comments concerning recordings of the Sonata in D
Minor, Opus 108, which a student of this work and its
composer may consult.
The second chapter of the thesis deals with specific
issues involved in the interpretation based on my
performance of the Sonata in D Minor, Opus 108, for the
practical examination. Three other possible
interpretations by well-known pianists are briefly
evaluated. Attached to the thesis is a cassette tape on
which recommendations for the practising of certain
passages may be heard.<br>Thesis (M.Mus)-University of Natal, Durban, 1989.
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Ribeiro, Bárbara Maria Falcão Peixoto. "As novas tecnologias no ensino artístico especializado: implicações na organização e estruturação do estudo da viola de arco." Master's thesis, 2016. http://hdl.handle.net/1822/43927.
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Relatório de estágio de mestrado em Ensino de Música<br>No âmbito do estágio do Mestrado em Ensino da Música da Universidade do
Minho, foi implementado um projeto de intervenção pedagógica supervisionada. Vivemos numa
era altamente tecnológica, em que temos imensas ferramentas que fazem parte do nosso dia-adia,
facilitando-nos muito as tarefas rotineiras e sem as quais já não nos imaginamos a viver. São
exemplo disso os smartphones, os Tablets, os portáteis, os comandos da garagem e do carro, a
máquina de café, tecnologias que entraram nas nossas vidas para ficar. Neste projeto optamos por
nos focarmos apenas numa dessas tecnologias: a utilização, especificamente dirigida ao ensino
artístico, de aplicações digitais (apps) para Tablets e smartphones - equipamentos que já estão
amplamente difundidos na sociedade portuguesa. A investigação teve como alvo alunos do 1º e 2º
ciclo da classe de viola de arco do Conservatório Calouste Gulbenkian de Braga. Antes da
utilização dos alunos das apps no seu estudo, estes e os respetivos encarregados de educação (E.E.)
foram inquiridos sobre os hábitos de estudos. Foram recolhidas informações sobre a utilização das
apps nas aulas e no final, alunos e E.E., foram novamente questionados sobre a utilização que
fizeram das apps no estudo em casa. Esta investigação foi complementada com os testemunhos de
professores que já utilizam TIC no ambiente das suas aulas, assim como, o testemunho de quem
constrói tecnologia para a educação.
Tendo em conta a evolução das tecnologias, é pertinente olhar para o ensino,
repensando as estratégias que usamos em contexto académico e também a forma como orientamos
o aluno na aprendizagem. As novas tecnologias, como as apps, são um veículo importante,
extremamente valioso e cada vez mais indispensável, que permitem repensar o ensino artístico e
focar as aprendizagens no aluno e na construção do saber, adequando a linguagem a uma geração
que já nasceu com as tecnologias nas mãos.<br>During the internship for the Master’s in Music Teaching of the University of
Minho, we developed a project of supervised pedagogical intervention. We live in a highly
technological era, with numerous tools that are part of our day-to-day, facilitate our way of living
and that have become indispensable, such as smartphones, tablets, laptops, garage and car remotes
and coffee-machines. These are some examples that have entered our lives and are here to stay. In
this project, we chose to focus on one of these new technologies: the use – directed towards music
instruction – of digital apps for smartphones and tablets (which are already widely disseminated
in Portuguese society). The research focused on students from the 1 st to 4 th grade and 5 th to 6
th grade of a class of viola from the Calouste Gulbenkian Conservatory of Braga. Before we
introduced the students to the apps, we enquired them and their parents about the children’s study
habits. We gathered information about the use of the apps and, lastly, we gathered information
about the use of the apps while studying at home. This research was complemented with
testimonies of teachers who already use computers in their classrooms, as well as, testimonies from
people who develop these technologies for the educational field.
With the evolution of technology, it is important to think about teaching and rethink
the strategies that are being used and the way we guide students in learning. New technologies,
such as apps, are an important vehicle – extremely valuable and essential – that allow us to
transform music instruction and focus on the students and on increasing knowledge, by using the
language of a generation which was already born with technology in its hands.
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Lin, Chia-Yi, and 林佳儀. "An Action Research of Symbolic Interaction Teaching Strategies Applied into the Violin Group Instruction." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/58877266861386751900.
Full textAbstract:
碩士<br>國立臺南大學<br>音樂學系碩士班<br>102<br>This study aims at discussing the strategies of symbolic interaction adopted for the practice course of violin group instruction. It is based on the relevant theories of applying semiotics to music teaching. The material chosen as the main teaching system is “Wong’s Violin Teaching System” while “Colour Strings” as the assisted teaching. Relevant vocabulary, rhymes and images are designed for planning teaching materials of primary violin group instruction in first-graders’ after-school art classes. Thirty one lessons are scheduled as the teaching program, which uses language, image and emotion symbols as the teaching guides of symbolic interaction to instruct students violin skills, music cognition and feeling. In the process, except of realizing the effects of applying symbolic interaction strategies on students’ violin learning, the practice process is discussed, and students’ learning responses and the researcher’s teaching experience are shared as the reference of violin group instruction for other teachers.
Many ways were used to collect information and data, teaching journals, teacher's self-reflection journals, observers checklist and feedback notes, parents interview, students’ feedback forms, violin learning motivation scales and music aptitude tests, and all classes were video recorded. All of the data are recorded as texts. The conclusion of this research is as follows:
1. Taking advantage of language symbols while teaching is beneficial for the correct violin playing skills of basic violin holding and bow pulling, the skills of the left hand pressing on strings and the right hand holding the bow, which builds up the movement mode of limbs operating.
2. Taking advantage of image symbols while teaching is helpful for imitating the gesture of playing the violin and realizing all the movements immediately.
3. Taking advantage of emotion symbols while teaching is useful for the preciseness of intonation and the smoothness of timbre.
4. Taking advantage of symbolic interaction while teaching promotes students’ music cognition.
5. Taking advantage of symbolic interaction while teaching boosts students’ music reception.
6. The teaching attitude of instructors influences the learning atmosphere in class, which needs unceasing self-reflections.
The researcher makes some suggestions for violin group instruction and future study.