Relevant bibliographies by topics / Violin music – Analysis, appreciation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Violin music – Analysis, appreciation'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Violin music – Analysis, appreciation"

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Antović, Mihailo. "Multilevel grounded semantics across cognitive modalities: Music, vision, poetry." Language and Literature: International Journal of Stylistics 30, no. 2 (2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.

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This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so struct
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Wei, Zhou. "Analysis on the Charm of Music Appreciation." Music Report 2, no. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.

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Buel, Dona L., and Samuel C. Welch. "Improving Music Appreciation Class Using Cohort Analysis." General Music Today 13, no. 3 (2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.

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Duerinck, Tim, Ewa Skrodzka, and Bogumił B. J. Linde. "Modal Analysis of a Trapezoidal Violin Built After the Description of Félix Savart." Archives of Acoustics 39, no. 4 (2015): 623–28. http://dx.doi.org/10.2478/aoa-2014-0067.

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Abstract One-dimensional experimental modal analysis of an unvarnished trapezoidal violin built after the description of F. Savart and an anonymous trapezoidal violin on display in the Music Instrument Museum of Brussels is described. The analysis has revealed ten prominent modes. A mode that may potentially play a role of the “tonal barometer” of the instrument is pointed out. The mode shapes are symmetric and of high amplitude, due to the construction of the instrument. Subjective evaluation of the sound quality demonstrated no pronounced difference between the trapezoidal violin and normal
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Helbing, Volker. "Konzert als Groteske — Anmerkungen zum ersten Satz des Violinkonzerts." Studia Musicologica 57, no. 1-2 (2016): 139–60. http://dx.doi.org/10.1556/6.2016.57.1-2.10.

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The grotesque and the theatrical, as essential facets of Ligeti’s oeuvre, become more evident in his Violin Concerto than in most of his works from the 1980s. The analysis shows how these facets find expression on different levels of the composition — from the harmonic and rhythmic pre-settings over the compositional detail to the individual interpretation of the Violin Concerto as a genre and the formal dramaturgy.
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Cygańska, Anna, Aleksandra Truszczyńska-Baszak, Justyna Drzał-Grabiec, and Adam Tarnowski. "Analysis of Anteroposterior Spinal Curvatures in Child Violinists from Music Schools." Medical Problems of Performing Artists 32, no. 3 (2017): 176–79. http://dx.doi.org/10.21091/mppa.2017.3029.

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Young musicians often report problems with their upper limbs and spine due to their specific and asymmetric positions and actions while playing, which may contribute to overloading these structures. Diagnosing any disorders to the upper limbs or spine early may help to minimize the risk of developing any serious instrument-related health problems in the future. The aim of this study was to assess the anteroposterior (AP) spinal curvatures in children learning to play the violin. Previous studies have shown anthropomorphic differences in young adult musicians, and our study examined if these di
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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 (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-l
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Akutsu, Taichi. "Changes after Suzuki: A retrospective analysis and review of contemporary issues regarding the Suzuki Method in Japan." International Journal of Music Education 38, no. 1 (2019): 18–35. http://dx.doi.org/10.1177/0255761419859628.

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This study, followed by an historical review of Shinichi Suzuki’s work, investigated the contemporary and critical issues surrounding the Suzuki Method in Japan. First, the author compared textbooks and recordings of the Suzuki Violin School Volume 1, the Japanese version, published in 1970s to the present edition in Japan. In addition, the study compared the first and second movements of Vivaldi’s A Minor Concerto in Suzuki Violin School Volumes 4 and 5, both in the textbooks and recordings. Next, the study investigated the overall tradition and learning environment of Suzuki lessons from pas
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LOMBARDÍA, ANA. "FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’." Eighteenth Century Music 17, no. 2 (2020): 177–99. http://dx.doi.org/10.1017/s147857062000007x.

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ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including styl
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Scott, Laurie. "Attention and Perseverance Behaviors of Preschool Children Enrolled in Suzuki Violin Lessons and Other Activities." Journal of Research in Music Education 40, no. 3 (1992): 225–35. http://dx.doi.org/10.2307/3345684.

