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Journal articles on the topic 'Violin – Performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Wang, Qi, and Changchun Bao. "Individual Violin Recognition Method Combining Tonal and Nontonal Features." Electronics 9, no. 6 (2020): 950. http://dx.doi.org/10.3390/electronics9060950.

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Individual recognition among instruments of the same type is a challenging problem and it has been rarely investigated. In this study, the individual recognition of violins is explored. Based on the source–filter model, the spectrum can be divided into tonal content and nontonal content, which reflects the timbre from complementary aspects. The tonal/nontonal gammatone frequency cepstral coefficients (GFCC) are combined to describe the corresponding spectrum contents in this study. In the recognition system, Gaussian mixture models–universal background model (GMM–UBM) is employed to parameteri

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2

Pu, Lihua. "Performance Perspectives in Jenő Hubay's Violin Concertos." Studia Musicologica 63, no. 3-4 (2023): 329–46. http://dx.doi.org/10.1556/6.2022.00014.

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AbstractJenő Hubay (1858–1937) attained his greatest stature as the founder of the Hungarian Violin School. Although Hubay's name is mostly mentioned in violin pedagogy, he was also a popular composer during his lifetime. He composed over 300 violin works, and his role as composer is underestimated unlike those of contemporaries such as Eugène Ysaÿe. The present paper focuses on the performance perspectives in Hubay's violin concertos, by examining the historical background of each concerto, followed by a systematic approach to violin and musical techniques. This includes guidelines for determ

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3

Podmazova, Polina B. "“Le père-créateur” of modern school of violin playing: marking the anniversary of Giovanni B. Viotti." Contemporary Musicology, no. 2 (2020): 27–49. http://dx.doi.org/10.56620/2587-9731-2020-2-027-049.

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The article focuses on one of the key figures in the world of music at the turn of the 18th/19th centuries, an acknowledged leader of French school of violin playing—G.B. Viotti. The study is the first attempt of Russian musicology to highlight the role of Viotti as the founder of the modern school of violin playing. Viotti's performing art with its large-scale and expressive manner of playing that reveals all the possibilities of violin as an instrument as well as ample opportunity for its artistic presentation, is vividly reflected in the genre of the solo violin concerto. His vision of the

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4

Budagyan, Regina R. "Violin Performance in Terms of Russian and Foreign Architecture and Sculpture." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 339–55. http://dx.doi.org/10.37816/2073-9567-2023-68-339-356.

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The author determines that violin performance finds its vivid embodiment and implementation in Russian and foreign architecture and sculpture. It is scientifically substantiated that modern architects have created a huge number of works of art in which violin is the main object. The study proves that world architects involve this bowed string instrument in global projects to provide a new picture of the world, demonstrating the ability of the violin to implement unprecedented cultural experiments. Thus, the author comes to the conclusion that violin art is becoming more and more visual. Each o

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5

LALƏ, MUXTAROVA. "NİKOLAY RAKOVUN VİOLİN VƏ FORTEPİANO ÜÇÜN №2 SONATİNASININ (D-DUR) İFAÇILIQ XÜSUSİYYƏTLƏRİ." World of Music, no. 4/97 (December 12, 2023): 53–59. https://doi.org/10.5281/zenodo.10364763.

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The present article analyzes Sonatina No.2 for violin and piano (D major) by the famous Russian composer,People's Artist of the USSR, State Prize laureate Nikolay Rakov and discusses its performance characteristics.The article emphasizes that the violin instrument occupies a central place in the work of N.Rakov and that he isfamiliar with the performance capabilities of this instrument, as he studied the violin. Also, during the analysis, itwas revealed that the composer's sonata for violin and piano is based on classical traditions and is filled withfeatures of modern music.Keywords: N. Rakov

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Gabrielyan, Nikolai Zakharovich. "A.Arensky’s A minor violin concerto: performance analysis of the solo section." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 22–31. http://dx.doi.org/10.7256/2453-613x.2021.3.34646.

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The author studies A.Arensky&rsquo;s violin concerto which is a chamber lyrical model of one-part structure. The purpose of the article is to search for the performance features of the violin section which are necessary for a successful interpretation of the composition. The object of the research is the violin concerto genre. The subject of the research is the performance peculiarities of the solo section of A.Arensky&rsquo;s violin concerto. The author uses theoretical and empirical research methods including analysis, generalization, and systematization of scientific sources, as wel

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7

Song, Wenyi, Zeyu Huang, and Andrew B. Horner. "A comparative analysis of Violin and Erhu: Examining the differences and similarities through statistical analysis of multiple musical excerpts." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A186. http://dx.doi.org/10.1121/10.0023214.

