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Dissertations / Theses on the topic 'Violin music Performance practice (Music) Violin'
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Seymour, Rebecca. "Issues of performance practice in the violin works of Johannes Brahms (1833-1987) /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19278.pdf.
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Tersigni, Andrea. "The American School of violin playing : a reality /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11248.
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Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.<br>Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
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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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Knapik, Stefan. "Early twentieth-century discourses of violin playing." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:9144cfab-0e11-4ea9-80cb-842d07845ce8.
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The thesis is a critical reading of pedagogical and biographical texts by and on violinists, written in the early twentieth century. It contributes to historical and discursive studies by providing a limited engagement with a largely neglected group of historical sources relating to musical performance, and further advances the historical research on subjectivity, the body, pathology, and erotics, in relation to discourses of music. The thesis also contributes to studies of performance practice, and empirical and psychological studies of musical performance, in that it engages with discursive notions of theoretical and performance categories, such as tempo, melody, vibrato and portamento. By taking a hermeneutic approach to detailed discussions of performative practices, primarily found in pedagogical texts, the project aims to provide a more nuanced assessment of many of the topics that have played a central role in the ongoing research on early twentieth-century performance (which principally consists of recordings analysis). The project does this by demonstrating the extent to which these practices are culturally and historically mediated. Following an introduction, chapter 2 demonstrates that notions of consciousness inform writers’ notions of musical virtuosity, and shows that Nietzschean and Wagnerian notions of self underpin the idea of the violinist as a superior producer of art. Chapter 3 argues that these ideas combine with metaphysical notions of melody to make the concept of ‘tone’/Ton the cornerstone of string playing during this period, which in turn has important implications for how writers conceive of tempo, rhythm, vibrato, portamento and dynamics. Chapter 4 demonstrates that writers perceive their ideal of tone to be threatened by moral and physiological disease, manifested in individual/social bodies, which leads to a very different articulation of these same practices. Chapter 5 explores traces of notions of intersubjectivity, arising from metaphors of erotic desire, which challenge the hegemonic ideal of universal mind. The conclusion frames the discourse as a problematic attempt to posit an authoritarian model of string playing. It also includes a preliminary study of early twentieth-century discourses of cello playing, and engages with the research to date on national styles of violin playing in the same period.
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Miskelly, Jessica. "FIFTHS: AN APPROACH TO VIOLIN TECHNIQUE FOR THE LEFT HAND AS TAUGHT BY RODNEY FRIEND." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/107.
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This document examines Rodney Friend’s approach to violin technique for the left hand, with specific emphasis on the execution of fifths. The application of this technique plays a valuable role in establishing correct hand positioning, creating consistent intonation, improving vibrato, and adding to the palette of colors available to the violinist. Mr. Friend is an esteemed violinist, a perceptive pedagogue, and a dedicated mentor in today’s music world, and, in those roles, he exemplifies the qualities of beauty, truth, and goodness that characterize meaningful engagement in the arts. His thoughtful teaching style is the product of decades of careful observation combined with a devotion to constant personal improvement. As a performer who has toured the world as concertmaster of classical music’s most renowned orchestras, Mr. Friend’s early and continued success could have easily led him to a justifiable sense of arrival. Instead, he continues to hone his craft daily--both as a performer and as a teacher--always striving to remove the roadblocks from the tricky terrain of violin playing. In Mr. Friend’s words, violin playing is “a whole complicated business that we need to make less complicated.” His keen insights into the mechanics of the trade prove that simplification is possible. I firmly believe that his pedagogical innovations will greatly serve the rising generation of violinists.
Most recently, Mr. Friend has turned his attention to an area of left hand technique that is commonly avoided by violinists in their practice, and often glossed over by teachers: the study of fifths. For the past six years Mr. Friend has been systematically exploring the benefits of this ignored technique. Other pedagogues have had little to offer in specifically addressing this interval because there is a general lack of understanding about the benefits provided by mastering the execution of fifths. Examples of this omission can be seen in pedagogy books by some of the 20th century’s greatest violinists and teachers. For instance, when Leopold Auer discusses the left hand in his book, Violin Playing as I Teach It, he suggests practicing scales in thirds, fourths, sixths, and octaves, but completely skips over the interval of the fifth. The same omission is also made by Yehudi Menuhin in his instructional text entitled Violin and Viola.
Mr. Friend has developed a systematic approach to mastering this difficult technique that is both simple and effective. He plans to publish his method later this year. Some of the benefits provided to the violinist from the consistent practice of this traditionally difficult and neglected interval include better hand positioning, improved vibrato, and more consistent intonation--the continual quest of every violinist. I have experienced the remarkable benefits of his method in my own playing, which motivated me to seek Mr. Friend’s permission to further explore and document his techniques, and with this monograph to share these benefits with the violin community.
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Kim, Hyo Jung. "Combining of Korean Traditional Performance and Recent German Techniques in Isang Yun's Kontraste: Zwei Stücke für Violine Solo (1987)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33175/.
