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Articoli di riviste sul tema "Violin"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und K

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2

Fu, Lei, Gary Scavone, and Claudia Fritz. "Influences of different string types on the perception of violin qualities." Journal of the Acoustical Society of America 157, no. 6 (2025): 4604–12. https://doi.org/10.1121/10.0036894.

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The brand and model of strings used on violins are considered to play an important role in their playability and sound quality. An experiment was designed to test whether and how violin players perceive changes in violin qualities when strung with different strings. Three models of strings were chosen for this study: Dominant, Kaplan, and Pro-Arté strings. Two violins with similar sound and playing qualities were selected and professional and advanced student violinists were invited to play and compare the violins in two locations: Oberlin, Ohio and Montreal, Canada. Both violins were initiall

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3

Perea, Manuel, and Victoria Panadero. "Does Viotin Activate Violin More Than Viocin?" Experimental Psychology 61, no. 1 (2014): 23–29. http://dx.doi.org/10.1027/1618-3169/a000223.

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The vast majority of neural and computational models of visual-word recognition assume that lexical access is achieved via the activation of abstract letter identities. Thus, a word’s overall shape should play no role in this process. In the present lexical decision experiment, we compared word-like pseudowords like viotín (same shape as its base word: violín) vs. viocín (different shape) in mature (college-aged skilled readers), immature (normally reading children), and immature/impaired (young readers with developmental dyslexia) word-recognition systems. Results revealed similar response ti

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4

Mihălcică, Mircea, Mariana Domnica Stanciu, Silviu Marian Nastac, et al. "Signature Modes of Old and New Violins with Symmetric Anatomical Wood Structure." Applied Sciences 11, no. 23 (2021): 11297. http://dx.doi.org/10.3390/app112311297.

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The paper aims to investigate old and new violins from the perspective of the correlation between the anatomical structure of spruce and maple wood, and the dynamic response of violins. Thus, in the first stage, for each violin, the characteristics of the annual rings were measured on the entire width of the top plate, determining the degree of symmetry of the face with respect to the longitudinal axis of the violin body. Then, each violin was dynamically tested with the impact hammer, determining its own frequency spectrum, mainly the so-called “signature” mode and quality factors. The most i

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5

Caselli, Gabriele, Giovanni Cecchi, and Giulio Masetti. "Characteristics, mechanisms, and perceivability of combination tones in violins." Journal of the Acoustical Society of America 152, no. 5 (2022): 2513–23. http://dx.doi.org/10.1121/10.0014600.

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Combination tones (CTs) generated by the inner ear have been widely investigated in the past, starting from the famous Tartini's “third tone.” Instead, much less attention has been dedicated to the CTs generated by musical instruments. In this paper, the CTs generated by a set of violins of different quality and age have been investigated when playing a selected set of dyads. CTs were found in all of the violins, and the strongest of them occurred at a frequency below the lower note of the dyad. Its amplitude was strongly dependent on violin and dyad played and was greatest in two old Italian

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6

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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7

Stanciu, Mariana Domnica, Mircea Mihălcică, Florin Dinulică, et al. "X-ray Imaging and Computed Tomography for the Identification of Geometry and Construction Elements in the Structure of Old Violins." Materials 14, no. 20 (2021): 5926. http://dx.doi.org/10.3390/ma14205926.

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Numerous studies on heritage violins have shown that there are a number of factors that contribute to the acoustic quality of old violins. Among them are the geometric shape of the violin, the thickness of the tiles, the arching of the tiles, the dimensions and position of the bass bar, the size and position of the acoustic holes. Thus, the paper aims to compare the structural and constructive elements of old violins made in various famous violin workshops (Stainer, Klotz, Leeb, Babos Bela), using nondestructive and noncontact techniques based on image analysis. The violins that were studied d

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8

Mahmudin, Mohammad. "ANALISIS TEKNIK PERMAINAN VIOLIN II PADA LAGU CONCERTO FOR TWO VIOLINS, 1st MOVEMENT KARYA J.S. BACH." Repertoar Journal 2, no. 2 (2022): 295–311. http://dx.doi.org/10.26740/rj.v2n2.p295-311.

