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Journal articles on the topic 'Development of violin'
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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 (June 30, 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. These materials provide original solutions to challenges concerning individual elements of violin playing and the musical development of students. Therefore, they also represent an important contribution to the development of violin pedagogy and violin playing in Slovenia.
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NISHIMURA, Tomoyuki, Hiroyuki ISHIMOTO, and Koji SHIBUYA. "Development of Violin-playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2018 (2018): 2P2—D17. http://dx.doi.org/10.1299/jsmermd.2018.2p2-d17.
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KOSUGA, Kento, Kosei SAEKI, Tomoyuki NISHIMURA, and Koji SIBUYA. "Development of Violin-playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2018 (2018): 2P2—D18. http://dx.doi.org/10.1299/jsmermd.2018.2p2-d18.
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KOSUGA, Kento, Kazuto AKAMA, Raiki NOGUCHI, and Koji SHIBUYA. "Development of Violin-playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2019 (2019): 1P1—P01. http://dx.doi.org/10.1299/jsmermd.2019.1p1-p01.
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FUKUHARA, Hiroshi, Tomoyuki NISHIMURA, and Koji SHIBUYA. "Development of Violin-playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2019 (2019): 1P1—P02. http://dx.doi.org/10.1299/jsmermd.2019.1p1-p02.
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Gabrielyan, Nikolay Z. "Features of the development and rise of national pedagogical violin art from L. Auer to Y. Yankelevich." Tambov University Review. Series: Humanities, no. 191 (2021): 116–22. http://dx.doi.org/10.20310/1810-0201-2021-26-191-116-122.
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The work is devoted to the development and rise of national pedagogical violin art of the period from L. Auer to Y. Yankelevich. The works of violin teachers themselves and their contemporaries of the 20th century (L. Auer, V. Grigoriev, L. Mordkovich, A. Yampolsky, Y. Yankelevich) and the latest research in the history of violin art and pedagogy are considered as scientific sources (I. Lezhnev, A. Misharin, A. Nurgayanov, E. Safonov, T. Sukhanov). Despite the sufficient consecration of various issues of the national violin school in the literature, the relevance of this topic is determined by the need to highlight the factors of the rise of the national violin school in general and to determine the characteristic methodic directions and pedagogical trends of the specified historical period in particular. The principles indicated by L. Auer, aimed at the devel-opment of an individual performing manner, and the interpretational direction in violin perfor-mance are developed and supplemented by his followers, among whom the activity of A. Yam-polsky was of fundamental importance. The development of a system of music education due to a well-built policy of the state and the activities of individuals and organizations, the mutual influ-ence of the tandem “composer – performer” also contributed to the growth of interest in the violin art. It is concluded that the close continuity of pedagogical, methodic and performing principles, combined with innovative teaching methods, led to the flourishing of the violin school, which was supported by state and close interaction between performers and composers.
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Park, Hyeonjun, Bumjoo Lee, and Donghan Kim. "Development of Anthropomorphic Robot Finger for Violin Fingering." ETRI Journal 38, no. 6 (December 2016): 1218–28. http://dx.doi.org/10.4218/etrij.16.0116.0129.
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ISHIMOTO, Hiroyuki, Daichi MORISHIMA, and Koji SHIBUYA. "Development of Right Hand for Violin-playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2017 (2017): 2A2—F01. http://dx.doi.org/10.1299/jsmermd.2017.2a2-f01.
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Min, Byung-Cheol, Dong-Han Kim, Yoon-Hyuk Kim, Ki-Yeoul Kim, and Chong-Kug Park. "Development of Violin Self-Training Algorithm using Fuzzy Logic." Journal of Korean Institute of Intelligent Systems 19, no. 4 (August 25, 2009): 550–55. http://dx.doi.org/10.5391/jkiis.2009.19.4.550.
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KUWABARA, Hiroki, Hirokazu SEKI, Yasuhiro SASADA, and Makoto SHIMOJO. "1A1-E21 Research and development of violin performance robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2006 (2006): _1A1—E21_1—_1A1—E21_4. http://dx.doi.org/10.1299/jsmermd.2006._1a1-e21_1.
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Jo, Wonse, Bumjoo Lee, and Donghan Kim. "Development of auditory feedback system for violin playing robot." International Journal of Precision Engineering and Manufacturing 17, no. 6 (June 2016): 717–24. http://dx.doi.org/10.1007/s12541-016-0089-6.
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SHIBUYA, Koji, Tsukasa NIWA, and Kengo SAKAI. "2A1-D29 Development of Left Hand for Violin-playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2010 (2010): _2A1—D29_1—_2A1—D29_2. http://dx.doi.org/10.1299/jsmermd.2010._2a1-d29_1.
