Auswahl der wissenschaftlichen Literatur zum Thema „Music – Instruments – Violin“
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Zeitschriftenartikel zum Thema "Music – Instruments – Violin"
MacLeod, Rebecca B. „A Comparison of Aural and Visual Instrument Preferences of Third and Fifth-Grade Students“. Bulletin of the Council for Research in Music Education, Nr. 179 (01.01.2009): 33–43. http://dx.doi.org/10.2307/40319328.
Der volle Inhalt der QuelleSarjoko, 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, Nr. 1 (30.06.2023): 44–56. http://dx.doi.org/10.26740/vt.v6n1.p44-56.
Der volle Inhalt der QuelleCasazza, Marco, Fabrizio Barone, Elvio Bonisoli, Luca Dimauro, Simone Venturini, Marco Carlo Masoero und Louena Shtrepi. „A procedure for the characterization of a music instrument vibro-acoustic fingerprint: the case of a contemporary violin“. Acta IMEKO 12, Nr. 3 (04.09.2023): 1–6. http://dx.doi.org/10.21014/actaimeko.v12i3.1445.
Der volle Inhalt der QuelleRaymaekers, Wim. „Bridge shapes of the violin and other bowed instruments, 1400–1900: the origin and evolution of their design“. Early Music 48, Nr. 2 (Mai 2020): 225–50. http://dx.doi.org/10.1093/em/caaa027.
Der volle Inhalt der QuelleDe Fretes, Daniel, Roy Martin Simamora, Bona Rajabasa und Refa Nada Violina. „Menelaah Pola Detache dalam Violin Sonata No 3 in F Major“. PROMUSIKA 10, Nr. 2 (03.12.2022): 87–96. http://dx.doi.org/10.24821/promusika.v10i2.7906.
Der volle Inhalt der QuelleKajino, Ena. „A Lost Opportunity for Tradition: The Violin in Early Twentieth-Century Japanese Traditional Music“. Nineteenth-Century Music Review 10, Nr. 2 (Dezember 2013): 293–321. http://dx.doi.org/10.1017/s147940981300027x.
Der volle Inhalt der QuelleSchubert, Emery. „Which Nonvocal Musical Instrument Sounds Like the Human Voice? An Empirical Investigation“. Empirical Studies of the Arts 37, Nr. 1 (28.03.2018): 92–103. http://dx.doi.org/10.1177/0276237418763657.
Der volle Inhalt der QuelleYang, Qi. „The Emergence and Application of Violin Virtuosity During the Romantic Period“. Communications in Humanities Research 14, Nr. 1 (20.11.2023): 70–79. http://dx.doi.org/10.54254/2753-7064/14/20230409.
Der volle Inhalt der QuelleAsaulyuk, I. „Formation of professionally significant qualities of future specialists of music specialties“. Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), Nr. 9(140) (30.09.2021): 13–17. http://dx.doi.org/10.31392/npu-nc.series15.2021.9(140).03.
Der volle Inhalt der QuelleUrniežius, Rytis. „Grieg and Violins“. Musicological Annual 57, Nr. 2 (28.12.2021): 83–103. http://dx.doi.org/10.4312/mz.57.2.83-103.
Der volle Inhalt der QuelleDissertationen zum Thema "Music – Instruments – Violin"
Moss, Kirk D. „Favored sound production exercises of selected violin, viola, cello, and double bass pedagogues an analysis and adaptation /“. [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013485.
Der volle Inhalt der QuelleBorden, Stacy R. „Work for Five-String Electronic Violin and Tape (Torn Edges)“. Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213920863.
Der volle Inhalt der QuelleOrtega, Paredes Juan Carlos. „ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.
Der volle Inhalt der QuelleQueiroga, Elisabete Maria Ledo. „Sinais e sintomas de disfunção da têmporo mandibular em músicos de instrumentos de sopro e violinos“. Bachelor's thesis, [s.n.], 2013. http://hdl.handle.net/10284/3846.