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Abstrak: Penelitian ini membahas tentang teknik permainan violin yaitu teknik bowing dan teknik fingering lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Penelitian ini bertujuan untuk mendeskripsikan teknik permainan violin II pada Lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Metode yang digunakan pada penelitian ini adalah metode penelitian kualitatif deskriptif. Data yang diperoleh dalam penelitian ini melalui observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan adalah reduksi data, penyajian data, dan kesimpulan data. Sementara itu, terdap

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9

Widyaswara, Silvana Nada, and Slamet Haryono. "Bamboo Violin Innovation in Japan Village Kudus Regency." Jurnal Seni Musik 12, no. 1 (2023): 60–70. http://dx.doi.org/10.15294/jsm.v12i1.68111.

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The violin is a common musical instrument constructed of wood, specifically a variety of maple wood. A bamboo violin musical instrument has been created by a woodworker from Kudus Regency's Japan Village. The aim of this study was to discover and describe the innovations used by woodworkers in the production of violins in Japan Village, Kudus Regency, as well as the discovery and description of the production method for bamboo-based violins in Japan Village, Kudus Regency. The research was conducted using a case study research design and a qualitative research methodology. Following are the st

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10

Dondi, Piercarlo, Luca Lombardi, Marco Malagodi, and Maurizio Licchelli. "3D modelling and measurements of historical violins." ACTA IMEKO 6, no. 3 (2017): 29. http://dx.doi.org/10.21014/acta_imeko.v6i3.455.

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Measuring historical violins provides crucial information about the morphology of the instruments, useful both for researchers and violin makers. Generally, these measures are taken manually using a calliper, but they can be repeated only occasionally due to both the restricted access to these precious instruments and the need of avoiding accidental damages to the wood or to the varnishes. In this work, we describe and assess the accuracy of a protocol for the acquisition and creation of high quality 3D models of violins, suitable for taking accurate measurements. Six historical violins of 17t

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11

Sandu, Ion, Petru Ovidiu Tanasa, Irina Crina Anca Sandu, Ioan Cristinel Negru, Andrei Victor Sandu, and Viorica Vasilache. "Authentication of an Old Violin by Multianalytical Methods." Applied Sciences 10, no. 1 (2019): 306. http://dx.doi.org/10.3390/app10010306.

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The paper presents the authentication of a Stradivari 1737 type violin, which belonged to the Romanian scientist Ştefan Odobleja. The analytical methods used in the study for assessing archaeometric characteristics of some component materials, along with the white degree and glycolysis rate measurements of the label that allowed an extensive evaluation of the violin, were OM, SEM–EDX, and micro-FTIR. The preparation binder (egg white from thin gypsum layers) and the varnish (identification of linseed oil and colophony components, alongside contamination impurities) were assessed in order to ev

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12

Tai, Hwan-Ching, Yen-Ping Shen, Jer-Horng Lin, and Dai-Ting Chung. "Acoustic evolution of old Italian violins from Amati to Stradivari." Proceedings of the National Academy of Sciences 115, no. 23 (2018): 5926–31. http://dx.doi.org/10.1073/pnas.1800666115.

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The shape and design of the modern violin are largely influenced by two makers from Cremona, Italy: The instrument was invented by Andrea Amati and then improved by Antonio Stradivari. Although the construction methods of Amati and Stradivari have been carefully examined, the underlying acoustic qualities which contribute to their popularity are little understood. According to Geminiani, a Baroque violinist, the ideal violin tone should “rival the most perfect human voice.” To investigate whether Amati and Stradivari violins produce voice-like features, we recorded the scales of 15 antique Ita

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13

Yokoyama, Masao, Amane Takei, Ryuji Shioya, and Genki Yagawa. "Coupled simulation of vibration and sound field of Stradivari violin." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A197. http://dx.doi.org/10.1121/10.0018643.

