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1
Yu, Tao-Chang. „Spanish dances for violin their origin and Influences /“. College Park, Md.: University of Maryland, 2006. http://hdl.handle.net/1903/3847.
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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Music. Title from t.p. of PDF. Includes discussion of the Spanish dances by Pablo de Sarasate, Introduction and rondo capriccioso, op. 28 by Camille Saint-Saëns, Symphonie espagnole, op. 21 by Édouard Lalo, Spanish dance in E minor by Granados, transcribed by Kreisler, Tango by Albeníz, and Carmen fantasie by Waxman. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
2
Lawson, Sonya Ruth. „The origins and development of the use of violins, violas, and cellos in jazz in the United States of America /“. view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080590.
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3
Corvo, Kenneth N. „Attachment and violence in the families of origin of domestically violent men“. Case Western Reserve University School of Graduate Studies / OhioLINK, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=case1056726244.
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4
Estades, Basavilbaso Gualberto 1928. „Origens e desenvolvimento tecnico da viola“. [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284249.
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Orientador: Lafayette de MoraesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Not informed.
Doutorado
Doutor em Artes
5
Destribois, Clemence Theodora. „Examining the Origins of the Late Baroque Monothematic Fugue:A Study of Seventeenth-Century Fugue in Italian Violin Music“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3350.
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Paul M. Walker points out the importance of three seventeenth-century manuscripts which, according to him, reflect the origins of the late Baroque monothematic fugue. The documents present a new "model" with specific criteria to write monothematic fugues. Walker suggests that the criteria presented in these manuscripts are first found in seventeenth-century Italian violin ensemble fugues. This thesis traces the development of seventeenth-century monothematic fugues and how they compare with the criteria presented in the manuscripts, with a particular emphasis on Italian violin ensemble fugues. The manuscripts indeed present a new "model" to write monothematic fugues as compared to earlier models. Generally speaking, the criteria included in the manuscripts are more present in monothematic fugues found in seventeenth-century violin ensemble music than in keyboard music of the same period. However, many of these imitative pieces present characteristics of fugato (rather than "true" fugues) and cannot be compared with the manuscripts' criteria. Therefore, the documents are important from a theoretical standpoint but their practical application in seventeenth-century violin music is not as clear or systematic as Walker implies.
6
Nordström, Annika. „Violent offenders with schizophrenia : quantitative and qualitative studies focusing on the family of origin“. Doctoral thesis, Umeå universitet, Psykiatri, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-298.
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The focus of the thesis is on violent offenders with schizophrenia and their relatives. The aims were to explore incidence of violent crimes, the extent to which family members were victims, to investigate individual background factors among violent offenders, and to identify psychotic symptoms and triggering factors associated with fatal violence. In addition, parents were interviewed to build an understanding of their experiences and emotional reactions. One study examined all 369 male individuals who had committed a violent crime (assault, homicide or attempt to any of these crimes), who in a pre-trial forensic psychiatric evaluation (FPE) during 1992-2000 were diagnosed with schizophrenia, and who were referred to forensic psychiatric treatment. Although the majority of the 615 victims was unacquainted to the offenders, family members or male acquainted were most at risk of being severely injured or killed as victims. Background factors were studied for the 207 Swedish offenders who for their first time were subjects of a FPE during the study period. There were indications that those offenders who targeted family members had an earlier onset and more severe course of their mental illness. During the study period, 48 offenders committed homicides. Of the 52 victims, 83% were family members or acquainted to the offender. Those who killed a family member had more often delusions and/or hallucinations, were less often intoxicated, had to a lesser extent committed a previous violent crime and they were younger at the time of the homicide. Parents, who were interviewed, were very emotionally involved in their adult sons, although they were not living together. Ignorance regarding the diagnosis of their son and his criminality negatively influenced the contacts, both between parent and son and between parent and professionals in psychiatry. However, the referral to forensic psychiatric treatment gave the parents hope for a positive development.
7
Nordström, Annika. „Violent offenders with schizophrenia : quantitative and qualitative studies focusing on the family of origin /“. Umeå : Dept. of Clinical Sciences, Univ, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-298.
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8
Damas, Carlos Alexandre Mourão de Carvalho e. „Violino e tecnologia: origem e evolução tecnológica entre os séculos XV e XXI“. Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2012. http://hdl.handle.net/10362/8310.