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The purpose of this study was to examine certain effects of designated activities on attention and persevering behaviors of preschool children. Relationships between teacher reinforcement and student attending behavior were also examined. The subjects, eighty 3- to 5-year-old children, were (a) enrolled in individual Suzuki violin lessons, (b) enrolled in individual and group Suzuki violin lessons, (c) enrolled in creative movement classes, (d) enrolled in preschool activities or classes, or (e) not enrolled in any organized preschool activities or classes. Analysis of classroom and lesson vid
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Dissertations / Theses on the topic "Violin music – Analysis, appreciation"

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Yang, Chaul. "Solo Violin in Gustav Mahler's Symphonic Works as a Musical Sign." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062824/.

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Noted for both vocal and symphonic output, Gustav Mahler's musical sophistication constantly puzzled scholars in the past decades. In his symphonic works, the mixed forms and styles in combination with the vocal influence make it abstruse for listeners to detect the meaning of the use of traditional instruments. The solo violin, which has an extensive history of appearing in symphonic compositions since the Baroque era, is an instance of a traditional instrument given an unusual function. For instance, Mahler's violin solos do not tend to showcase the virtuosity of the instrument as they norma
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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 dis
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Du, Plessis Jacques. "Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017818.

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Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conc
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Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.

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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neith
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Martens, Hester Susanna. "Vakdidaktiese beskouing van geselekteerde Suid-Afrikaanse vioolmusiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2525.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.<br>This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical
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Gao, Beixi. "The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984169/.

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Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project will focus on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully underst
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Hong, Dayeon. "The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505269/.

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This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love
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Cheney, Stuart. "Dubuisson: A Study of His Music for Solo Bass Viol." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500315/.

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Dubuisson (fl.1666-c.1685) is the sole French viol player-composer between Nicolas Hotman (1613-1663) and Le Sieur de Sainte-Colombe (d.c.1700) whose works are extant. His four suites from a Library of Congress manuscript (1666) are the oldest dated French music for the bass viol; his approximately 125 pieces are contained in five manuscript sources. This thesis brings together, for the first time, all the music from the five sources for study and analysis. Together with the few biographical details, this material is used to assess his position within the French viol school. Brief histories of
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Madeira, Bruno 1988. "A obra para violão de Maurício Orosco : uma abordagem analítica, interpretativa, técnica e idiomática de peças selecionadas." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284550.

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Orientador: Fabio Scarduelli<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T16:38:37Z (GMT). No. of bitstreams: 1 Madeira_Bruno_M.pdf: 57041765 bytes, checksum: 7551b1c43c558261d629758e467ea3b5 (MD5) Previous issue date: 2013<br>Resumo: A presente pesquisa buscou construir uma concepção interpretativa de obras representativas para violão solo do compositor Maurício Orosco (1973-), a partir de um conjunto de análises de diferentes pontos de vista - musical, interpretativo, técnico e idiomático. O Capítulo 1 expõe uma
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Rosenbaum, George G. (George Gene). "Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278956/.

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These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).
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Books on the topic "Violin music – Analysis, appreciation"

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Leopold, Auer. Violin master works and their interpretation. Dover Publications, 2012.

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Music is work: John Cages Freeman Etudes. Feedback Studio, 2007.

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Lasocki, Roman. Uwagi o pracy nad współczesnym utworem skrzypcowym na przykładzie wybranych dzieł muzyki polskiej powstałych w latach ostatnich. Akademia Muzyczna im. Karola Szymanowskiego, 1985.

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Schröder, Jaap. Bach's solo violin works: A performer's guide. Yale University Press, 2007.

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Goldberg, Szymon. Shimon gōrudoberuku kōgiroku. Genki Shobō, 2010.

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Giegling, Franz. Werke zweifelhafter Echtheit. Bärenreiter-Verlag, 1996.

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Hoffer, Charles R. The understanding of music. 6th ed. Wadsworth Pub. Co., 1989.

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The understanding of music. 5th ed. Wadsworth Pub. Co., 1985.

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Excursions in world music. 6th ed. Pearson, 2012.

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Politoske, Daniel T. Music. 5th ed. Prentice Hall, 1992.