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Isang Yun (1917-1995) embraced a masterful combination of two elements derived from his life: his Korean cultural upbringing and Western musical traditions. This dissertation explores Yun's distinctive style through an analysis of his Kontraste: Zwei Stücke für Violine Solo. Following the introduction (Chapter 1), Chapter 2 contains a brief biography of Isang Yun, and explores the compositions of his Korean period (1917-1955) and his European period (1956-1995). It also discusses how Yun's musical styles changed during these two periods as a result of important life events and due to cultural and political influences. Chapter 3 examines Korean instruments such as Kayakem, Hae-Kem, and Pak; discusses Nonghyun (traditional string techniques of ornamentation in Korean music); and introduces Korean performance techniques. This chapter also provides explanations of these concepts, illustrated through various examples. A subsequent discussion illuminates Yin-Yang theory and Jeong-Jung-Dong, both elements of Taoist philosophy that influenced Yun's compositional style. This is followed by explanations of Hauptton and Umspielung, two compositional techniques that Yun developed and employed in Kontraste. Yun created the idea of Hauptton to reflect the Korean traditional concept of a single note. He used the term Umspielung ("playing around" in German) to describe his interpretation of the four traditional techniques of Nonghyun within a Western notational framework. In Chapter 5, analysis of Kontraste reveals how the piece's contrasting elements represent the concepts of Yin-Yang and Jeong-Jung-Dong, and shows how the violin imitates the sounds of Korean traditional instruments and instrumental technique. Yun's adaption of Korean traditional performance techniques to the violin in Kontraste is aimed at combining East and West and producing a new aesthetic.
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Taliberti, Viviane Terezinha Mion Bodaczny. "Trio op. 97, 'Arquiduque' , de Beethoven: um estudo sobre sua interpretação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-29062015-153035/.
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Este estudo analisa o Trio op. 97, escrito por Ludwig van Beethoven, mediante uma abordagem ligada às práticas interpretativas com um enfoque histórico, estético e musicológico. A pesquisa objetivou reconhecer, nessa composição, os procedimentos técnicos, sonoros e interpretativos para alcançar unidade sonora e um pensamento musical comum a uma formação camerística composta por piano, violino e violoncelo. Do ponto de vista metodológico, a pesquisa se valeu de um estudo prático-interpretativo ao piano, da revisão bibliográfica de estudos analíticos da concepção e dos aspectos interpretativos da obra, da escuta analítico-apreciativa de gravações da obra e de uma leitura de sua escrita. O trabalho de interpretação se apoiou, sobremaneira, na leitura analítica das fontes de pesquisa: manuscrito autógrafo, edições posteriores da partitura, cartas de Beethoven a seus editores e textos de comentadores de contemporâneos do compositor. Os resultados da pesquisa mostram, dentre outros pontos, que Beethoven buscou desenvolver uma parceria em que as características de cada instrumento são reconhecidas e valorizadas, mas sempre colocadas à disposição do conjunto. Também mostram que Trio op. 97 reserva ao violino papel menos proeminente que o do violoncelo; e que, com uma escrita pianística que privilegia acordes e as mais variadas figuras, o equilíbrio camerístico requer atenção especial nos quatro movimentos da obra. Enfim, os resultados apontam que as idiossincrasias são fundamentais para interpretar a notação e as intenções musicais de Beethoven. A sistematização das análises e reflexões aqui descritas permitiu clarear, aprofundar e sedimentar conhecimentos sobre a obra; mas de modo algum apontam uma direção única ou uma \"verdade absoluta\".<br>This study analyzes Trio op. 97, written by Ludwig van Beethoven. It does so by approaching it in connection with performance practice and with a focus on historical, aesthetic, and musicological aspects. The research aimed to recognize technical, sound, and interpretative procedures in this composition in order to achieve a sound unit and a musical thought peculiar to the chamber music formation made of piano, violin and cello. From a methodological point of view, the research relied upon a practical and interpretive study on the piano, a reading of analytical studies on the conception and interpretive aspects of Trio op. 97, an analytic and appreciative listening to recordings of this composition and a reading of its musical score. The interpretive work recurred greatly to the analytical reading of research sources such as autograph manuscript, later editions of its musical score, Beethoven\'s letters to his publishers, and of texts on Beethoven\'s life and music by contemporary commentators of him. Research results show, among other aspects, that Beethoven sought to develop a kind of work in which each instrument\'s characteristics are recognized and valued but it always serves the group. Besides, they show point that Trio op. 97 attributes to the violin a role less prominent than cello\'s; and that with a piano writing focused on chords and varied figures, chamber music\'s balance demands special attention as to the four movements of the Trio. Finally, results indicate that the idiosyncrasies are fundamental to interpret Beethoven\'s notation and musical intentions. That said, systematizing analyzes and making some thoughts on this thesis made possible to clarify, deepen and consolidate certain knowledge on Trio op. 97. But it doesn\'t meant prescribing a direction or an \"absolute truth\" regarding a forma of understanding and valuing it.
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Galvan-Herrera, Rafael. "Graduate violin recital." FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/3443.
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Sonata for Solo Violin Op. 27, No.2 ("Obsession") E. ugene Ysaye (1853-1931)
I. Prelude. Poco Vivace
IL Malinconia
IIL Danse des ombres
Concerto for Violin No. 2, Op.63 - Sergei Prokofiev (1891-1953)
I. Allegro moderato
II. Andante assai
Sonata No. 3 for Violin and Piano, Op. 45 - Edvard Grieg (1843-1945)
I. Allegro molto ed appassionato
II. Allegretto espressivo alla Romanza
IIL Allegro animato
Estrellita (Mexican song for violin and piano) .M. Manuel M. Ponce (1 882-1948)
Jascha Heifetz (1901-1987)
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Chan, Tzu-Ying. "John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.