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Dissertação de mestrado para obtenção do Grau de Mestre em Artes Musicais – Estudos em Música e TecnologiasA evolução tecnológica que o violino foi sofrendo ao longo dos séculos, poderá ser justificada por necessidades artísticas e técnicas dos intérpretes, o fator estético e a beleza do instrumento, foram também, focos de interesse para colecionadores e fabricantes. No presente trabalho, consideramos que o violino é um instrumento de corda friccionada com arco, assim, teremos em consideração não só a origem do violino em si, mas também a origem do arco - visto que, no contexto que definimos para este trabalho, só com o aparecimento do arco podemos determinar a origem do violino. Encontramos vestígios do violino em muitos continentes e civilizações, e para muitos especialistas este terá tido origem na Ásia central, no entanto, desde os primeiros estudos conhecidos sobre a história e evolução do violino, têm sido escritas teorias diversas sobre as origens deste instrumento. Assim parece-nos fundamental voltar a indagar sobre a proveniência e origem do violino, de forma a tentar clarificar as razões ou necessidades que levaram à evolução do instrumento. Considera-se que o violino atingiu elevados níveis de perfeição com o aparecimento da escola italiana de Luthiers na segunda metade do século XVI, os seus mestres realizaram experiências tendo-se baseado em métodos científicos, e a fisionomia do instrumento não voltou a sofrer alterações consideráveis desde essa época, foram no entanto realizados alguns melhoramentos aquando do aparecimento de novos repertórios que exigiam do instrumento capacidades específicas. Neste contexto, questionamo-nos sobre o objetivo que se pretendia atingir com as alterações principais realizadas no instrumento até ao século XIX.
9
Isaacs-Martin, Wendy Jane. „A violent origin : a Girardian analysis of the scapegoating of Ali ibn Abu Talib in Shi'ite tradition“. Doctoral thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8197.
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Includes abstract.Includes bibliographical references (leaves 182-192).
This dissertation applies Rene Girard's theory of the scapegoat mechanism to prove that Ali ibn Abu Talib appears in Shi'ite traditions as an innocent victim. The aim is to investigate Girard's substantial body of work to determine whether Ali was a scapegoat and a victim of a conspiracy within his community. Girard's theory is founded in mimetic desire, where he incorporated external and internal mediation to form an analysis of mimetic rivalry. Using various texts to develop his theory and support his concepts, he investigated Aristotle, Plato, Stendhal, Proust, Shakespeare and Freud. He developed his theory from the interaction between friends to the incorporation of an object of desire to form the 'French triangle'. He moved from investigating this 'triangle' in personal relationships to conspiracies and subsequently to communities with regard to primitive religions. It was in the discovery of the sacred victim that Girard recognized the purpose of myth, that it concealed the role of the persecutors and that it silenced the victim. Girard then transferred his deductions to analyzing the Bible, where he identified ways in which the text gave the victim a voice. He maintains that only Jesus supported a non-violent position and embraced positive mimetic desire in the form of imitating the love of God. In reviewing Ali's life, one discovers that it reveals Girard's concepts of mimetic rivalry, conspiracy and collective violence. There is the historical Ali and the divine Imam Ali. These two positions can be reconciled by following a constitutive reductionist method for the purpose of analysis in applying the scapegoat mechanism theory. Reductionism is useful and necessary for this study. While the historical Ali reveals a victim, the divine Ali takes responsibility for his own death. The historical and the divine reveal two perspectives in relating Ali's story, one from the victim's perspective and the other from the perspective of the persecutors. However, with respect to the scapegoat mechanism, Shi'ite traditions about Ali, inclusive of historical, popular, or ghulat traditions, show that Jesus was not the only victim to reveal his innocence and embrace non-violence for positive mimesis. Rather, Ali goes further in rejecting materialism to avoid envy, encouraging his community to witness his poverty. Without the distraction of material things, Ali could demonstrate God's love. While Girard claimed that Christianity, particularly the gospels, revealed the victim's innocence in Jesus Christ, Ali brings forth a similar message of imitating the love of God. Like Jesus, he revealed that God was a loving and forgiving God; he was not an angry God that demanded sacrifice.
10
Taylor, Georgina M. „Ground for common action Violet McNaughton's agrarian feminism and the origins of the farm women's movement in Canada /“. Ottawa : Library and Archives Canada, 1999. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp03/NQ26870.pdf.
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11
Bejo, Ermir. „Postmodern Multiplicities in Three Original Works“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.
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My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.
12
Salinas, Ashley. „Original Viola Study Literature: Analyzing the Pedagogical Contributions of Marco Frank“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157561/.