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Book chapters on the topic "Violin music – Analysis, appreciation"

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

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Palma-Martos, María Luisa, Manuel Cuadrado-García, and Juan D. Montoro-Pons. "Breaking the Gender Gap in Rap/Hip-Hop Consumption." In Music as Intangible Cultural Heritage. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_5.

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AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.
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Clarke, David. "Music, phenomenology, and the ‘natural attitude’: Analysing Sibelius, thinking with Husserl, reflecting on Dennett." In Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0009.

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This chapter explores the intersection of music and phenomenology as potentially fertile ground for the study of consciousness. Taking the philosophy of Edmund Husserl as a touchstone, and the Violin Concerto, Op. 47 of Jean Sibelius as a case study, the chapter considers how phenomenological concepts such as epoché, noesis, eidos, and the transcendental subject all find resonances within a formal analysis of this musical work. The chapter also juxtaposes Husserl’s transcendental phenomenology and his critique of the ‘natural attitude’ against Daniel Dennett’s physicalist account of consciousness and Wilfrid Sellars’ concept of the ‘scientific image’. In negotiating a pathway between these positions, the chapter considers whether music—and its determination of an autonomous aesthetic sphere—may offer a productive alternative perspective to the often competing claims of philosophy and science in our understanding of consciousness.
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Spitzer, Michael. "Histories." In A History of Emotion in Western Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190061753.003.0005.

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This chapter proposes that the history of musical emotion pivots on a core period of “affective realism,” coterminous with the common practice period and the writings of Descartes, Spinoza, Hume, Smith, Darwin, and William James. In this period of “affective realism,” emotion is objectified, individuated, mimetic of human behavior, and subjective. Prior to 1600, emotion, by contrast, is fluid, relational, transcendent, divine, and the province of theology. The main body of the chapter reviews the seminal work of three historians of emotions: Norbert Elias, Barbara Rosenwein, and William Reddy, together with their concepts of “civilizing,” “emotional community,” and “emotives.” The chapter concludes with a critique of performance theory, focusing on a performance analysis of a Bach violin sonata.
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Schmelz, Peter J. "Schnittke’s Path to Polystylism." In Sonic Overload. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.003.0003.

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Chapter 3 draws on unpublished correspondence and archival documents to offer a fuller accounting of the sources and development of Alfred Schnittke’s evolving concept of polystylism in the late 1960s and early 1970s. It explores the first expressions of polystylism in his film scores for Elem Klimov and Andrey Khrzhanovsky. It also offers a close reading of Schnittke’s seminal 1971 polystylism manifesto, “Polystylistic Tendencies of Modern Music.” This analysis is based on a contextualization and comparison of all known existing sources of the essay. It considers Schnittke’s influences from the contemporary soundscape as well as the essay’s larger implications for understanding his goals for writing music, music that balanced innovation with familiar socialist realist demands for accessibility and “democratization.” It also returns to Schnittke’s Violin Sonata no. 2, “Quasi una Sonata,” further discussing it as an example of his early polystylistic practice.
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Seeman, Sonia Tamar. "Romani Professional Entertainers in the Ottoman Empire." In Sounding Roman. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.003.0003.

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Ottoman rulers and members of the aristocracy utilized spectacular displays as “theatre state” to effectively institute and maintain power over their subjects and relied on the captivating skills of Romani professional entertainers. Romani entertainers survived through developing polyglot repertoires and styles from their stigmatized social position, existing in the Ottoman world as aesthetic cosmopolitans. Ottoman rulers implemented controls over such displays of music and dance due to their desire to curb inherently coercive affective power. The histories of entertainer types are traced, ranging from male and female as professional dancers (köçek; çengi), specialists on zurna, violin, G clarinet, percussion, and mehter military instruments. A description of çiftetelli and karşılama dance forms and their characteristic movements is followed by an analysis of two recordings performed by Romani musicians from the early twentieth century in order to explore the parameters of keriz musical improvisation and kıvrak melodies that inspire bodily movement.
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Leong, Daphne. "Performers, Structure, and Ways of Knowing." In Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0001.