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English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford's "The Division Violin." The dissertation first surveys the development of English violin music in the 17th century. Then, the dissertation traces eight selected 16th-century Italian diminution manuals. This will help readers understand the progression of the Italian diminution and improvisation practice in the 16th century and how it relates to the English division of the 17th century. Finally, based on a thorough research of the 17th-century improvisatory style and rhetorical approach, the author of this study provides performance suggestions on "Mr. Farinell's Ground," No. 5 from "The Division Violin."
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Parsons, John Lewis. "Stylistic change in violin performance 1900-1960 : with special reference to recordings of the Hungarian violin school." Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55396/.
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This thesis describes and analyses stylistic change in violin performance (c. 1900-1960) by examining the so-called Hungarian violin school as an exemplar of stylistic change in this period. The thesis uses examples from both written and recorded sources to examine shifts in the use of expressive fingering, vibrato and flexibility of rhythm and tempo. The sources used include: performing editions; treatises; and recordings. In respect of the study of stylistic change, the thesis argues that recordings provide a valuable research resource for assessing the theoretical use of expressive devices, as well as the prominence, character and actual application in performance of such devices. The thesis focuses on the relationship between a player's formal training and the cultural-aesthetic influences to which he/she was subsequently exposed, and also considers the relationship between performing theory and performing practice. Chapter one explores nineteenth-century French and German antecedents to the Hungarian school, before discussing the syllabus and pedagogy of Jeno Hubay in Budapest. The cheaper concludes with a case study of the changing approaches to technique and expression of Hubay's pupil, Josef Szigeti. Chapters two, three and four concentrate on the expressive devices used in the performances of violinists in the twentieth century: chapter two explores fingering; chapter three concerns vibrato; and chapter four addresses rhythm and tempo. The thesis shows that, in the case of the Hungarian school, players retained aspects of their initial training, but that other influences played a more decisive role in their evolution as mature artists. The thesis concludes by arguing that recorded sources have a vital and significant contribution to make to the field of twentieth-century performance practice.
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Hiew, Alexandra T. "Towards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology ResearchTowards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology Research." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1380619860.
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Jakubowski, Kelly Joan. ""Informed spontaneity" a theoretical approach to the enhancement of creativity in performance /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243788323.
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Dyo, Vladimir. "The Application of Bel Canto Principles to Violin Performance." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/193273.
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Music Performance<br>D.M.A.<br>Bel canto is "the best in singing of all time." Authors on vocal literature (Miller, Celletti, Duey, Reid, Dmitriev, Stark, Whitlock among others) agree that bel canto singing requires complete mastery of vocal technique. The "best in singing" means that the singer should possess immaculate cantilena, smooth legato, a beautiful singing tone that exhibits a full palette of colors, and evenness of tone throughout the entire vocal range. Furthermore, the singer should be able to "carry the tone" expressively from one note to another, maintain long lasting breath, flexibility, and brilliant virtuosity. Without these elements, the singer's mastery is not complete. In addition, proper mastery of bel canto technique prolongs the longevity of the voice. For centuries, --emulating beautiful singing has been a model for violin performers. Since the late Renaissance and early Baroque periods, a trend toward homophonic style, melodious songs, and arias had a tremendous influence on pre-violin and violin performers, and even on luthiers. The earliest known four-stringed violins created by Andrea Amati, and Gasparo da Saló in the sixteenth century already possessed a tone that resembled the qualities of a human voice. Today, it has become more difficult to differentiate the tone of one violinist from another. The individual quality of the singing tone, which was the hallmark in violin playing of the golden age of Ysaye, Kreisler, Heifetz, Menuhin, Oistrakh etc. has deteriorated. The purpose of this monograph is to analyze the fundamental principles of bel canto and to apply these principles to violin performance. Teachers, students, and performers will find practical ideas to improve or solve various aspects of violin playing. I will focus primarily on tone production and tone formation (breathing, resonance, vibrato etc.), tonal shading (messa di voce), and range (blending positions). Through understanding the bel canto principles of singing and applying those principles to violin performance, one would have more means to give the tone its distinctive qualities.<br>Temple University--Theses
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Dossumova, Aisha. "THE INFLUENCE OF KAZAKH FOLKLORE ON THE DEVELOPMENT OF VIOLIN PERFORMANCE IN KAZAKHSTAN." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/381242.
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Music Performance<br>D.M.A.<br>The purpose of this monograph is to promote Kazakh violin repertoire by focusing on the influence of Kazakh folklore on the development of violin performance in Kazakhstan in the beginning of the twentieth century. The monograph will include a brief discussion of the history of Kazakhstan, a historical background of folk music and its importance to the development of violin performance in Kazakhstan, a discussion of Kazakh folk strings instruments in relation to violin performance in Kazakhstan, and discussion of selected violin works by Kazakh composers with strong folk influences. A catalogue of violin works of Kazakhstan that use folkloric material will be provided as well. In my study I will rely on available sources, including books, articles, dissertations, reviews, recordings, visual materials and musical scores. I hope my monograph will help to introduce, promote and give a better understanding of Kazakh violin repertoire to English-speaking scholars and musicians.<br>Temple University--Theses
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Wang, Tracy (Chun-Chia). "Expanding the Violin's Possibilities in Chinese Music: A Case Study of Transcription and Performance Issues Related to Pipa Music Played on the Violin." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248509/.