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The aim of this study is to clarify the relationship between the vibration of violins made by Antonio Stradivari and the acoustic radiation around it. The highly precise geometry of the violin was determined with a micro-computed tomography scanner, and the material properties of the violin body (spruce and maple) were set as the orthotropic properties in the numerical simulation. Then, the numerical simulations coupling the vibrations by a forced oscillation on a bridge with the acoustic field pressure around the violin were performed. Furthermore, the sound pressure emanating in a huge recta

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14

AYDIN, Birol. "STARTING THE VIOLIN TRAINING." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (2022): 87–99. http://dx.doi.org/10.31567/ssd.772.

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The purpose of this study is to make a training guide book by emphasizing the importance of the basic technical hardware of the violin and the importance of the start-up phase. The reason why the focus is especially on the start-up phase is that certain obstacles and mistakes occurring in the advanced stages are the ones which have been ignored, learned and/or taught during this phase. In this study, playing techniques in parallel with the physical changes of the violin from the past to today are mentioned and the study has been corroborated with the images in order to be comprehensive about t

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15

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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16

Sandu, Ion, Petru Ovidiu Tănasă, Florin Brînză, Viorica Vasilache, Ana Drob, and Vasile Drobotă. "Authentication of a Stradivarius “Petite Violin” Type from 1723." Applied Sciences 13, no. 2 (2023): 1048. http://dx.doi.org/10.3390/app13021048.

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By correlating the structural–functional dimensional data with a series of archaeometric and chemometric characteristics determined by dendrochronological analysis and by three instrumental techniques (Scanning Electronic Microscopy, coupled with Energy Dispersive X-ray, µ-FTIR Spectroscopy and Thermal Analysis in Dynamic Mode), a Stradivarius violin was authenticated as having been made by one of the two Stradivari sons (Francesco or Omobono) in 1723. It should be noted that the “petite” type violin, which comes from a private collection and was recently purchased on the open market, has the

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17

Pezzoli, Mirco, Antonio Canclini, Fabio Antonacci, and Augusto Sarti. "A comparative analysis of the directional sound radiation of historical violins." Journal of the Acoustical Society of America 152, no. 1 (2022): 354–67. http://dx.doi.org/10.1121/10.0012577.

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The directivity pattern of a musical instrument describes the sound energy radiation as a function of frequency and direction of emission. Violins exhibit a rather complex directivity pattern, which is known to show rapid variations across frequencies, and whose behavior cannot be easily predicted except in the lowest frequency range. The acoustic behavior of the violin is a fascinating research topic that has prompted numerous published works, but a thorough, comprehensive, and comparative analysis of violin directivity patterns is long overdue. In this article, we propose a set of metrics fo

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18

Whitmore, Philip. "Towards an Understanding of the Capriccio." Journal of the Royal Musical Association 113, no. 1 (1988): 47–56. http://dx.doi.org/10.1093/jrma/113.1.47.

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An extended, unaccompanied violin passage labelled ‘Capriccio’ occurs towards the end of the first and last movements of each of the 12 solo violin concertos, op. 3, by Pietro Antonio Locatelli (1695–1764). These concertos, all of which observe the three-movement fast-slow-fast layout, were published in 1733 by Le Cène in Amsterdam under the title L'arte del violino, but were probably written in the late 1720s. The capriccios may last up to a few pages, and some are longer than the whole of the rest of the movement to which they belong.

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19

Casazza, Marco, Fabrizio Barone, Elvio Bonisoli, et al. "A procedure for the characterization of a music instrument vibro-acoustic fingerprint: the case of a contemporary violin." Acta IMEKO 12, no. 3 (2023): 1–6. http://dx.doi.org/10.21014/actaimeko.v12i3.1445.

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Violins are wooden musical instruments, whose quality is mainly evaluated on the basis of their aesthetics, as well as depending on the historical relevance of their makers. However, their acoustic quality remains a key evaluation parameter for performers and listeners. The instrument perceived quality, in turn, depends on one side, on the player, the environmental conditions and on the listeners’ psychoacoustic factors. On the other side, the quality of a violin depends on its materials, constructive and set-up parameters, that impact on the vibro-acoustical characteristics of the instrument.

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20

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolko

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21

Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.