Der volle Inhalt der QuelleObjectivo: relacionar a prática de instrumentos de sopro e violinos com a presença de sinais e sintomas de disfunção temporomandibular (DTM). Métodos: Participaram nesta amostra 68 indivíduos praticantes de instrumentos de sopro (n=38) e violino (n=30) do Conservatório de Música do Porto, Conservatório Regional de Música de Vila Real, Banda de Música da Portela e Nogueira e Escola Superior de Música, Artes e Espectáculo do Porto, com idades compreendidas entre 18 e 55 anos. Responderam a um questinário, com base nos “Critérios de Diagnóstico para Pesquisa de Desordens Temporo-Mandibulares – RDC/TMD”, assim como questões relativas ao número de anos e horas médias de prática. Resultados: Comparando os intérpretes de sopro e os violinistas existe uma discrepância entre os sinais e sintomas presentes nos dois grupos, principalmente na DTM crónica (31,6% - instrumentos de sopro), limitação de amplitude articular máxima (26,3% - violinos), estalidos (31,6% - instrumentos de sopro) e no ranger e/ou apertar os dentes (45,45% - violinos). Conclusão: Verificou-se maior tendência para a presença do sintoma ranger e/ou apertar os dentes e cefaléia, principalmente nos violinistas. Objective: To relate the practice of wind instruments and violins with the presence of signs and symptoms of temporomandibular dysfunction (TMD). Methods: Participated on the sample 68 patients, players of wind instruments (n = 38) and violin (n = 30) of the “Conservatório de Música” of Porto, “Conservatório Regional de Música” of Vila Real, “Banda de Música” of Portela and Nogueira and “Escola Superior de Música, Artes e Espectáculo” of Porto, with ages varyng from 18 to 55 years. Answered a questionnaire, based on "Research Diagnostic Criteria for Temporo-Mandibular Disorders - RDC / TMD", as well as questions regarding the number of years and average hours of practice. Results: Comparing the interpreters of wind and violinists to find if there is a discrepancy between the signs and symptoms present in both groups, especially in chronic TMD (31.6% - wind instruments), limited joint range maximum (26.3%-violins ), clicks (31.6% - wind instruments) and grinding and/or teeth pressing (45.45% - violins). Conclusion: We found a greater tendency for the presence of the symptom grinding and/or teeth pressing and headache, especially in violinists.
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.
Der volle Inhalt der Quelle"Terje Vigen" by Ivar BøksleArrangement by Olav Eirik LølandViolin and vocal - Olav Eirik Løland
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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.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T00:34:41Z (GMT). No. of bitstreams: 1 Santos_JulianoBuosidos_M.pdf: 5944297 bytes, checksum: 6493cd8b9254b752c233881a86712f71 (MD5) Previous issue date: 2014
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
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
Mestrado
Praticas Interpretativas
Mestre em Música
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.
Der volle Inhalt der QuelleRostovtsev, Ilya Y. „Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.
Der volle Inhalt der QuelleFonseca, Renata Simões Borges da. „Bioenergética: um caminho de auxílio no processo de ensino-aprendizagem do violino“. Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6597.
Der volle Inhalt der QuelleCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Playing an instrument is turning on muscular, affective and mental mechanisms that are closely related. Therefore, in a performance preparation, it is expected from the instrumentalist not just the understanding of the musical speech, but the assimilation and perfection of the motor patterns that will be part of the needed corporal action for the technical accomplishment of this speech as well. In this process, one of the goals of the instrumentalist is to become aware of tension points in their body that can potentially prevent a more free technical execution, looking for ways to minimize or eliminate them. According to the Bioenergetics Analysis, a psychotherapy approach created by Alexander Lowe in 1956, the muscle tensions are the result of emotional blocks, being created most of the times since childhood and developed throughout life. These tensions work as armours , which protect the individuals from experiences that could be painful and threatening, turning into an obstacle to the human being capacity to relate to their sensations and emotions and, consequently, of feeling free, whole and in contact with the world around them. Going beyond the investigation about human psyche that, before the middle of last century, focused mainly on mind exploration, the Bioenergetics takes the patients, through exercises, to reunite with their body, acquiring a sense of well-being and inner peace. Based on this knowledge and understanding that the violin student starts his instrument learning having already some muscle tensions due to emotional matters and that these tensions could hinder their musical expressivity on the same way they can interrupt his spontaneity in life, this work presents, analyses and discusses the contributions of Bioenergetics exercises to the development of the technical-expressive capacity of violin students, based on the application of exercises of this field to violinists during their formation process and performance. In order to do so, initially, questionnaires were applied and interviews with the participants of this research were conducted, collecting information about their physical condition and, more specifically, about their muscle tensions. Having this information, Biogenetics exercises, both in their original format or specifically adapted to violin learners, were applied to these participants throughout several meetings. The results of these exercises have been verified through participant observation and constant reports from the participants containing their own perceptions and sensations throughout this work. An interview was conducted two months after the research, according to which it was possible to conclude that most of the participants became more aware of their own body, emotions and sensations, both on their daily life and in the act of performance. Having also been effective in raising awareness and reducing several of the muscle tensions in the participants, the Bioenergetics exercises gave these individuals a looser body that is connected to the instrument, besides a deeper body-mind integration in the act of performance. And that has naturally facilitated their technical and expressive capacity.