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In recent years, a large part of the erhu's repertoire has been arranged for performance on the violin and vice versa. Given the difficulties involved in transcribing the music of plucked or woodwind instruments for the violin, the erhu has been the most popular choice for transcribing Chinese music for the violin. However, the erhu and violin are radically dissimilar instruments based on different principles. Pipa music is an essential part of traditional Chinese music from as early as 202 BCE, and the instrument's repertoire represents a large portion of East Asian music aesthetics, and this context should be considered to successfully transcribe pipa music for violin. This dissertation talks briefly about Chinese music history and its categories and also focuses on the history and development of the pipa as well as its repertoire categories to provide context for the following musical examples. I use existing transcription examples from different categories of pipa music as an avenue to discuss how to transcribe pipa music for the violin. Even though the violin has some limitations for use as a plucked instrument, the instrument can still make use of several different kinds of techniques in order to play the music in a way that can represent certain features of the pipa while retaining the violin's characteristics.
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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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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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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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Kim, Hojin. "George Rochberg's Caprice Variations for Unaccompanied Violin| An analytical overview and a performance study guide." Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3681739.
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<p> The purpose of this treatise is to analyze the <i>Caprice Variations for Unaccompanied Violin</i> (1970) by George Rochberg from a performer's perspective. The Caprice Variations amalgamates many historical compositional styles that require a performer's musical understanding and technical capabilities. </p><p> To provide insight into Rochberg's compositions, Chapter Two gives a biographical review of his life. Tragedy, such as his son's death, provoked his musical style to shift from an atonal to a tonal language. Emerging from this event in his life, Rochberg's work was strongly influenced by earlier composers.</p><p> This treatise will trace how Rochberg transformed music from influential composers into his modern compositions. The <i>Caprice Variations</i> include eleven quoting works from Beethoven, Brahms, Schubert, Mahler and Webern. The remaining forty non-quoting variations are arranged by musical style in Chapter One, Table 1.1. The table also includes a summary of the fifty-one variations and is organized with the following headings: Quoting and Non-quoting, Timing, Tempo Marking, Music Example, Techniques, and Performance Recommendations.</p><p> In summary, this treatise analyzes the <i>Caprice Variations</i> from a theoretical and a performance perspective. This treatise will offer interpretations based on the writer's experience as a violinist, providing students a valuable resource to study and perform Rochberg's work. </p>
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Song, Chi Young. "EARL KIM 12 CAPRICES FOR SOLO VIOLIN: SURVEY OF HIS INNOVATIVE SOLO VIOLIN WRITING VIA HIS TWELVE LOVE LETTERS." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/91.
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The purpose of this project is to bring Kim’s caprices into the mainstream violin literature through a three-prong approach by examining each caprice via musical analysis, technical analysis, and by investigating its pedagogical merit. After inspecting each caprice through three different lenses mentioned above, the paper will organize the twelve caprices around a tripartite structure; serial, atonal, and free tonal.
The work opens with a six-measure Motto. While the relationship between the Motto and the rest of the work is not immediately clear, thorough musical and formal analysis will provide insight into the work’s cohesion.
This project will also examine pedagogically what specific technical challenges lay in selected caprices and how to solve thorny problems. The caprices are truly innovative in a sense that they present opportunities to understand non-tonal polyphonic writing on what is supposed to be a monophonic instrument while expanding the tradition of the Violin Caprice.
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Su, Linya. "Song of your voices| Violin performance major students' perceptions of their lives in violin learning from childhood to the music schools in New York City." Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3588616.
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<p> The purpose of this heuristic study was to explore and describe conservatory-trained violin performance major students' perceptions of their lived experience in violin learning from childhood to the music schools in New York City. The seven participants were undergraduate, graduate-level violin major students selected from the three major music schools in New York City. The primary data was collected via face-to-face audiotaped interviews, which became the narrative data.</p><p> The first question addressed students' perceptions of one-to-one violin instruction regarding expectations and values. The findings suggested that (1) autonomous thinking, boosted confidence, and transcultural learning were invaluable gains from instruction; (2) a reciprocal relationship existed between the amount of new ideas gained and one's performance outcome in lessons, which connoted students' recognition of self-responsibility in determining the quality of lessons; and (3) an ideal teacher encourages independent thinking, provides honest feedback, and respects students' individuality.</p><p> The second question asked students' perceptions toward power relationship and degree of autonomy in decision-making. The findings suggested that (1) interpretive demands seemed to cause a stronger impact to student-autonomy when compared to repertoire and technique-related demands; and (2) students adopted different reactive patterns and conflict management strategies to deal with conflicts and power struggle in the violin studio. </p><p> The third question explored students' perceptions toward the helpfulness of other courses to violin performance. The findings suggested that while all students were adept at independent learning, some students reported music theory/history courses were helpful in empowering interpretive/performance autonomy.</p><p> The last question investigated students' perceptions toward the interrelationships among self, music, violin performance, and culture. The findings suggested that (1) students' self-concept of ability in violin playing might be correlated with degree of autonomy and self-perceived technical competency; (2) the meaning of violin performance was to attain self-fulfillment in two domains: personal and social; and (3) performance autonomy might be circumscribed by socio-cultural expectation and economic condition.</p><p> This study implies that students' continued participation in violin learning might be influenced by economic concern, competitive environment, and self-concept of ability in violin playing. Violin teachers may need to help students maintain a sound professional development.</p>
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Reimer, David Roy. "Violin performance training at collegiate schools of music and its relevance to the performing professions: a critique and recommendation." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054687230.
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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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Kim, Min Hwa. "Performance Guide to Selected Violin Works of Béla Bartók." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321894138.
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Kim, Jun Y. "A Performer's Guide to Violin Orchestral Excerpts from Baroque to the Twentieth Century Compositions." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377873196.