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Lozano, F. J. Rodríguez, M. R. Sáez Yuguero, and A. Bermejo Fenoll. "Bruxism Related to Violin Playing." Medical Problems of Performing Artists 23, no. 1 (March 1, 2008): 12–15. http://dx.doi.org/10.21091/mppa.2008.1003.
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The violinist's profession involves situations of stress and tension, and bruxism is a clinical phenomenon that is occurring among these musicians with increasing frequency. Materials and Methods: We studied a group of 41 violinists from the region of Murcia in Spain, who completed clinical questionnaires designed to detect bruxism. The results were compared with those from a random control group who did not play any musical instrument. The SPSS 13.0 software package was used for statistical analysis. Evaluations were done with Pearson's chi-squared test. Results: In the study group, 73% were diagnosed with bruxism, whereas in the control group, only 34% suffered from this complaint. We found a statistically significant relationship (p<0.05) between violinists and the parafunctional bruxism habit. Conclusions: It could be said that violin playing can be a factor that predisposes or triggers the appearance of signs and symptoms of bruxism. It is necessary to establish a health education program and preventive measures for professional musicians in order to avoid the development or worsening of bruxism and related problems.
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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 (March 10, 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 ‒ extension of performing techniques, breaking stereotypes that had been built for centuries ‒ 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 performer’s opportunities, by giving them anti violin tasks. It was encouraged by the presence of certain templates that were formed in the period of Italian violinists-composers, who defined a specific format of sound performances, formed definite formulas of technical phrases, and developed a full range of performing tools that built the violin-performing machine. In their turn, composers of the late XIX century had an opportunity to look at the performing structure from another perspective, bringing new acoustic author’s expressions into the violin literature. E. Lalo, A. Dvořák, К. Saint-Saens, J. Brahms, P. Tchaikovsky laid the foundation for new trends and performances that created a discussion about violin and non-violin. During 5 years (from 1874 until 1879), the mentioned authors were divided into two camps – followers of traditions E. Lalo, A. Dvořák, К. Saint-Saens and innovators in the concert genre J. Brahms and P. Tchaikovsky. The latter ones managed to avoid violin clichés and despite much resentment in the musical world showed those sides of performer’s characteristics that could not be positioned with related to violin performance. Objectives. This article is aimed at defining the range of techniques that allow to talk about «violin» and «non-violin» following the analysis of musical edition of the Concert for violin with orchestra by P. Thaikovsky. Results. Every era of violin art has brought its elements of expressive means that extended the violinists’ capabilities, thereby enriching the performing palette with new techniques and at the same time a range of complicated figurativesemantic objectives are given to performers. During a long period (from the seventeenth until the mid-nineteenth centuries), performers-composers, creating compositions for violin, did some methodical work as well, using specific technical tools for specific artistic objectives. In other words, musical value was intrinsically connected with the comfort while performing. Types of fingerings, dashes, chord techniques, timbres – what makes a performer’s toolbox ‒ was determined in the study and performance practice as a certain template. Over time teaching materials in form of «schools of violin performance», used for mastering performer’s technique, focused the composers on certain sound technical models, that particular «violin» structure that could be easily «read» not only the time of the composition creation but its style belonging and even its authorship. However, in the history of musical art the cases when the author’s imagination goes beyond templates, setting difficult objectives, including technical ones, for the performer are not so rare. Premier failures, musicians’ refusal to participate in the performance of a new composition ‒ all of it was the consequence of inertial processes of concert practice, its «delay» towards the composer’s practice. A clear example of such a situation is the Concert for violin with orchestra by P. Tchaikovsky, the composition that generated a discussion about «violin» and «non-violin» in musical art. It is evident that the modern performing toolbox allows mastering and overcoming those difficulties, which created an opinion about the composition as inconvenient and «non-violin» in days of the composer. So, what is the meaning of «violin» and «non violin»? Can «non violin» be outdated or is it a phenomenon at different stages of the evolution of musical stylistics? Conclusions. The end of the XIXth century was marked not only by the renewal of violin material, but also by extension of performer’s techniques, withdrawal of stereotypes that had been built for centuries and were taken as a standard in the repertoire of the performers of that time. The richness of the Concert for violin by P. Tchikovsky with technical discoveries, going ahead of the time, caused L. Auer’s refusal to take part in the premiere. A young soloist A. Brodsky needed more than a year to learn the musical language, dramaturgy and all those difficulties that were mentioned above. Nowadays the Concert for violin by P. Tchaikovsky is a mandatory composition in all prestigious violin contests. It is evident that modern violinist’s toolbox allows them to master and overcome all those difficulties that earlier were told to be «inconvenient» and «non-violin» in the composition. These days «non violin» can be considered a thing of the past. A range of authors of remarquable methodical works of the XX‒XXI centuries (К. Flesch, K. Mostras, I. Yampolsky, Yu. Yankelevich, L. Gurevich, M. Berlianchik) relied on their own experience while answering the questions that worried all the performers without any exception during the development of the whole complex of techniques. However, none of them studies the notion «non violin» as a methodological problem because the practice proves: the technical inconveniences are overcomed in case the performer can hear and understand the innovations, offered by a composer, that raise the performer above any stereotypes.