Tocar um instrumento é acionar mecanismos musculares, afetivos e mentais, estando eles intimamente relacionados. Na preparação de uma performance, portanto, espera-se do instrumentista não apenas o entendimento do significado do discurso musical, mas também a assimilação e aperfeiçoamento de padrões motores que irão se constituir na ação corporal necessária para a realização técnica deste discurso. Nesse processo, uma das metas do instrumentista é se conscientizar dos pontos de tensão em seu corpo que potencialmente lhe impedem uma execução técnica mais livre, buscando então meios para minimizá-los ou mesmo eliminá-los. Segundo a Análise Bioenergética, abordagem psicoterápica criada por Alexander Lowen em 1956, as tensões musculares são decorrentes de bloqueios emocionais, sendo criadas na maioria das vezes desde a própria infância e desenvolvidas ao longo da vida. Essas tensões funcionam como couraças , que servem para proteger o indivíduo de experiências que possam vir a ser dolorosas e ameaçadoras, tornando-se um obstáculo à capacidade do ser humano de se entregar às sensações e emoções e conseqüentemente de se sentir livre, inteiro e em contato com o mundo à sua volta. Ultrapassando as investigações sobre a psique humana que, antes de meados do século passado, concentravam-se principalmente nas explorações da mente, a Bioenergética leva o paciente, através de exercícios, a reencontrar-se com seu corpo, adquirindo então, uma sensação de bem-estar e paz interior. Baseado nesse conhecimento e entendendo que o aluno de violino inicia o aprendizado de seu instrumento tendo já presentes algumas tensões musculares advindas de questões emocionais e que tais tensões poderiam dificultar sua expressividade na música da mesma forma que impedem sua espontaneidade na vida, este trabalho apresenta, analisa e discute contribuições da Bioenergética para o desenvolvimento da capacidade técnico-expressiva dos estudantes de violino, tendo como base a aplicação de exercícios desse campo no processo de formação e performance do violinista. Para isso, foram, inicialmente, aplicados questionários e realizadas entrevistas com os participantes da pesquisa, coletando informações principalmente sobre seu estado físico, mais especificamente no que se referia às suas tensões musculares. De posse destas informações, foram aplicados nesses participantes, durante vários encontros, exercícios da Bioenergética, tanto em seu formato original, como adaptados às especificidades do aprendizado violinístico. Os resultados desses exercícios foram sendo verificados através de observação participante e de constantes relatórios dos próprios participantes contendo suas percepções e sensações ao longo do trabalho. Uma entrevista final foi realizada após dois meses de pesquisa, onde foi possível concluir que a grande maioria dos participantes se encontrava mais consciente de seu corpo e de suas sensações e emoções, tanto em seu cotidiano, como no ato da performance. Tendo também sido eficazes na conscientização e diminuição de várias das tensões musculares dos participantes, os exercícios da Bioenergética possibilitaram a esses indivíduos um corpo mais solto e conectado ao instrumento, além de uma maior integração corpo-mente no ato da performance. E isso, naturalmente, facilitou sua capacidade tanto técnica quanto expressiva.
Mueller, Rodney Alan. „The development and pilot testing of a hypermedia program to supplement undergraduate string techniques class instruction in upper string vibrato“. Full text available online (restricted access), 1997. http://images.lib.monash.edu.au/ts/theses/Mueller.pdf.
Der volle Inhalt der QuelleBücher zum Thema "Music – Instruments – Violin"
Menuhin, Yehudi. Violin and viola. London: Kahn & Averill, 1991.
Den vollen Inhalt der Quelle findenPenesco, Anne. Les instruments du quatuor: Technique et interprétation. Paris: Flûte de Pan, 1986.
Den vollen Inhalt der Quelle findenRīdī, Kamāl. Jawlah maʻa ʻālam al-kamān wa-al-fīyūlā. al-Qāhirah: Wizārat al-Thaqāfah, al-Hayʼah al-ʻĀmmah li-Quṣūr al-Thaqāfah, 2019.
Den vollen Inhalt der Quelle finden1910-, Boyden David Dodge, Hrsg. The New Grove Violin family. London: Macmillan London, 1989.
Den vollen Inhalt der Quelle findenG, Pauly Reinhard, Hrsg. The Amadeus book of the violin: Construction, history, and music. Portland, Or: Amadeus Press, 1998.
Den vollen Inhalt der Quelle findenLittle, Jean. Music class. New York: Sterling Pub., 2006.
Den vollen Inhalt der Quelle findenLinda, Johnston, Hrsg. Il legno magico: Liuteria in musica con 15 strumenti di Roberto Regazzi = The magic of wood : from lutherie to music with 15 instruments by Roberto Regazzi ... Bologna: Florenus, 2005.