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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violin

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22

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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23

Suchowiejko, Renata. "Orator or Poet? Some Thoughts About the Translation of Feelings in the Art of Violin Playing in the Nineteenth Century." Roczniki Humanistyczne 72, no. 12 (2024): 163–75. https://doi.org/10.18290/rh247212.10.

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The image of the virtuoso violinist as an “orator” was firmly established in the 19th-century musical culture. He possessed all the qualities of a good speaker: he mastered his instrument, could speak in public, and was eloquent and convincing. However, brilliance and eloquence were not everything. The violinist also had to move the audience. This task was facilitated by the instrument itself, which had enormous expressive possibilities. This article reflects on “translating feelings,” as explained by 19th-century French masters in violin method books, particularly Pierre Baillot (L’Art du vio

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24

Lowery, Seth, and Andrew A. Piacsek. "A quantitative assessment of uncertainty in the measurement of violin impact response." Journal of the Acoustical Society of America 151, no. 4 (2022): A158. http://dx.doi.org/10.1121/10.0010963.

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It is a commonly stated belief among violin players and luthiers that new violins require a period of “playing in” for the tone to develop. Several studies have worked towards an answer to this question, such as measuring the change in tone according to the human ear or the vibrational response of stimulated wood. As the effects of sustained excitation on the mechanical response of violins will likely be subtle, it is necessary to create a consistent method of measurement and to quantify the expected range of deviation among repeated measurements. We measure admittance (velocity/force) by tapp

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25

Flašar, Martin. "MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači." Musicologica Brunensia, no. 2 (2022): 177–86. http://dx.doi.org/10.5817/mb2022-2-9.

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The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.

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Tang, Y. "A SCANNER-BASED 3D MODELING METHOD OF IMPROVING THE TIMBRE OF CHINESE GUQIN BY TRANSPLANTING THE BASS BAR OF THE VIOLIN." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 263–68. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-263-2023.

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Abstract. Guqin is the Chinese oldest musical instrument and intangible cultural heritage. The Tang Dynasty was the most prosperous in Chinese history, with a flourishing culture. One of the Guqin manufactured by Master Lei Wei, a notable Guqin maker in the Tang Dynasty, was recognized as a reference standard instrument and is kept in the Palace Museum in Beijing. Stradivari, a well-known Italian violin maker, has created and improved violins that no one else can surpass. Triangulation laser and CT/CBCT Scanner-Based 3D modelling data-driven analysis of the ancient musical instrument Guqin fro

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Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.

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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. The

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Piacsek, Andrew A., and Seth Lowery. "An experiment to measure changes in violin frequency response due to playing-in." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A287. http://dx.doi.org/10.1121/10.0023547.

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There is a widespread (but not universal) conviction among luthiers and performers of stringed instruments that a new instrument will sound “better” after it has been played for a certain amount of time. It is not uncommon for instruments to be mechanically stimulated to accelerate the process. The goal of the present experiment is to determine whether sustained mechanical stimulation of previously unplayed violins produces measurable changes in bridge admittance or radiativity. Our test instruments comprised three sibling violins (Andre Tellis, model 200), two of which were excited continuous

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Fu'adi, Fu'adi, Birul Walidaini, Agustianto Agustianto, and Sritanto Sritanto. "Eklektik filosofis, teknis, dan psikologis bermain biola dalam pengembangan pembelajaran musik di Indonesia." Imaji 21, no. 1 (2023): 64–73. http://dx.doi.org/10.21831/imaji.v21i1.58360.

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In learning the violin, there are various kinds of challenges and obstacles, both technical and non-technical. Strong motivation is needed, supported by appropriate learning methods so that students can develop into capable violinists. This article outlines the philosophical, technical, and psychological aspects of violin learning by world-class violin pedagogues, which are then analyzed in an eclectic manner in order to obtain new approaches that can be applied to develop violin learning in Indonesia. The literature review method is used to select important aspects used in violin learning. Th

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Zhang, Cheng Zhong, Bang Yan Ye, Xi Zhi Hu, Xue Zhi Zhao, and Yun Feng Cao. "Finite Element Simulation Application for Vibration Characteristic of Violin." Key Engineering Materials 620 (August 2014): 662–67. http://dx.doi.org/10.4028/www.scientific.net/kem.620.662.