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ISHIMOTO, Hiroyuki, and Koji SHIBUYA. "Development of Wire-driven Left Hand Finger for Violin-playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2016 (2016): 1P1–14b5. http://dx.doi.org/10.1299/jsmermd.2016.1p1-14b5.
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Таgiltseva, Natalia Grigorievna, and Mikhail Nikolayevich Kurlapov. "EVALUATION OF COMMUNICATIVE SKILLS DEVELOPMENT OF JUNIOR PUPILS - VIOLIN BAND MEMBERS." Pedagogical Education in Russia, no. 3 (2017): 68–75. http://dx.doi.org/10.26170/po17-03-11.
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Rupiyono, Leo Agung. "Perstude Lahap: An Alternative Of Violin Effective Learning." JURNAL SENI MUSIK 9, no. 1 (June 18, 2020): 21–27. http://dx.doi.org/10.15294/jsm.v9i1.37705.
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This article is to describe a research result of violin lesson conduct in Music Art Study Program, Faculty of Language and Arts, UKSW, Salatiga. The research problems are 1) obstructions in learning violin instrument, and 2) finding the right method for the violin learners. It is a Research and Development study aiming to find the effectiveness of the violin learning method named “Perstude Lahap”. The name stands for Persiapan (preparation or warming up), Etude (practicing), Lagu (song or repertoar), and Menghapal (memorizing). The research shows that it is able to make lesson successful under the requirements that the learners are fast learners or have good intelligence, strongly motivated, persistent, and incorporating right playing method. Perstude Lahap method is one of the effective alternatives for learners as it provides well-structured practice and stimulates learners to optimally develop both their cognitive and motoric skill.
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Wolf, Edward, Dirk Möller, Nikolaus Ballenberger, Karsten Morisse, and Kristoff Zalpour. "Marker-Based Method for Analyzing the Three-Dimensional Upper Body Kinematics of Violinists and Violists: Development and Clinical Feasibility." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 179–90. http://dx.doi.org/10.21091/mppa.2019.4029.
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AIMS: High string players (violin and viola) often suffer from musculoskeletal disorders. Although 3D motion analysis has proved helpful in diagnosing different musculoskeletal syndromes and identifying injurious movement patterns in violin and viola performance, more detailed analyses of upper body movement strategies and especially of the shoulder complex have not yet been recorded. The use of spherical surface markers on some anatomical landmarks is, however, inappropriate when an instrument is being played. The aim of this study was to develop and evaluate a novel marker-based method for analyzing upper body kinematics of high string players using conditions specific to violin and viola playing. METHODS: A custom upper body marker set was developed and a biomechanical model applied to 3D motion capture data of the pelvis, thorax, spine, head, and both upper limbs (scapula, upper arm, forearm, hand) of 12 professional violinists, to assess its clinical feasibility. FINDINGS: Lumbar and thoracic spine, thorax, neck, and left upper limb were quite static, while extensive motion occurred in the right upper limb. Most rotation angles showed a reasonable intersubject variability except for glenohumeral and wrist joints. Significant differences were observed between G- and D-string bowing, especially in the left wrist and right shoulder joints. INTERPRETATION: This study suggests that the proposed method is a valid tool for quantifying upper body movements in violin and viola performance. With the extended upper body model, it will improve understanding of the motor strategies adopted by high string players and may contribute to injury prevention, diagnosis, and treatment.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Rensing, Nadine, Heike Schemmann, and Christoff Zalpour. "Musculoskeletal Demands in Violin and Viola Playing: A Literature Review." Medical Problems of Performing Artists 33, no. 4 (December 1, 2018): 265–74. http://dx.doi.org/10.21091/mppa.2018.4040.