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Viola pedagogy has historically been closely intertwined with and highly dependent upon violin repertoire. As the viola emerged as an instrument worthy of independent study, many still rely on transcriptions of violin etudes. Fortunately, the efforts of performers, teachers, and scholars have brought forth discoveries of original viola literature and thus shifted toward the perception that viola should begin to embrace its individual pedagogy. Viennese composer and violist Marco Frank contributed three volumes of Viola-Etuden and a method book, Praktische Viola-Schule, which are suitable for the intermediate violist. This document explores and analyzes the usefulness of an original viola series in comparison to the ‘tried and true' violin transcriptions.
13
Cristão, Rui Pedro Mendes. „Sonata para violino e piano OP.94 bis de Sergey Prokofiev: história e análise comparativa com versão original“. Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/11792.
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Na realização do Mestrado em Música – Interpretação – Violino foi proposta a
elaboração de um Trabalho de Projeto, no qual os alunos escolheriam o tema a
abordar.
O tema escolhido e que melhor define a opção para este trabalho é “Sonata para
violino e piano op.94 bis de Sergey Prokofiev: história e análise comparativa com a
versão original”.
O seguinte trabalho centra-se na análise e comparação de duas sonatas: a
sonata para flauta e piano e a sua transcrição para violino e piano, elaboradas pelo
compositor russo, Sergey Prokofiev.
Este documento inicia-se com um breve foco da vida e obra do compositor,
seguido de uma contextualização das sonatas em análise. Esta sequência informativa
permite conhecer e compreender o contexto familiar, social, cultural e político em que
Prokofiev se encontrava aquando da elaboração destas obras.
No capítulo destinado às duas sonatas fez-se uma análise e comparação
pormenorizada do trabalho de transcrição, sendo apresentados excertos que permitam
corroborar com todas as informações expostas.
Por último, este Trabalho de Projeto termina com considerações finais e
conclusões da análise previamente apresentada; ### Abstract:
On completion of a Master´s Degree in Music - Interpretation – Violin, students
where proposed to do a Project Work, in which they could choose the topic,
The theme chosen that better defines the option for this work is "Sonata for violin
and piano op.94 bis Sergey Prokofiev: history and comparative analysis with the
original version."
The following work is focused on analysis and comparison of two sonatas: the
sonata for flute and piano and his transcription for violin and piano, made by the
Russian composer Sergey Prokofiev.
The document begins with a brief focus on the life and work of this composer, as
well as the background of the sonatas in analysis. This information sequence allows to
know and understand the familiar, social, political and cultural context in which
Prokofiev was when he composed these works.
In the chapter dedicated to the two sonatas, a detailed comparison was made
and also a review of the transcription work, in which excerpts are given that allow the
corroboration of all information exposed.
Finally, this Project Work ends with final remarks and conclusions about the
analysis presented previously.
14
Castellano, Victor. „Guitare pour orquestre de Frank Martin: uma análise a partir do original para violão“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-15072009-230306/.
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Esta dissertação refere-se à análise, em seus fundamentos estruturais, estilísticos e instrumentais da obra Guitare pour Orquestre, criada em 1934 pelo compositor suíço Frank Martin (1890-1974) para grande orquestra. O trabalho se desenvolveu através da comparação entre as fontes manuscritas para orquestra e o original para violão, composto um ano antes, conhecido como Quatre Pièces Brèves pour la Guitare.This dissertation refers to the analysis, in the structural, stylistic, and instrumental fundamentals of the musical composition Guitare pour Orquestre, created in 1934 by the Swiss composer Frank Martin (1890-1974) for the whole orchestra. The paper was developed by the comparison among the manuscripts for orchestra and the original composed for the guitar the previous year, known as Quatre Pièces Brèves pour la Guitare.
15
Taylor, Georgina M. „Ground for common action, Violet McNaughton's agrarian feminism and the origins of the farm women's movement in Canada“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ26870.pdf.
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Taylor, Georgina M. 1939 Carleton University Dissertation History. „"Ground for common action": Violet McNaughton's Agrarian feminism and the origins of the farm women's movement in Canada“. Ottawa.:, 1997.
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17
Delgado, João Pedro Martins. „A emancipação técnico-expressiva da viola de arco em Portugal através de repertório. Um património histórico inédito: das origens até 1945“. Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27865.