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Recent work has compared the different emotional characteristics between the violin and erhu on the Butterfly Lovers Concerto. In this study, we investigate whether the previous studies’ results hold generally in Chinese and Western classical music. Building upon previous research, we hypothesize that the violin conveys more positive emotions, while the erhu is perceived as sadder. We also expect the violin to be better at conveying high-arousal excerpts. To test these hypotheses, 46 subjects were presented with 14 excerpts, with each excerpt represented by at least four different performances

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8

Zou, Liangjun. "Emotion Recognition of Violin Playing Based on Big Data Analysis Technologies." Journal of Environmental and Public Health 2022 (September 15, 2022): 1–9. http://dx.doi.org/10.1155/2022/8583924.

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The rapid development of Internet technology has promoted the vigorous development of the multimedia. As one of the most classic instruments, the violin has been fully developed in its creation, education, and performance. In the face of more and more violin performances, the effective organization and retrieval of these musical works is an urgent problem to be solved, while it is common to classify and organize music based on the emotional properties of the performance. Deep learning is a model based on feature hierarchy and unsupervised feature learning, which has strong learning ability and

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9

Onishchenko, Aleksandra. "Violin and non-violin in the performing activity (the Concert for violin with orchestra D-dur, op. 35 is consideredby P. I. Tchaikovsky)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 132–49. http://dx.doi.org/10.34064/khnum1-57.08.

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Background. The matters of performing and composing art of the XIXth century are considered in this article. The way of formation and changes that have been brought into the violin literature for 100 years &#8210; extension of performing techniques, breaking stereotypes that had been built for centuries &#8210; were taken as a standard in the repertoire of the violinists of that time. The development of the concert genre by famous performers – composers and division of these two functions by the end of the century encouraged musicians to talk about «violin» and «non violin», limiting p

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Bugaj, Katarzyna A., James Mick, and Alice-Ann Darrow. "The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality." String Research Journal 9, no. 1 (2019): 23–33. http://dx.doi.org/10.1177/1948499219851374.

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The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors ( N = 274) divided into three groups by experimental conditions: visual-only ( n = 109), audio-only ( n = 78), or audio-visual ( n = 87). Analysis demonstrated that p

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11

Yang, Qi. "The Emergence and Application of Violin Virtuosity During the Romantic Period." Communications in Humanities Research 14, no. 1 (2023): 70–79. http://dx.doi.org/10.54254/2753-7064/14/20230409.

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Musicians used virtuosity to showcase the pinnacle of human mastery over musical instruments, and the violin, known as the king of instruments, excels in terms of its range, tone, and flexibility. The combination of the violin and virtuosity allows for an infinite range of possibilities in musical expression. The virtuoso style emerged during the Romantic period, an era that celebrated the beauty of humanity and freedom, and it propelled violin artistry to unprecedented heights. This phenomenon was not a coincidence but the result of the interplay of musical style inheritance, advances in viol

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12

Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.

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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of t

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13

Oleksandra, Onishchenko. "«Violin» characteristics of Édouard Lalo’s «Symphonie Espagnole»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (2022): 25–40. http://dx.doi.org/10.34064/khnum1-62.02.

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Statement of the problem. An arsenal of technical performance means can act as an indicator of the novelty of a work at a certain historical stage, opening the way to understanding both evolutionary processes in the field of performance, in particular violin, and the patterns of development of certain genres. The purpose of the article is to highlight the issue of “violin” and “non-violin” specifics on the example of &#201;. Lalo’s «Symphonie Espagnole» (Violin Concerto No. 2, op. 21), which belongs to a number of violin concertos of the last third of the 19th century marked by the influen

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14

Ko, Chantelle, and Lora Oehlberg. "Construction and Performance Applications of an Augmented Violin: TRAVIS II." Computer Music Journal 44, no. 2-3 (2020): 55–68. http://dx.doi.org/10.1162/comj_a_00563.

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Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also tri

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Podmazova, Polina B. "Paris Conservatoire and Development of Violin Performance." Contemporary Musicology, no. 3 (2022): 82–118. http://dx.doi.org/10.56620/2587-9731-2022-3-082-118.