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In this paper, Finite Element Technology is applied to study the vibration state of violin sounding box using numerical simulation. By means of geometric modeling for the complicated shape of violin sounding box and Finite Element Analysis, the structural parameters of violin box, including thickness of violin plate, height and distribution and change of the shape of arch in front plate geometry, status of bass bar and sound-post etc, are investigated for their influence on vibration patterns and frequency response of violin box. Experiment is carried out for measuring the frequencies response

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Yu Han. "Fuzzy Cluster Pitch Synthesis System for the Violin Sound with Machine Learning." International Journal of Maritime Engineering 1, no. 1 (2024): 689–700. http://dx.doi.org/10.5750/ijme.v1i1.1396.

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Pitch synthesis with violin sound involves the generation of musical pitches using technology to mimic the distinctive tonal characteristics of a violin. This process typically employs digital signal processing techniques to recreate the timbre, articulation, and nuances of a real violin. Advanced algorithms analyze and model the acoustic properties of a violin sound, allowing for the synthesis of realistic pitch variations and expressive qualities. Whether utilized in electronic music production, virtual instruments, or sound design, pitch synthesis with violin sound aims to emulate the rich

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32

Butler, Gregory. "Venetian Three-Voice Ripieno String Scoring in J. S. Bach’s Early Concerted Works." BACH: Journal of the Riemenschneider Bach Institute 56, no. 1 (2025): 74–93. https://doi.org/10.1353/bach.2025.a957055.

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Abstract: In this study, I argue that when Johann Sebastian Bach traveled to Dresden in the fall of 1717 to take part in a keyboard contest with the French claveciniste Louis Marchand, he encountered Venetian composers at the electoral court whose music had a powerful impact on the compositional style of the concerted instrumental and vocal music he composed while in the Saxon capital and soon after. This Venetian influence manifested itself above all in a specific instrumentation—three-voice ripieno string scoring. This scoring differs from the more normal four-voice ripieno string scoring fo

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Tai, Hwan-Ching, Guo-Chian Li, Shing-Jong Huang, et al. "Chemical distinctions between Stradivari’s maple and modern tonewood." Proceedings of the National Academy of Sciences 114, no. 1 (2016): 27–32. http://dx.doi.org/10.1073/pnas.1611253114.

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Violins made by Antonio Stradivari are renowned for having been the preferred instruments of many leading violinists for over two centuries. There have been long-standing questions about whether wood used by Stradivari possessed unique properties compared with modern tonewood for violin making. Analyses of maple samples removed from four Stradivari and a Guarneri instrument revealed highly distinct organic and inorganic compositions compared with modern maples. By solid-state13C NMR spectroscopy, we observed that about one-third of hemicellulose had decomposed after three centuries, accompanie

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Surma, Joanna. "Nomenclature of the traditional violin repertoire based on the instrumental prac- tice of selected violinists from Central Poland." Ethnomusic 18, no. 1 (2022): 83–99. http://dx.doi.org/10.33398/2523-4846-2022-18-1-83-99.

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Nomenclature of the traditional violin repertoire based on the instrumental prac- tice of selected violinists from Central Poland Mazurkas and oberekas were the main musical genres performed in Central Po- land until World War I by traditional musical groups consisted initially of a violi- nist and a drummer. Depending on the sub-region, these two terms were used inter- changeably, sometimes they were considered as two different genres, and sometimes confused – for example, in Powiśle, instrumental mazurkas were called “wędrowce” (sing. “wędrowiec”), “podróżniaki” (sing. “podróżniak) or “świat

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Banks, Margaret Downie. "The violin piccolo and other small violins." Early Music XVIII, no. 4 (1990): 588–98. http://dx.doi.org/10.1093/earlyj/xviii.4.588.

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Sakti, Alqtuiss Patri. "PERTUNJUKAN MUSIK SOLO VIOLIN DENGAN REPERTOAR CHACONNE IN G MINOR, SPIRITED AWAY, DAN WE WIIL ROCK YOU." Laga-Laga : Jurnal Seni Pertunjukan 8, no. 1 (2022): 1. http://dx.doi.org/10.26887/lg.v8i1.2002.