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Santos, Juliano Buosi dos 1976. "Consort de violinos : música instrumental germânica para mais de quatro vozes na segunda metade do século XVII." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285234.
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Orientador: Esdras Rodrigues Silva<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T00:34:41Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Esta pesquisa tem o propósito de divulgar um repertório pouco conhecido e interpretado atualmente: a música germânica escrita para consort de violinos para mais de quatro vozes, na segunda metade do século XVII. Um estudo histórico e estilístico nos possibilita aproximar desse repertório, identificando as influências que recebeu, seus antecedentes e seu desenvolvimento. Constataremos que a composição para este tipo de ensemble não foi um movimento isolado e nem raro, mas sim uma forma de instrumentação e escrita musical explorada em sua época, dada a sua rica e sofisticada possibilidade inventiva<br>Abstract: This research wishes to unveil a repertoire, which is little known and very seldom played nowadays: the music written for consort of more than four violins in the seventeenth-century in germanic lands. An historical and stylistic study shall allow us to improve our knowledge of this repertoire, identifying its origins, its influences and development. We will realize that this type of music was neither a peculiar nor a remote one, but rather that it was a particular form of instrumentation, customarily used by composers in that period, given its beautiful and sophisticated aesthetics<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música
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Olsson, Anders. "Hur övar en folkmusiker? : En undersökning av några folkmusikers syn på övande." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4831.
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<p>Syftet med det här arbetet var att närmare undersöka hur några nutida folkmusiker övar och tänker kring sitt övande, samt om det hos dessa fanns speciella sätt att öva in och lära ut svensk folkmusik.För att undersöka detta intervjuades fem folkmusiker med olika bakgrund, ålder och kön med hjälp av öppna frågor. Slutsatserna är att utbildning ger spelmannen impulser till ett mer strukturerat sätt att öva. Förebilderna har en stor betydelse i musik som traditionellt lärs ut via gehör. Folkmusikern ”måste” inte vara tekniskt skickligt för att vara ”bra” utan mycket kan uppvägas av karaktär och uttryck. Ett vanligt sätt att lära ut svensk folkmusik, är att först spela hela låten, spela en repris och sedan dela in den i fraser. I studien fanns ett samband mellan informantens utbildning och komplexiteten i egna övningar samt rekommenderade övningar till elever.</p><br><p>The aim of this study is to examine how certain traditional musicians of today practice, and their thoughts on studying the violin. Also, if there was a specific kind of practice and teaching in the genre of Swedish traditional music.Five musicians with different backgrounds, age and sex were interviewed with open questions.The conclusions are that education can provide the traditional musician with a structured practice method. Models are of great importance in music played by ear. The musician that plays traditional music “must “ not always be technically skilled to be a musician of importance. Character and expression can counterbalance a bad technique. A common way to teach Swedish music is to first play the whole tune and then divide it into smaller units. There was a connection in the study between the education of the informant and the complexity of their own exercises and the exercises they recommended to pupils.</p>
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Huang, Chenshayang. "Let Music Speak Day and Night: A Performance Guide for George Enescu's "Impressions D'enfance for Violin and Piano"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752350/.
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In the world of chamber music, programmatic suites are more rarely composed and consequently more rarely presented in recital than other musical forms. Perhaps partially for this reason, George Enescu's Impressions d'enfance for violin and piano, his last chamber piece written in the tumultuous year of 1940, has been overlooked for a long time; even the composer himself did not make a recording of this seldom performed piece. This dissertation examines Impressions d'enface in order to explore the relationship between the underlying Romanian folk rhythmic and melodic patterns, to provide an analysis, as well as to serve as a performance guide to assist performers in surmounting the technical challenges and thus create a more effective ensemble. I hope this dissertation will encourage more duos to experiencing the joy of George Enescu's richly fulfilling Impressions d'enfance for themselves.
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Bidgood, Lee. "Grounds and Consorts." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1051.
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The concert features an eclectic variety of blues, rags, fiddle tunes and consort music arranged for both historic and modern instruments. The program includes works by numerous composers, from Johann Groh and Thomas Lupo, who were born in the late 16th century, to George Linus Cobb and Doc Roberts of the early 20th century.
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Seebacher, Robert J. "AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/29.
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The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.
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Schoonderwaldt, Erwin. "Mechanics and acoustics of violin bowing : Freedom, constraints and control in performance." Doctoral thesis, Stockholm : Datavetenskap och kommunikation, Kungliga Tekniska högskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-9826.
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O'Neill, Alice Ann Mary. "Parent as home teacher of Suzuki cello, violin, and piano students: observation and analysis of Suzuki method practice cessions." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1070376603.
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Lewis, Lucy Karelyn. "A model for developing a holistic collegiate curriculum for string performance and pedagogy." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638399.
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<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra). </p><p> The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.</p>
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Facchini, Fiammetta. "Psycho-physio dynamics in violin-piano duo: a pianist's perspective." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13820.