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The opening of the Paris Conservatoire in 1795 played a huge role in the 19th century development of French and wider European performing arts. The article discusses the uniqueness of violin education in the 18th century France and identifies the reasons for the emergence of the world's first educational institution that provided free tuition to all its students regardless of their social background. The article is supplemented with the Russian language translation of the law on the establishment of Paris Conservatoire and a list of its first professors. The article provides a detailed analysi

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KOTAN, Eta, and Murat Kamil İNANICI. "Keman Eğitiminde Kullanılan Yay Tekniklerinin Öğretiminde Türk Müziği Motiflerinin Etkisinin İncelenmesi: Haydar Tatlıyay Örneği." Bartın University Journal of Faculty of Education 10, no. 3 (2021): 541–50. http://dx.doi.org/10.14686/buefad.831886.

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This study was carried out to analyse the impact of Turkish music motives on teaching bowing techniques used in violin education. In the study one-group pretest posttest design, one of the experimental designs was used. The study group of the research consists of 4 violin students studying at Ataturk University within Kazım Karabekir Faculty of Education in the department of the Fine Arts Education Music Education Program in the spring semester of 2018-2019 academic year. In the study, five forms (three for the study group, two for expert academicians) were used. In the experimental process of

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17

Rensing, Nadine, Heike Schemmann, and Christoff Zalpour. "Musculoskeletal Demands in Violin and Viola Playing: A Literature Review." Medical Problems of Performing Artists 33, no. 4 (2018): 265–74. http://dx.doi.org/10.21091/mppa.2018.4040.

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BACKGROUND/AIMS: Research in music medicine has reported incidence rates of musculoskeletal disorders of approx. 70% in instrumental musicians. String players have the highest risk, with rates of performance-related musculoskeletal disorders (PRMDs) of 65% to 88%. Playing the violin or viola requires complex neuromusculoskeletal skills, and the high frequency of repetitive movements, dynamic and static muscle load, awkward postures, poor technique, and practice time are factors causing musculoskeletal strain. In ergonomic terms, these disorders can be categorized based on extrinsic and intrins

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18

Lin, Yixuan. "Design of the Violin Performance Evaluation System Based on Mobile Terminal Technology." Mathematical Problems in Engineering 2022 (September 20, 2022): 1–7. http://dx.doi.org/10.1155/2022/8269007.

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In order to solve the problem that violin performance evaluation is too subjective, this paper proposes a violin performance evaluation system based on mobile terminal technology. Violin sound evaluation mainly includes two indicators such as pronunciation quality and distance transmission ability. LabVIEW 8.2 is used to collect data, and fast Fourier transform (FFT) is used to analyze the time-domain signal in frequency domain, and the pronunciation process of violin is discussed in depth. Using statistical methods to process the test data of pronunciation distance transmission, a parameter m

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19

Buchma-Bernatska, Olga, Natalia Chystiakova, Leonid Bazylchuk, Olha Putiatytska, and Marianna Kopytsia. "Features of development of the violin art in the modern theatre." Linguistics and Culture Review 5, S4 (2021): 371–84. http://dx.doi.org/10.21744/lingcure.v5ns4.1584.

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The foundation of the scientific basis for understanding the processes of development of modern violin art is relevant, since it allows discovering the foundations and results of transformations in the musical consciousness. The relevance of the study is determined by the decisive modifications that occur in the space of culture and affect the type of modern theatrical art. The purpose of this study is a comprehensive analysis of specific features of the violin art in the modern theatre. For this purpose, the following research methods were employed in this study: the method of analysis and th

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20

Visentin, Peter, Shiming Li, Guillaume Tardif, and Gongbing Shan. "Unraveling mysteries of personal performance style; biomechanics of left-hand position changes (shifting) in violin performance." PeerJ 3 (October 1, 2015): e1299. http://dx.doi.org/10.7717/peerj.1299.

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Instrumental music performance ranks among the most complex of learned human behaviors, requiring development of highly nuanced powers of sensory and neural discrimination, intricate motor skills, and adaptive abilities in a temporal activity. Teaching, learning and performing on the violin generally occur within musico-cultural parameters most often transmitted through aural traditions that include both verbal instruction and performance modeling. In most parts of the world, violin is taught in a manner virtually indistinguishable from that used 200 years ago. The current study uses methods f

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Henrique Fiaminghi, Luiz. "O violino violado." Per Musi, no. 20 (March 26, 2025): 16–21. https://doi.org/10.35699/2317-6377.2009.54507.