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This opening chapter presents the book’s overarching project: the illumination of relations between analysis and performance through theorist-performer collaborations on twentieth-century works. The project is set in the context of two distinct though overlapping disciplines: the tradition of relating analysis and performance within the field of music theory, and the field of musical performance studies. Musical structure, on which the book focuses, is broadly defined as relations among parts and whole, emerging through interactions of objective materials and subjective agency. Ways of knowing that arise in the course of relating analysis and performance are encapsulated by wissen (knowing that), können (knowing how), and kennen (knowing, as in knowing a person). The book’s title and form (a theme and variations) are briefly described. Two rehearsal vignettes (from Crumb’s Four Nocturnes for violin and piano and Shende’s Throw Down or Shut Up!), the first accompanied by a performance video, frame the chapter.
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Boczkowski, Pablo J. "Entertainment." In Abundance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565742.003.0005.

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Chapter 5 focuses on the reception of entertainment. The survey reveals that the top three entertainment activities among the respondents are watching television, listening to music, and being on social media, in that order, and that age is the preeminent organizer of entertainment consumption. The interviews show the continued relevance of routines in reception practices, and highlight the versatility of watching television. This versatility applies to how people access the content; the devices through which they watch it; with whom they do this; and the habits associated with this experience. This versatility contrasts with the perceived rigidity of going to the movies, watching a play, and visiting a museum. The affect related to consuming audiovisual entertainment within the household is overwhelmingly positive, and there is a high level of attachment to serialized content on streaming platforms. The analysis shows an experiential appreciation of audiovisual entertainment content on television.
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Leong, Daphne. "Reception and Structure." In Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0011.

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This chapter discusses the results of an experiment testing audience response to Robert Morris’s Clear Sounds among Hills and Waters (1989, revised 2013), for solo piano, under five different preparatory conditions: simple identification (ID), program note (PN), aesthetic/visual introduction by the composer on video (AES), structural/aural introduction by the composer on video (STR), and the combination of all of the preceding (CMB). Qualitative analysis of responses suggested that preparations ID, STR, PN, AES, and CMB, in that order, were increasingly beneficial for audience appreciation and understanding. The piece’s context and meaning needed to be explained before structural information could be employed effectively. The combination of aesthetic with structural information was more helpful than either alone. Indirect knowledge about the piece must translate into direct knowledge for greater impact. The chapter then explores broader issues implicated in audience reception of new music: characteristics of the listener, social and cultural factors, and features of the musical language, described by analogy to phonetics, morphology, syntax, and semantics. Stimuli for the experiment, including Leong’s performance of Clear Sounds on video, may be found online.
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Hobbs, Renee, Liz Deslauriers, and Pam Steager. "Creating." In The Library Screen Scene. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190854317.003.0003.

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Authorship is a fundamental impulse that’s rooted in the value of “telling your own story.” When people engage in practices of creating media, they deepen their understanding of the constructed nature of all forms of media and can shift their identity in important ways. As people gain confidence in self-expression and recognize the value and power of using communication to address community and national social and cultural issues, they take on the role of active citizens in a democratic society. The library has always been a source of inspiration for people who want to make things as well as a community hub where people can come to learn, create, and explore possibilities. Makerspaces and media centers can support the mission of the library. Many academic librarians have made a deep commitment to supporting student media creation as a dimension of their academic work. And whether it’s to explain library services, document a community event or history, or market the library, when school librarians are themselves digital authors, they often have a broader, deeper appreciation of the creative process and recognize the potentially transformative impact that such learning experiences can have. Creating media can be important for advancing self-expression and learning, but it is also a time-honored way to deepen media analysis skills. Getting the balance between creative freedom and creative restraint in media production can be challenging, but from creating storyboards, book trailers, or parody music videos to documentary filmmaking, creating media in the library can reap multiple benefits and can prove that it’s through creating and collaborating that people of all ages learn best.
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Conference papers on the topic "Violin music – Analysis, appreciation"

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

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

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Kakegawa, Mayu, Ryo Komiyama, Yuko Masakura, and Masayuki Kikuchi. "Analysis of music appreciation by Kansei evaluation and brain activity." In 2012 Joint 6th Intl. Conference on Soft Computing and Intelligent Systems (SCIS) and 13th Intl. Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2012. http://dx.doi.org/10.1109/scis-isis.2012.6505407.

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