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Doutoramento em Música<br>The case study looked at psychological and physiological responses to stress in musicians, comparing a newly formed and a consolidated violin-piano duo. The common element between these duos was the pianist. Using the psychological tests (STAI Y1 and Y2, K-MPAI, MMPI-2, ICAC), the immunoassay saliva test to measure cortisol (stress hormone) and non- invasive device VitalJacket® developed at the University of Aveiro, Portugal, participants were monitored under various performance conditions. Others quantitative and qualitative dataset were collected including a pianist’s personal diary (analyzed by psychiatrist), semi-structured interviews with members of long-terms chamber music duo and perceptual evaluations (listening test) of the performances by expert listeners. The variables included two performance venues (European university and secondary school), as well as well-known repertoire, recently known repertoire and newly known repertoire. The latter was given approximately one week before each recital. The psychological and physiological dataset were collected for a total of eight recitals – two series of four recitals each. The unexpected results show that state anxiety levels and stress of the pianist, who does not present an anxious profile, either in social or in musical terms, are always higher when playing with a well-known partner. Possible explanations may be due to the highest expectations for quality of performance and implications of mirror neurons (since the reactions are very different according to the partner). In other words, the “known” (i.e., the consolidated duo) can become “trapped” within a predetermined space, especially at the psychological level, while the “unknown” (the occasional duo) seems to be less involved and therefore more reassuring and exciting in positive terms. In addition, the preference of the expert audience is for the consolidated duo.<br>O presente estudo de caso debruça-se sobre as respostas psicológicas (ansiedade) e fisiológicas (stress) em músicos, comparando um duo de violino e piano consolidado e um recém-formado em momentos de performance. O elemento comum entre estes duos foi a pianista. Utilizando os testes psicológicos (STAI Y1 e Y2, K-MPAI, MMPI-2, ICAC), o protocolo Hight Sensivity Salivary Cortisol Enzyme Immunoassay kit da Salimetrics® para medir o cortisol (hormona do stress) e o dispositivo não invasivo VitalJacket® (para medir o batimento cardíaco) desenvolvido na Universidade de Aveiro, Portugal, os participantes foram monitorados em várias condições de desempenho. Outro conjunto de dados quantitativos e qualitativos foram coletados, incluindo o diário pessoal da pianista (analisado pelo psiquiatra), entrevistas semi-estruturadas com membros de duos de música de câmara de longo prazo e avaliação da percepção (teste auditivo) das performances realizada com ouvintes especialistas. As variáveis incluíram duas salas de concertos (sala duma universidade europeia e outra duma escola de ensino secundário), bem como repertório bem conhecido, repertório recentemente conhecido e peças nunca ensaiadas antes dos recitais. Estas últimas peças foram fornecidas aproximadamente uma semana antes de cada concerto. O conjunto dos dados psicológicos e fisiológicos foram coletados para um total de oito recitais - duas séries de quatro recitais cada. Os resultados, inesperados, mostram que os níveis de ansiedade de estado e de stress da pianista, que não apresenta um perfil de pessoa ansiosa nem em termos sociais nem em termos musicais, são sempre mais elevados quando toca com o parceiro conhecido. Possíveis explicações podem ser às expectativas mais elevadas em relação a qualidade da performance e as implicações dos neurónios a espelho (uma vez que as reações são muito diferentes conforme ao parceiro). Ou seja, um “espaço conhecido” (o duo consolidado) pode ficar “preso” dentro espaços preestabelecidos, sobretudo a nível psicológico, em quanto o “desconhecido” (o duo ocasional) parece ser menos envolvido e portanto mais tranquilizante e emocionante em termos positivos. Para além disso, a preferência de qualificados músicos ouvintes, foi para o duo consolidado.
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Milovanovic, Biljana. "A Study and Performance Guide to Dennis Kam's Sonata Ibis for Clarinet, Violin, Cello and Piano and a Performance Comparison to Four Earlier Versions of the Work." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/71.
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In 2005, Dennis Kam completed the Sonata Ibis which the ensemble Ibis Camerata premiered at the Festival Miami at the University of Miami that same year. The composition is the last of five versions of the same work, originally written for piano solo. The work was recorded by the Ibis Camerata, on their CD titled Glisten, and released in 2006 on the Albany Records music label. The composition presents an important addition to the existing repertoire for the ensemble of clarinet, violin, cello, and piano. Sonata Ibis is a single movement work not following traditional forms. The work reflects the composer's conscious aim of making works with different versions. One of the issues that this study takes up is the evolution of the Sonata Ibis through all five versions. Analysis of musical materials and techniques used in the Sonata are also a part of the study. One chapter of this paper deals with Dennis Kam's biography. One chapter discusses the formal structure and musical idiom of the work. Performance-related issues from the ensemble and a pianist perspective are discussed in the remaining two chapters.
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Lee, Chu-Yunn. "Pablo de Sarasate his life, music, style of performance, and interactions among other performers and composers /." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_chu-yunn/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Feb. 9, 2004, Nov. 15, 2004, Apr. 18, 2005, and Oct. 9, 2006. Includes bibliographical references (p. 37-[39]).
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De, Búrca Aingeala. "The Alexander Technique - the application of FM Alexander's principles to music performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4199.
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The purpose of this essay is to explore how the application of the Alexander Technique, as taught from the point of view of the Interactive Teaching Method (ITM), can be of benefit in performance preparation as well as in the enhancement of the musician’s practice and performance in general. Although the specific performance described in this paper was for violin, the argument is made that the exploration and methods of practice would be of benefit to any musician. This paper describes the experience of a study of the Alexander Technique. Information is provided about the Alexander Technique, its origins, principles and practices. The application of Alexander’s work to violin playing in general is discussed, and specifically to the preparation for the performance of Sonata Duodecima by Isabella Leonarda.<br><p>Isabella Leonarda: Sonata Duodecima Opus 16</p><p>Elizabeth Jackquet De La Guerre: Sonata No 1 in D minor for Violin & Cembalo</p><p>Antonio Bonparti: Invention No 1 in A major (from 12 Inventions for Violin)</p><p>Baroque Violin: Aingeala De Búrca</p><p>Cembalo: Mayumi Kamata</p><p></p>
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Su, Chiu-Ching. "A Performance Guide to Franz Anton Hoffmeister's Viola Concerto in D Major with an Analytical Study of Published Cadenzas." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276955407.