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The representation of the violin as a hegemonic musical instrument is an undisputed fact, regarding its presence within the widest scope of Western musical performance. The last decades have witnessed, however, the emergency of some dissonant voices: the Historically Informed Performance (HIP) practice has rediscovered the baroque violin and all its technical apparatus; the Brazilian fiddle rabeca claimed to be heard through its own voice, despite the neglectful approach from the mainstream scholars and musicians. Departing from the intersection between popular and erudite culture that charact

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22

Zhou, Jun Rong, Wen Zhang, and Ju Nan Hu. "The Measurement and Application on Point Impedance Characteristics of Violin Resonator." Applied Mechanics and Materials 235 (November 2012): 245–49. http://dx.doi.org/10.4028/www.scientific.net/amm.235.245.

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This paper will study the vibration performance of resonator by using the engineering measurement, and try to quantify the sound quality of violin body with point impedance parameters so to provide an effective instruction method for the traditional manual of slap-up violin making.

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23

PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)". Bulletin of the Lviv University. Series of Arts Studies 280, № 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.

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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed

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Kucherenko, Stanislav. "Violin Etudes of the 19th Century in the Aspect of the Evolution of Performing Mastery." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 267–77. http://dx.doi.org/10.24193/subbmusica.2023.2.19.

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"The article examines the role and significance of violin etudes of the 19th century in the evolution of European performing art. The contribution of the figure of N. Paganini and his creative work in the process of transition between the eras of classicism and romanticism has been determined. It has been noted that the artistic and aesthetic views of the Genoese virtuoso, which significantly exceeded the capabilities of his contemporaries, reoriented the didactic material. On the example of the etude collections of P. Rode and J. Dont – representatives of schools of various musical arts – it

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Shan, Gongbing, and Peter Visentin. "A Quantitative Three-dimensional Analysis of Arm Kinematics in Violin Performance." Medical Problems of Performing Artists 18, no. 1 (2003): 3–10. http://dx.doi.org/10.21091/mppa.2003.1002.

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Overuse syndrome (OS) resulting from repetitive motion affects a significant percentage of performing musicians. Particularly susceptible to OS, violinists use different kinds of muscle control patterns in the right and left limbs and must assume a complex asymmetrical posture to hold and play the instrument. There is a clear need for developing efficient and effective strategies to prevent OS in violinists, keeping biological loads under physiological limits and focusing on physical economy during training. The first step in developing such strategies requires quantitative kinematic descripti

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Puusaari, Maria. "'Leading' as a strategy in the performance-practice of contemporary solo violin music." Music Performance Research 11 (2024): 85–107. http://dx.doi.org/10.14439/mpr.11.4.

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The starting point for the present practice-based study was my observation of the diverse conditions regarding the focus-of-attention that occurs during chamber ensemble and solo performances of contemporary art music. As the violinist leader of a contemporary music ensemble, I focus my attention externally on multidirectional musical interactions with my fellow musicians and the audience. In contrast, when I am in a solo performance, I tend to focus more on my own internal, physical actions. More satisfactory musical results in leading interactive ensemble performances induced a hypothesis th

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Fiona, Fong Fong, and Tao Li. "A Brief Analysis of Mozart Violin Sonata No.17 K.329." Arts Studies and Criticism 5, no. 2 (2024): 49. http://dx.doi.org/10.32629/asc.v5i2.2197.

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Mozart and Beethoven have achieved an important milestone in the history of western music; the two masters' works by later generations are defined as the model of classical music period; most of their works are celebrated by future generations; Mozart's opera, symphony, piano, ensemble are a contemporary palace concert hits. Mozart's violin concerto is a series of works that must be mastered by today's violinists in the process of learning, and it is also a set of pieces that must be played in today's major international music competitions. As a professional violinist, it is very important to

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Weiss, Michael W., and Isabelle Peretz. "The Vocal Advantage in Memory for Melodies is Based on Contour." Music Perception: An Interdisciplinary Journal 41, no. 4 (2024): 275–87. http://dx.doi.org/10.1525/mp.2024.41.4.275.