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A presente tese de doutoramento tem como objectivo principal estudar a evolução da
emancipação técnico-expressiva da viola de arco em Portugal, das origens até 1945,
analisando e mapeando um processo histórico até hoje quase desconhecido. Para
este efeito, procede-se ao levantamento de fontes musicais inéditas, respectivo
tratamento crítico e análise de características técnicas e interpretativas, bem como à
investigação documental histórica e musicológica, por forma a contextualizar o
processo estudado. A partir deste suporte documental, foca-se o percurso de
autonomização das práticas do instrumento ao longo do período cronológico
abordado, realizando um acompanhamento dos resultados da investigação em
contexto de performance, por forma a relacionar o repertório histórico investigado
com o estado da arte técnico e artístico na viola contemporânea. Desta forma, para
além do relevo dado à sistematização do processo de afirmação do instrumento em
Portugal, produz-se um output de obras históricas inéditas e de novo repertório,
resultando num incremento significativo na literatura violetística portuguesa existente; Abstract:
“The viola´s technical and expressive emancipation in Portugal through its repertoire.
An unprecedented historical heritage: from its origins to 1945”.
The present doctoral thesis aims mainly to study the evolution of the viola´s technical
and expressive emancipation in Portugal, from it´s first known introduction in the
country until 1945, analysing and charting a historical process that was hitherto
unknown. In order to achieve this, previously unknown musical sources are explored,
a critical analysis of it´s performative and techical features is pursued, and a historical
and musicological contextualization is made through documental investigation. From
this basis, the work focuses on viola practice and autonomization throughout the
whole cronological period, always in correlation with field research in a performative
context, connecting the discovered historic repertoire with state of the art of
contemporary viola practice. Thus, in addition to the study of this uncharted process
of emancipation of the instrument in Portugal, an output of unpublished historical
works and of new repertoire is produced, resulting in a significant increase in the
overall corpus of portuguese viola literature.
18
Costa, Ricardo Vieira. „SETE CORDAS E FLAUTA: criação de um repertório original com a produção de um CD e um livro de partituras“. Escola de Música, 2015. http://repositorio.ufba.br/ri/handle/ri/18676.
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O duo de violão e flauta consiste em uma tradicional formação instrumental da música de câmara. Apesar do número de composições para essa formação ser significativo e diversificado, atualmente, há de se assinalar a inexistência de duos estáveis no Brasil e a carência de peças ou arranjos originais para sete cordas e flauta. Apesar do caráter prático do mestrado profissional, foi possível a extensão desse projeto para um viés acadêmico, no âmbito de uma revisão da literatura da produção acadêmica voltada para o violão de sete cordas e da produção profissional para esta formação instrumental. A constatação da inexistência de peças originais registradas ratificou a importância dos meus objetivos iniciais e do projeto Sete Cordas e Flauta, título também adotado profissionalmente pelo duo formado por mim (Ricardo Vieira) e pelo flautista João Liberato. Compor uma série de peças originais para sete cordas e flauta, e registrar o repertório em um CD e em um livro de partituras constituíram os objetivos do projeto. Ao longo de três semestres, sob a orientação do Prof. Dr. Robson Barreto, pelas singulares experiências vividas em cada disciplina no ambiente da EMUS-UFBA, somadas à minha atuação profissional e artística especificamente nesta área, pude contemplar um “terreno fértil” para composição e desenvolvimento técnico- interpretativo para a finalização dos produtos profissionais resultantes do projeto. Ao final, um repertório formado por seis peças autorais inéditas e dois arranjos de peças originais para outros instrumentos foi composto. Portanto, este trabalho apresenta um memorial das minhas experiências vivenciadas, bem como os trabalhos publicados ao longo do curso, relatórios das práticas supervisionadas e os produtos profissionais em formato de CD e um livro de partituras intitulados Sete Cordas e Flauta.
19
Pulido, Cordoba Pablo Arturo. „O bambuco Florecita del camino para violão solo de Jaime Romero : uma análise para a interpretação a partir da versão original para trio típico colombiano“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/141344.
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O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana.The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.
20
Swanson, Christina Marie. „Adding to the viola repertoire by arranging: A study on methods of arranging music for viola from clarinet, with an original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167“. Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280389.
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The purpose of this document is to present research on methods of arranging music for viola and piano (or viola and orchestra) from music originally written for clarinet and piano (or clarinet and orchestra). Subjects of research include arrangements made by the composer as well as those made by other arrangers. Principal works studied include the Brahms Clarinet Sonatas Op. 120, Nos. 1 and 2, and the Mozart Clarinet Concerto in A. Examples are also included from other relevant works fitting the criteria. Following the analysis on arranging techniques, I have used knowledge gained from my research to prepare an arrangement for viola of the Saint-Saens Clarinet Sonata in E-flat, Op. 167. Saint-Saens, who wrote no solo music for the viola, wrote many pieces for both the violin and the cello, some of which are standard in the solo repertoire for these instruments. Since there is a dearth of viola music by romantic composers, a Saint-Saens arrangement will help fill a gap in the solo repertoire for the viola. This sonata has qualities that make it an ideal candidate for a successful arrangement for viola. Following this project, I will attempt to publish the arrangement, so that it may be available to violists around the country.