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Chaconne In G Minor adalah pertunjukan solo violin pertama yang merupakan komposisi solo violin gubahan T.A. Vitali(1663), yakni seorang pemain violin ternama pada zaman barok. Komposisi musik tersebut dikenal dengan istilah chaconne yang berhubungan pada era barok (klasik). Ide dan strukturnya hampir serupa dengan bentuk passacaglia dari bentuk (form) yang sama. Spirit away adalah pertunjukan solo violin kedua, yakni merupakan komposisi solo violin karya Iskandar Widjaja seorang violinist yang lahir pada tahun 1986 asal Jerman berdarah Indonesia. We Will Rock You adalah pertunjukan solo violi

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Fauzi, Ade, and Uyuni Widiastuti. "INOVASI INSTRUMEN BIOLA BERFRET DI MTS NURHASANAH KABUPATEN BATUBARA." Grenek Music Journal 9, no. 1 (2021): 1. http://dx.doi.org/10.24114/grenek.v9i1.23292.

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The purpose of this study 1) To determine the learning process of the violin using the innovation of the fret violin instrument at MTs Nurhasanah Batubara Regency, 2) To determine the process of making the violin instrument innovation. The theories used are innovation theory, learning theory, violin theory, and fret (tone barrier). Data collection techniques through observation, interviews, and documentation. The results of this study indicate 1) The learning process of the violin includes an explanation of the parts of the violin and their functions followed by reading music notation with tab

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Nastac, Silviu Marian, Vasile Ghiorghe Gliga, Mircea Mihalcica, Alina Maria Nauncef, Florin Dinulica, and Mihaela Campean. "Correlation between Acoustic Analysis and Psycho-Acoustic Evaluation of Violins." Applied Sciences 12, no. 17 (2022): 8620. http://dx.doi.org/10.3390/app12178620.

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This paper presents the results of an experimental study performed on seven violins obtained from a top plate made of resonance spruce and a back plate made of curly maple. Each pair of plates had a different modification to its thickness profile. Some were thickened and others were thinned compared to the classical thickness profile. Then, a soloist played a musical sequence on each violin and the acoustic signals were recorded. The sound quality of the signals was evaluated with a psycho-acoustic evaluation based on a blind questionnaire completed by listeners. It turned out that: (1) respon

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Inglese, Francesca. "“An Unlikely Pairing”?" Journal of Popular Music Studies 36, no. 4 (2024): 70–91. http://dx.doi.org/10.1525/jpms.2024.36.4.70.

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Despite the long history of the violin in Black American music and the many Black American violinists who shaped the instrument, the violin has overwhelmingly been constructed as an instrument associated with Whiteness. Enter Black Violin, a classical/hip hop duo comprising two classically trained musicians, violinist Kevin Sylvester (Kev Marcus) and viola player Wilner Baptiste (Wil B.), who self-describe as “two Black dudes playing violin.” In this article, I draw on television, radio, and social media commentary, interviews with Black Violin members, music videos and recordings of live perf

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Morrison, Andrew C. "Revisiting a classic experiment in violin acoustics as a classroom demonstration or laboratory activity." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A146. http://dx.doi.org/10.1121/10.0027109.

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In 1982, Carleen Hutchins built a violin to conduct experiments largely to learn about the role of air cavity resonances on the overall sound produced by the violin. This violin was of a standard design except for 65 holes 5 mm in diameter drilled into the ribs. The holes could be selectively plugged with corks for experimentation. Carleen Hutchins was a skilled luthier, and this violin, playfully called “Le Gruyère,” was a finely crafted musical instrument. For an introductory acoustics general education laboratory course, a version of Hutchins' Swiss cheese violin was created by drilling hol

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Onishchenko, Aleksandra. "Violin and non-violin in the performing activity (the Concert for violin with orchestra D-dur, op. 35 is consideredby P. I. Tchaikovsky)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (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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Nishimura, Yuya, Rin Ema Minami, and Sohei Nishimura. "Study on the Spatial Radiation Characteristic by Adjusting the Violin Sound Post." European Journal of Engineering Research and Science 5, no. 3 (2020): 314–19. http://dx.doi.org/10.24018/ejers.2020.5.3.1821.