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Recognition memory is better for vocal melodies than instrumental melodies. Here we examine whether this vocal advantage extends to recall. Thirty-one violinists learned four melodies (28 notes, 16 s), two produced by voice and two by violin. Their task was to listen to each melody and then immediately sing (for vocal stimuli) or play back on violin (for violin stimuli) the melody. Recall of the melody was tested in ten consecutive trials. After a brief delay (∼10 min), participants were asked to perform the four melodies from memory. Each performance was scored based on the accuracy of two me

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Rosianda, Farid Ragel, Yon Hendri, and Delfi Enida. "Penerapan Teknik Violin dalam Menginterpertasikan Repertoar Concerto In G minor Rv 315, Fatwa Pujangga dan Tinggikan pada Pertunjukan Solis Violin (Application of the Violin Technique in Interpreting the Repertoire of the Concerto In G minor Rv 315, Fatwa of Poets and Elevation in Violin Solis Performances)." Musica: Journal of Music 3, no. 1 (2023): 40. http://dx.doi.org/10.26887/musica.v3i1.3478.

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ABSTRAKKeberhasilan seorang solis biola dalam sebuah konser musik ditentukan oleh kemapuan dalam mempersipkan diri baik secara teknik maupun kemampuan ekspresi musikalnya. Untuk itu dalam hal ini dibutuhkan kematangan kemampuan dalam menginterpertasikan repertoar musik yang akan dimainkan. Teknik-teknik bermain biola yang bagaimana yang harus dipersiapkan, baik itu teknik gesekan (bowing) maupu teknik penjarian (finggering) dalam menginterertasikan tuntutan yang terdapat dalam repertoar musik serta bagaimana cara mengekspresikannya dalam bentuk pertunjukan/konser musik kepada penonton atau aui

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JINGU, Hideo. "The anticipatory behavior in violin performance." Japanese journal of ergonomics 22, no. 5 (1986): 247–52. http://dx.doi.org/10.5100/jje.22.247.

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MORISHIMA, Daichi, Natsumi HASEGAWA, and Koji SHIBUYA. "Expressive Performance by Violin-Playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2016 (2016): 1P1–14b4. http://dx.doi.org/10.1299/jsmermd.2016.1p1-14b4.

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Seidlitz, Kirsten. "Playing and Fighting as an Electric Violinist." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 9–18. http://dx.doi.org/10.30819/aemr.8-2.

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The violin is an instrument used in various musical genres. Besides preserving, elaborating, and valuating, the classical form of the instrument as well as the classical violin repertory, an electronic version of the instrument has entered the music business many decades ago. It allows the musician to produce sounds ranging from classical violin sounds to electric guitar or even electric bass sounds. Nora Kudrjawizki (‘Angelstrings’, “One Violin Orchestra”) is an electric violinist living in Berlin and using the instrument for as many different genres and occasions as possible: playing Nirvana

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Gol, Halina, and Jakub Szczechowicz. "Assessment of selected upper limb ranges of motion in violinists during instrument performance." Health Promotion & Physical Activity 29, no. 4 (2025): 8–17. https://doi.org/10.55225/hppa.620.

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Objective: Playing an instrument is a significant part of a violinist’s life. Daily, they are exposed to specific, forced positions of the upper limbs while playing. Any injuries or overloading of the musculoskeletal system can adversely affect their ability to perform their profession or pursue their passion for playing the violin. The aim of this study was to determine the ranges of motion of selected upper limb joints in violinists during violin playing. A deeper understanding of the biomechanics of playing the instrument can contribute to the development of increasingly effective rehabilit

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De Fretes, Daniel, and Fitriawati Fitriawati. "Acoustic dynamics in performance halls: Enhancing violin sound quality in the FPSD orchestra room." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (2024): 140–57. http://dx.doi.org/10.17509/interlude.v3i2.71954.

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With an emphasis on improving violin sound quality, this study explores the acoustic dynamics of the FPSD Orchestra Room at Universitas Pendidikan Indonesia. Direct and reflected sound are the two factors that impact the phenomena of interior sound. This research emphasizes the crucial balance between sound absorption and reflection to optimize the acoustic environment and ensure clarity and richness in violin performances. Improving acoustic conditions is vital to increase audience experience and performance quality. The study used a qualitative descriptive research style combining literature

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Liu, Xuan. "The Emotional Expression of the Violin Song "Zigeunerweisen Op.20"." International Journal of Education and Humanities 17, no. 2 (2024): 137–39. https://doi.org/10.54097/7xp14b33.