21
Motta, Daniel Andriolli Rodrigues. „Quadros de uma exposição para violão solo por Kazuhito Yamashita : um estudos dos efeitos técnicos a partir da comparação com o original para piano e a orquestração de Maurice Ravel /“. São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/95137.
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Orientador: Marcos Fernandes Pupo NogueiraBanca: Abel Luis Bernardo da Rocha
Banca: Sidney José Molina Júnior
Resumo: Esse trabalho tem como foco a versão de "Quadros de uma Exposição" de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução
Abstract: This work is about the guitar version of Modest Musorgsky's "Pictures at an Exhibition" made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities
Mestre
22
Delbridge, Nadine. „The viola concerto, Opus posthumous by Bela Bartok : the conerto's history and a systematic comparison of the solo viola part, as interpreted from the original manuscript, by Tibor Serly & William Primrose; Peter Bartok & Nelson Dellamaggiore and Csaba Erdelyi /“. [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17616.pdf.
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Motta, Daniel Andriolli Rodrigues [UNESP]. „Quadros de uma exposição para violão solo por Kazuhito Yamashita: um estudos dos efeitos técnicos a partir da comparação com o original para piano e a orquestração de Maurice Ravel“. Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/95137.
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Esse trabalho tem como foco a versão de “Quadros de uma Exposição” de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução
This work is about the guitar version of Modest Musorgsky’s “Pictures at an Exhibition” made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities
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Shiue, Ji-horng, und 薛吉宏. „The Origin Recovery of Violin Timbres based on Taguchi''s Method and Spectrum Analysis“. Thesis, 2013. http://ndltd.ncl.edu.tw/handle/28297660835481215839.
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碩士國立臺南大學
機電系統工程研究所碩士班
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For the study ofviolinistic art, occident countries have long been investigated in depth by scientific methods. Violinistic study is the combination of all engineering and science. In the past, hand-made violins depended on molds of masterpiece and the experience of luthiers. The fundamental frequency and harmonics synthesize a complex waveform which is the sound be heard. Many factors affect violin timbre, that evaluating violin timbres by hearing only is not objective. In order to stabilize the timbre of the hand-made violin, this study presents a hybrid method of integrating Taguchi''s method and spectrum analysis. First, seven factors are selected which the luthiers can regulate on hand-made process. Next, through Fast Fourier transform (FFT), the frequency spectrum based on the sound of violins can be obtained. Here, the fundamental frequency and harmonics components in the spectrum are taken as the quality characteristics. Finally, the important factors affecting timbres most are extracted. The study contributes to parameterize the experience of making violins, compare prediction and experiment result, andinvestigate the factors interactions.
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Štychová, Jana. „Housle a jejich využití v hodinách HV na 1. stupni ZŠ“. Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-445876.
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The diploma thesis deals with the violin and its usage in teaching music at the elementary school level. The theoretical part presents the history of the violin: from its invention, construction, and subsequent development. The first part also introduces well-known violinists, various techniques employed in playing the violin, and lastly, the violin's connection with folk music. The practical part presents methodological material focused on incorporating the violin into music education at the elementary school level. Methodical material is divided into individual topics. KEYWORDS origin of violin, development of violin, folk music, playing the violin, onomatopoeia, methodology of music education
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„The Ensemble Étude for Violins: An Examination with an Annotated Survey of Violin Trios and Quartets and an Original Étude for Four Violins“. Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.9122.
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abstract: ABSTRACT études; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études.; These works rarely go by the title "étude;," and have not been the focus of much scholarly research. Ensemble études; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études; in a group, this document introduces creative ways that works for violin ensemble can be used as both études; and performance pieces. The first two chapters explore the history and philosophy of the violin étude; and multiple-violin works, the practice of arranging of solo études; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude; study from solo étude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: étude; for Four Violins, with an explanation of the process and techniques used to create this ensemble étude.; This work is an example of the musical and technical integration essential to étude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level.Dissertation/Thesis
D.M.A. Music 2011
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Roumanis, Ronald George. „Rhapsody for horn and string quartet an original composition /“. 1991. http://catalog.hathitrust.org/api/volumes/oclc/24889225.html.
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„A portfolio of four original music compositions“. 1998. http://library.cuhk.edu.hk/record=b5889514.
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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
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Buller, Julianna E. „The impact of family of origin conflict management style on participation in a violent intimate relationship“. 2008. http://digital.library.okstate.edu/etd/buller_okstate_0664m_10108.pdf.
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