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PHELAN, VINCENT J. "AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148174895.
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Shafer, Seth. "Recent Approaches to Real-Time Notation." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984210/.
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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.
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Min, KyoungJoo. "Analyses of the Twelve fantasies for solo flute (1732-33) and the Twelve fantasies for solo violin (1735) of G.Ph. Telemann : (with suggestions for performance) /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11420.
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Løland, Olav Eirik. "A New Performance : Exploring the possibilities and difficulties related to the inclusion of the voice in violin playing." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4129.
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This thesis seeks to explore the many possibilities that lie within the incorporation of the voice alongside playing the violin. This territory is still very unknown, and the author believes that many new artistic possibilities and tools are yet to be discovered.The attempts made seek to understand the difficulties and limitations of the incorporation of the voice, while discovering its bountiful treasures.<br><p>"Terje Vigen" by Ivar BøksleArrangement by Olav Eirik LølandViolin and vocal - Olav Eirik Løland</p><p></p><p>Konserten börjar efter två minuter.</p>
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Öman, Andrea. "Motivation i violinundervisningen. : En studie om hur violinlärare motiverar elever att öva." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-70922.
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Studien syftar till att undersöka fiollärares upplevelse av fiolelevers motivation samt hur olika former av motivation determinerar motivation till att öva mer och att fortsätta spela. Detta görs med forskningsfrågorna: Hur upplever fiollärare att de befrämjar elevernas motivation att öva fiol? Hur anser fiollärare få sina elever motiverade att vilja fortsätta spela fiol? Studiens teoretiska utgångspunkt är Self determination theory och dess syn på motivation och övning. Den forskningsmetod som används är semistrukturerad intervju och det är tre fiollärare som intervjuats. Intervjuerna har transkriberats och bearbetats med tematisk analys. Hur informanterna erfar motivation och deras arbetssätt har belysts och sedan ställts bredvid varandra och jämförts. Studiens resultat utgörs av de svar som informanterna gett. Resultatet är uppdelat i tre huvudteman: Lärarens möte med eleven, Lärarens syn på sin roll att stimulera elever att öva och Miljöns betydelse för elevens motivation. I det avslutande kapitlet i studien diskuteras resultatets teman i relation till studiens tidigare forskning, vetenskapliga utgångspunkt och teoretiska perspektiv.<br>The aim of the study is to explore and compare the ways in which violin pupils experience motivation and how different forms of motivation determinates motivation to practice and to continue playing the violin. The study has two research questions: How do violin teachers experience that they promote student´s motivation to practice violin? How do violin teachers think their students are motivated to continue playing the violin? The theoretical foundation is Self Determination Theory concerning motivation and practicing. The research method is semistructured interviews and three violin teachers have been interviewed. The interviews were transcribed and processed using thematic analysis and the results presents the phenomenon of motivation. The results are divided into three themes: The teachers encounter with the pupil, The teachers view of how to stimulate pupils to practice and The environments effect on the motivation of the pupil. The result is discussed in relation to former research and the theoretical perspectives of the study in the final chapter of the study.
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Sperling, Bäckström Siri. "Kognitiv beteendeterapi i musikalisk övning : Kognitiv beteendeterapi som verktyg i en musikalisk övningssituation – en hermeneuetisk fallstudie med fokus på Felix Mendelssohns violinkonsert i e-moll op.64." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3556.
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Kognitiv beteendeterapi (KBT) bygger på teorier kring människans tankar, känslor och beteenden. Det är ett samlingsbegrepp för metoder som utformats för att hjälpa människor att förändra problematiska beteenden. Inledningsvis sammanfattas de begrepp som är relevanta för studiens syfte. Statistik visar att psykisk ohälsa är vanligt förekommande hos klassiska musiker. Syftet med studien var att undersöka hur KBT kan användas för att uppnå ändamålsenliga beteenden i musikalisk övning och fungera som ett hjälpmedel för att hantera problem. Studien byggde på en hermeneutisk grund. Materialet bestod av självobservationer från instudering av Mendelssohns violinkonsert. Dessa tolkades ur ett KBT–perspektiv för att besvara syftet. I resultatet visas integrerandet av KBT–interventioner i form av konkreta exempel där interventionen utformats för att bemöta ett problem i instuderingen. I studiens diskussion analyserades resultatet i form av vilken effekt KBT–interventionerna haft i den musikaliska övningen.<br>Cognitive Behavioral Therapy (CBT) is based on theories about thoughts, feelings and behaviors. It’s a collective term for methods that serve the purpose of helping people with problematic behaviors. In the introduction the relevant concepts for the study are summarized. Statistics show that mental distress among classical musicians is common. The purpose of the study was to examine how CBT can be applied in order to reach effective behaviors in musical practice and serve as a tool for managing problems. The basis of the study was hermeneutic. The material consisted of self-observations from the study of Mendelssohn violin concerto. These were analyzed from a CBT-perspective to answer the purpose. In the result the integration of CBT-interventions can be viewed in terms of concrete examples where the interventions have been formed to respond to a problem in the practice. In the discussion of the study the result has been analyzed according to what effect the CBT-interventions have had in the musical practice.
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Visi, Federico. "Methods and technologies for the analysis and interactive use of body movements in instrumental music performance." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8805.