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As living conditions get better, so does the need for musical knowledge and skills. In the past, people's understanding of violin performance was limited to whether the piece was good or not, and whether the performance was good. People usually don't go to a deeper level to understand the emotional expression of music, let alone look at a performance from a philosophical point of view. In this paper, we will use key signatures, melody, and rhythm to conduct research, and analyze different players.This paper examines the emotion and expression of the violin piece of Song of the Wanderer, the em

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Queiroz de Andrade, Edson. "Entrevista com o Professor e Violinista Paulo Bosisio." Per Musi, no. 12 (July 1, 2005): 111–13. https://doi.org/10.35699/2317-6377.2005.55502.

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The professor and violinist from Rio de Janeiro, Paulo Bosisio, has been a national reference for Brazilian violinists for nearly three decades. After a long period in Germany in the 1970s, studying and performing in various countries in Europe, Bosisio returned to Brazil and has since dedicated himself to the challenging mission of training violinists and violin teachers in our country. With this aim, he regularly travels to Curitiba (PR), Tatuí (SP), and Volta Redonda (RJ), where he teaches a highly sought-after class of students. In Rio de Janeiro, he is a professor at UNI-Rio and also take

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Seprizal, Seprizal, Nora Anggaraini, and Murniati Murniati. "Interpretasi Penyaji Solis Violin pada Pertunjukan Concerto No 1 In A Minor, Liebesleid dan Batanghari." Musica: Journal of Music 1, no. 1 (2021): 65. http://dx.doi.org/10.26887/musica.v1i1.1721.

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This article is an article that describes how a violin soloist performs a musical performance and interprets the karaya that is played. The repertoire played in the show is Concerto No. 1 in A minor, Liebesleid, and Batanghari. The presenter dissects the interpretative aspects of playing the work so that a good musical performance is realized. This journal aims to provide an overview of the application of techniques and interpretations of violin solo play in the repertoire of Concerto No. 1 in A minor, Liebesleid, and Batanghari. The techniques used are; rubato, arpeggio, staccato, rhythm vari

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Atwood, Jody. "The Violin Octet." American String Teacher 36, no. 4 (1986): 39–43. http://dx.doi.org/10.1177/000313138603600423.

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Editor's Note: Upon learning about the New Family of Violins in 1984, I was intrigued enough to get on a plane one weekend and go to Boston to hear the octet in performance. Hearing the sound of these instruments, seeing the zeal of those who champion them, and feeling a sense of musical history at seeing these beautiful instruments was sufficient reward for making the trip.

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Geringer, John M., Rebecca B. MacLeod, and Michael L. Allen. "Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors." Journal of Research in Music Education 57, no. 4 (2009): 351–63. http://dx.doi.org/10.1177/0022429409350510.

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The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean fr

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Мартынова, Анастасия, та Виталий Шапилов. "Развитие скрипичного искусства Казахстана: национальное исполнительство в аспекте функций интерпретации". Saryn 13, № 2 (2025): 57–80. https://doi.org/10.59850/saryn.2.13.2025.272.

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This article examines the violin performance history in Kazakhstan, which continues to develop intensively within the country’s contemporary musical culture. For the first time, the analysis of national violin art is undertaken into the manifestation of the artistic functions of interpretation. The functional method is one of the common approaches in musicology, that allows a more structured and detailed exploration of individual phenomena within a more complex whole. The periodization proposed in the works of Dana Zhumabekova is used as the main reference point for the chronology of Kazakhsta

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Коденко, И. И. "КООРДИНАТЫ ДРАМАТУРГИЧЕСКОЙ ЦЕЛОСТНОСТИ В АУТЕНТИЧНОМ ИСПОЛНИТЕЛЬСТВЕ (НА ПРИМЕРЕ РОМАНТИЧЕСКОЙ И БАРОЧНОЙ ИНТЕРПРЕТАЦИЙ КОНЦЕРТА ДЛЯ СКРИПКИ, СТРУННЫХ И BASSO CONTINUO A-MOLL И. С. БАХА)". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 116–23. https://doi.org/10.5281/zenodo.1805844.

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The article is devoted to one of the key issues of modern musical performance – the performance reproduction of the features of the musical stylistics specific to the era or historical period when this or that composition was created and performed. The issue of preserving the dramatic integrity with performers’ different approaches to the composition-object being interpreted has been chosen as the central aspect of the problem under study. It is noted that within the authentic performance (in the foreign musicology, the HIPP system – Historically Informed Performance Practice

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Kawabata, Maiko. "Virtuoso Codes of Violin Performance: Power, Military Heroism, and Gender (1789-1830)." 19th-Century Music 28, no. 2 (2004): 089–107. http://dx.doi.org/10.1525/ncm.2004.28.2.089.