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Abstract (sommario):

Violins were invented in the 16th century in Italy, many methods of manufacturing and adjusting have been developed. Certain violins are highly valued from a cultural perspective as well as for their high sound quality. However, Violin repairers have carried on techniques that have largely been transmitted verbally from generation to generation, so there is a little detailed documentation. Much research has been done to elucidate manufacturing technology and materials used for these valuable violins. This study aims to support the passing down of certain techniques from an acoustic engineering

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Nishimura, Yuya, Rin Ema Minami, and Sohei Nishimura. "Study on the Spatial Radiation Characteristic by Adjusting the Violin Sound Post." European Journal of Engineering and Technology Research 5, no. 3 (2020): 314–19. http://dx.doi.org/10.24018/ejeng.2020.5.3.1821.

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Abstract (sommario):

Violins were invented in the 16th century in Italy, many methods of manufacturing and adjusting have been developed. Certain violins are highly valued from a cultural perspective as well as for their high sound quality. However, Violin repairers have carried on techniques that have largely been transmitted verbally from generation to generation, so there is a little detailed documentation. Much research has been done to elucidate manufacturing technology and materials used for these valuable violins. This study aims to support the passing down of certain techniques from an acoustic engineering

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Sarjoko, Moh. "Subject of Main Instruments (Violin) Madya Level Course In Music Study Program, Faculty of Languages and Arts, Universitas Negeri Surabaya." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 6, no. 1 (2023): 44–56. http://dx.doi.org/10.26740/vt.v6n1.p44-56.

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Abstract (sommario):

Soprano violin is part of a stringed instrument. Today, the violin is one of the most popular musical instruments in the community. Many people learn this violin instrument in studios, music courses, schools and other educational institutions. Therefore, the need for the availability of this violin instrument is quite a lot. This also has an impact on the needs of teachers/tutors, the need for books/tools to support the ability to play the violin, and so on. Music Study Program, Faculty of Languages and Arts, Universitas Negeri Surabaya is one of the educational institutions where many stude

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Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.

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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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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.

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Abstract (sommario):

AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper ex

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Ridhwan, Urfan Saniylabdhawega, Rita Milyartini, and Diah Latifah. "Study of The Violin Book for The Development of Beginner Level Violin Teaching Materials Based on National Song." Gondang: Jurnal Seni dan Budaya 7, no. 1 (2023): 104. http://dx.doi.org/10.24114/gondang.v7i1.45978.

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The violin is proven to be able to build the positive character of a nation. Venezuela's experience with its program, El Sistema, where the violin instrument is learned by the wider community, has had a positive impact in terms of social and economic aspects, including a sense of empathy, cooperation, self-confidence and can help increase awareness of national identity. In Indonesia, the violin is known as a western classical musical instrument. This assumption is supported by the rise of violin course institutions that use eurocentric teaching materials. Learning from Venezuela's experience,

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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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Abstract (sommario):

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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Ramadhani, Rahma, and Irdhan Epria Darma Putra. "PENERAPAN METODE SUZUKI DALAM PEMBELAJARAN BIOLA DI GILANG RAMADHAN STUDIO BAND PADANG." Jurnal Sendratasik 10, no. 1 (2020): 195. http://dx.doi.org/10.24036/jsu.v9i2.110528.

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This study aims to determine how the application of Suzuki method is in violin learning at Gilang Ramadhan Studio Band Padang. This research belongs to a descriptive research which produces qualitative data. The data were obtained during the learning process through interviews conducted to violin instructors at Gilang Ramadhan Studio Band (GRSB) Padang, as well as documentation containing photos during the violin learning process at Gilang Ramadhan Studio Band (GRSB) Padang. Based on the results, the use of Suzuki method in the violin learning process at Gilang Ramadhan Studio Band has not bee

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