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A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and creative use of music-related body movements in instrumental music performance. The complexity of this subject required an interdisciplinary approach, which includes the review of multiple theoretical accounts, quantitative and qualitative analysis of data collected in motion capture laboratories, the development and implementation of technologies for the interpretation and interactive use of motion data, and the creation of short musical pieces that actively employ the movement of the performers as an expressive musical feature. The theoretical framework is informed by embodied and enactive accounts of music cognition as well as by systematic studies of music-related movement and expressive music performance. The assumption that the movements of a musician are part of a shared knowledge is empirically explored through an experiment aimed at analysing the motion capture data of a violinist performing a selection of short musical excerpts. A group of subjects with no prior experience playing the violin is then asked to mime a performance following the audio excerpts recorded by the violinist. Motion data is recorded, analysed, and compared with the expert’s data. This is done both quantitatively through data analysis xii as well as qualitatively by relating the motion data to other high-level features and structures of the musical excerpts. Solutions to issues regarding capturing and storing movement data and its use in real-time scenarios are proposed. For the interactive use of motion-sensing technologies in music performance, various wearable sensors have been employed, along with different approaches for mapping control data to sound synthesis and signal processing parameters. In particular, novel approaches for the extraction of meaningful features from raw sensor data and the use of machine learning techniques for mapping movement to live electronics are described. To complete the framework, an essential element of this research project is the com- position and performance of études that explore the creative use of body movement in instrumental music from a Practice-as-Research perspective. This works as a test bed for the proposed concepts and techniques. Mapping concepts and technologies are challenged in a scenario constrained by the use of musical instruments, and different mapping ap- proaches are implemented and compared. In addition, techniques for notating movement in the score, and the impact of interactive motion sensor systems in instrumental music practice from the performer’s perspective are discussed. Finally, the chapter concluding the part of the thesis dedicated to practical implementations describes a novel method for mapping movement data to sound synthesis. This technique is based on the analysis of multimodal motion data collected from multiple subjects and its design draws from the theoretical, analytical, and practical works described throughout the dissertation. Overall, the parts and the diverse approaches that constitute this thesis work in synergy, contributing to the ongoing discourses on the study of musical gestures and the design of interactive music systems from multiple angles.
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Clark, Antoine Terrell. "Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano: A Performance Edition with Commentary." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243869380.
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"A historical survey of the theory and practice of violin scordatura." Thesis, 1995. http://hdl.handle.net/10413/150.
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Trollmo, Simone Daniela. "A method-based approach to historical violin playing: performance practice from a contemporary perspective." Thesis, 2020. https://hdl.handle.net/2144/40442.
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Though learning a historical instrument is becoming more and more common among trained violinists, there are few method books that provide detailed instruction. This dissertation is intended to supply violin students with a structured method in historical violin playing that combines information from both historical treatises and contemporary systems of pedagogy. This will enable the student to learn about the historical sources while keeping a sound approach to healthy movement. By looking at source readings from violin methods and other historical sources of the seventeenth and eighteenth century, the student is introduced to historical performance practice. These readings are categorized by the technical information they contain such as violin hold, bow hold, or a certain bow stroke. They are then analyzed and compared to readings by modern pedagogues such as Paul Rolland, Ivan Galamian, Simon Fischer but also experts within the field of Alexander Technique and Body Mapping to enable the student to draw their own conclusions on the techniques they intend to use. To facilitate the process of learning, the author has provided facsimile excerpts both from violin repertoire and historical methods, as well as suggested further practicing material and readings from both historical and modern sources.
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"A Pedagogical and Performance Edition of J. S. Bach's Violin Sonata I in G minor, BWV 1001, Transcribed for Guitar: Transcription, Analysis, Performance Guide, Pedagogical Practice Guide, and Recording." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17892.
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abstract: Johann Sebastian Bach's violin Sonata I in G minor, BWV 1001, is a significant and widely performed work that exists in numerous editions and also as transcriptions or arrangements for various other instruments, including the guitar. A pedagogical guitar performance edition of this sonata, however, has yet to be published. Therefore, the core of my project is a transcription and pedagogical edition of this work for guitar. The transcription is supported by an analysis, performance and pedagogical practice guide, and a recording. The analysis and graphing of phrase structures illuminate Bach's use of compositional devices and the architectural function of the work's harmonic gravities. They are intended to guide performers in their assessment of the surface ornamentation and suggest a reduction toward its fundamental purpose. The end result is a clarification of the piece through the organization of phrase structures and the prioritization of harmonic tensions and resolutions. The compiling process is intended to assist the performer in "seeing the forest from the trees." Based on markings from Bach's original autograph score, the transcription considers fingering ease on the guitar that is critical to render the music to a functional and practical level. The goal is to preserve the composer's indications to the highest degree possible while still adhering to the technical confines that allow for actual execution on the guitar. The performance guide provides suggestions for articulation, phrasing, ornamentation, and other interpretive decisions. Considering the limitations of the guitar, the author's suggestions are grounded in various concepts of historically informed performance, and also relate to today's early-music sensibilities. The pedagogical practice guide demonstrates procedures to break down and assimilate the musical material as applied toward the various elements of guitar technique and practice. The CD recording is intended to demonstrate the transcription and the connection to the concepts discussed. It is hoped that this pedagogical edition will provide a rational that serves to support technical decisions within the transcription and generate meaningful interpretive realizations based on principles of historically informed performance.<br>Dissertation/Thesis<br>D.M.A. Music 2013