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Beyond its glossy surface of virtuosity and lyricism, a violin concerto is replete with a vocabulary of hidden and (on second glance) not so hidden gestures. From Beethoven's timpani strokes to Paganini's marches and fanfares, the genre employs a host of "heroic" elements and gestures borrowed from military band music. In the period 1789-1830 these borrowings were hardly restricted to a purely musical level. Rather, I argue, military themes and ideas permeated virtually every aspect of a violin concerto's composition, performance, and reception. In the famous concertos as with countless now-fo

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Sun, Shih-Wei, Bao-Yun Liu, and Pao-Chi Chang. "Deep Learning-Based Violin Bowing Action Recognition." Sensors 20, no. 20 (2020): 5732. http://dx.doi.org/10.3390/s20205732.

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We propose a violin bowing action recognition system that can accurately recognize distinct bowing actions in classical violin performance. This system can recognize bowing actions by analyzing signals from a depth camera and from inertial sensors that are worn by a violinist. The contribution of this study is threefold: (1) a dataset comprising violin bowing actions was constructed from data captured by a depth camera and multiple inertial sensors; (2) data augmentation was achieved for depth-frame data through rotation in three-dimensional world coordinates and for inertial sensing data thro

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Brown, Clive. "Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing." Journal of the Royal Musical Association 113, no. 1 (1988): 97–128. http://dx.doi.org/10.1093/jrma/113.1.97.

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There are many aspects of nineteenth-century violin playing that have received little attention from scholars. The subject is a vast and complicated one, far beyond the scope of a short article to treat adequately, but there are a number of important areas in which problems have not even been recognized, let alone investigated. For instance, the most substantial recent work on this subject, Robin Stowell's Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (Cambridge, 1985), provides a useful digest of what the major violin methods of the period say

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Steinberg, Michael. "The Contemporary Violin: Extended Performance Techniques (review)." Notes 59, no. 2 (2002): 352–54. http://dx.doi.org/10.1353/not.2002.0194.

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Demoucron, Matthias, Anders Askenfelt, and René E. Causse. "Observations on bow changes in violin performance." Journal of the Acoustical Society of America 123, no. 5 (2008): 3123. http://dx.doi.org/10.1121/1.2933046.

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Hardy, Jean‐François, and Jean‐Gabriel Migneron. "Directivity measurements of the violin during performance." Journal of the Acoustical Society of America 117, no. 4 (2005): 2476–77. http://dx.doi.org/10.1121/1.4787595.

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Négyesy, János, and Lee Ray. "Performance of music with an electronic violin." Journal of the Acoustical Society of America 88, S1 (1990): S70—S71. http://dx.doi.org/10.1121/1.2029125.

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Barinque, John Kenneth J., Alshaheen T. Borja, Jeferson C. Cubangbang, et al. "Development of an Ergonomically – Designed Violin Chinrest Using Additive Manufacturing." Advance Sustainable Science Engineering and Technology 4, no. 2 (2022): 0220211. http://dx.doi.org/10.26877/asset.v4i2.13011.

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A violin chinrest is used to ease the pain and prevent injuries of violinists. However, some of them experienced discomfort using normal chinrest. It causes injuries, irritations, and pains that affect the performance of violinists. In that problem, the researcher works toward a goal of not curing the problem but instead avoiding pain, injuries, and discomfort when playing it. A convenience sampling method was used in gathering anthropometric data. The study is limited to the ergonomically designed chin rest itself, which will only be installed at the standard violin size with a length of 60 c

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Glowacka-Pitet, Danuta. "Music and its performance like a vehicle of expression and communication." Comunicar 12, no. 23 (2004): 57–60. http://dx.doi.org/10.3916/c23-2004-10.

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Through the practice experience as violin´s performer, in this paper the author shows the communicative intention of music and emphasizes the expressive and emotional feelings that musicians feel and perceive through the music they perform, transmitting their sensations to the audience. With a very personal vision, she shows how the communicative function of performers has always existed along the history of music, and she remembers the most representative figures of all times, as performers and as expressive creators. A través de la experiencia práctica como intérprete del violín, la autora p

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