Den vollen Inhalt der Quelle findenMeadows, Daisy. Victoria the violin fairy. New York: Scholastic, 2010.
Den vollen Inhalt der Quelle findenSpilsbury, Richard. Should I learn to play the violin? Oxford: Heinemann Library, 2006.
Den vollen Inhalt der Quelle finden1966-, Drees Stefan, und Kremer Gidon 1947-, Hrsg. Lexikon der Violine: Baugeschichte, Spielpraxis, Komponisten und ihre Werke, Interpreten. Laaber: Laaber-Verlag, 2004.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Music – Instruments – Violin"
Mehl, Margaret. „8. Playing Modern“. In Music and the Making of Modern Japan, 203–36. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.08.
Der volle Inhalt der QuelleColwell, Richard J., Michael P. Hewitt und Mark Fonder. „The Violin“. In The Teaching of Instrumental Music, 406–14. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-28.
Der volle Inhalt der QuelleColwell, Richard J., Michael P. Hewitt und Mark Fonder. „The Viola“. In The Teaching of Instrumental Music, 415–20. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-29.
Der volle Inhalt der QuellePowell, Bella. „Notions of virtuosity, female accomplishment, and the violin as forbidden instrument in early-mid nineteenth-century England“. In The Routledge Handbook of Women's Work in Music, 241–49. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-24.
Der volle Inhalt der QuelleDodds, Phil. „The Cultural Production of Scalability: Music, Colonialism and the Moravian Missionary Project“. In Music and the Cultural Production of Scale, 77–102. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_5.
Der volle Inhalt der QuelleGoasdoué, R., und B. Bril. „The Role of Instrument Properties in Music Performance: Variations in Sound and Movements Induced by Baroque-Violin Playing“. In Studies in Perception and Action VIII, 157–61. New York: Psychology Press, 2023. http://dx.doi.org/10.4324/9781003417972-43.
Der volle Inhalt der QuelleBoyden, David D. „Violin Music in the Sixteenth Century“. In The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music, 49–64. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161837.003.0008.
Der volle Inhalt der QuelleCampbell, Murray, und Clive Greated. „Bowed and plucked stringed instruments“. In The Musician’s Guide to Acoustics, 203–32. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198165057.003.0007.
Der volle Inhalt der QuelleDilworth, John. „Violin Making in England in the Age of Purcell“. In Performing the Music of Henry Purcell, 39–48. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164425.003.0004.
Der volle Inhalt der QuelleBoyden, David D. „The Advent of the true Violin and its Development to 1600“. In The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music, 31–48. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161837.003.0007.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Music – Instruments – Violin"
Evrim Tunca, Ozan. „Using Distant Learning Platform for Musical Instrument Instructor Training“. In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
Der volle Inhalt der QuelleTrocinel, Daniela. „Compositional incursions into the didactic repertoire and music for children by the composer Alexandr Mulear“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.12.
Der volle Inhalt der QuelleRoman, Iulia. „Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu“. In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.
Der volle Inhalt der QuelleTalambuta, Radu. „Folkloric elements in creations for violin of Romanian filiation signed by composers from the Republic of Moldova in the 1950s-1960s“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.23.
Der volle Inhalt der QuelleTalambuta, Radu, und Diana Bunea. „Aspects of interpreting the themes of folklore inspiration in the Concerto for violin and orchestra by Valerii Poleacov“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.18.
Der volle Inhalt der QuelleSilva, Eduardo Santos, Giordano Ribeiro Eulalio Cabral und Rodrigo Mendes de Carvalho Pereira. „A preliminary study of Augmented Musical Instruments for Study (AMIS) using research through design“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19438.
Der volle Inhalt der QuelleCasazza, Marco, Fabrizio Barone, Elvio Bonisoli, Luca Dimauro, Simone Venturini, Marco Carlo Masoero und Louena Shtrepi. „Wooden music instrument vibro-acoustic fingerprint: the case of a contemporary violin“. In 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. Budapest: IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2022.039.
Der volle Inhalt der QuelleTrocinel, Daniela. „Sketches on the creative portrait of the composer A. B. Mulear“. In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.
Der volle Inhalt der QuelleKristiandri, Dhani, Vivi Ervina Dewi und Moh Sarjoko. „The Development of Main Stringed Instrument Module (Violin) for Beginner Level in the Music Study Program“. In International Joint Conference on Arts and Humanities (IJCAH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201201.170.
Der volle Inhalt der QuellePlescan, Irina. „Compositional peculiarities of The trio for clarinet, French horn and piano by Oleg Negruta“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.11.
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