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BACKGROUND/AIMS: Research in music medicine has reported incidence rates of musculoskeletal disorders of approx. 70% in instrumental musicians. String players have the highest risk, with rates of performance-related musculoskeletal disorders (PRMDs) of 65% to 88%. Playing the violin or viola requires complex neuromusculoskeletal skills, and the high frequency of repetitive movements, dynamic and static muscle load, awkward postures, poor technique, and practice time are factors causing musculoskeletal strain. In ergonomic terms, these disorders can be categorized based on extrinsic and intrinsic loads. Identification of intrinsic loads, such as muscle utilization and joint motion, is necessary to understand factors influencing musculoskeletal disorders associated with violin playing. The aim of this study was to review the literature on musculoskeletal demands in violin and viola playing. METHODS: A literature search was conducted in the PubMed, COCHRANE, and CINAHL electronic databases from 1999 to 2015 using the search terms violin, viola, high strings, movement, posture, and synonyms. A manual search of Medical Problems of Performing Artists was also conducted. Additional references were identified by searching the citations and reference lists of all identified relevant studies. RESULTS: The results suggest that an asymmetric playing posture, the associated muscle activity, and joint mobility may contribute to musculoskeletal problems in violin and viola players. Evidence suggests an increased load of intrinsic factors in violin/viola performance. CONCLUSION: The identification of intrinsic loads in violin and viola playing may facilitate the development of prevention strategies and interventions.
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Thorn, Seth Dominicus. "Flows of Inhomogeneous Matter: Improvising an augmented violin." Organised Sound 26, no. 1 (April 2021): 65–77. http://dx.doi.org/10.1017/s1355771821000066.
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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.
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YAMADA, Takeshi, Satoshi HIGAKI, Hironoshin YABU, and Koji SHIBUYA. "2P1-Q03 Study on Violin Performance Robot : Redesign of Robot Body and Development of Violin-Holding Mechanism(Robots for Amusement and Entertainment)." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2013 (2013): _2P1—Q03_1—_2P1—Q03_3. http://dx.doi.org/10.1299/jsmermd.2013._2p1-q03_1.
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Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.
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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to track the evolution of the melody ofS. Prokofiev. Scientific novelty claims relevance because, unfortunately,very little attention is paid to the unique lyrics of Prokofiev, which standsout very clearly among other composers. Therefore, the study of thecharacteristics of the canted melody reveals the melodic style in itsmainstream. Especially since it is the cantilena that contains the mostimportant artistic discoveries of the composer in the field of melody, this iswhere the peculiarity of his melodic thinking manifested itself.Conclusions. Prokofiev was one of the first composers of the twentiethcentury, who brought the violin art back to its natural, for centuries acertain lyrical-emotional direction. The violin in his works appears mostoften in the role of „actorˮ, who predominantly distinctly „singsˮ. Thisfeature is inextricably linked with the lyrical direction – very strong in allProkofievʼs works. The lyrical direction, we can assume, dominatesProkofievʼs entire violin heritage. His innovation in the field of updatingthe melody from the inside consisted in updating its imaginative,intonational, mode. Over the years, the Prokofievʼs violin style haschanged, reflecting the general evolution of its artistic and aestheticprinciples. The last period of his work was marked by the desire forsimplicity, clarity of musical thinking, and hence to even greater modesty,transparent texture, and wise savings in the means of expression.
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Gholson, Sylvia A. "Proximal Positioning: A Strategy of Practice in Violin Pedagogy." Journal of Research in Music Education 46, no. 4 (December 1998): 535–45. http://dx.doi.org/10.2307/3345349.
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The research problem for this study was the identification and characterization of patterns of expert teaching practice as they occurred in context. The primary participant, renowned violin pedagogue Dorothy DeLay, was observed in the natural setting of her studio, and her teaching practices were documented through field notes, audiotapes, and contextual artifacts. The theory of proximal positioning represents a dominant theme within the educational environment Delay created. This pattern of teaching practice accounts for the adjustments that a pedagogue makes in order to assist students through zones of proximal development. Two categories of teaching strategies support this theory. Preparatory strategies are characterized by teacher actions that reveal the overall goals of instruction and processes for probing student frames of reference. Facilitative strategies are characterized in terms of lesson-goal development, cognitive magnification of performance details (an attention-directing tactic), the use of metaphor (a cognitive structuring strategy), and the creation of contextual regions of comfort and challenge.
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Saruta, M., T. Miyai, A. Ming, C. Kanamori, and M. Shimojo. "Development of the robot hand for playing the violin : Analysis of human motion playing the violin and required specifications of the robot hand." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2004 (2004): 174. http://dx.doi.org/10.1299/jsmermd.2004.174_2.
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Raymaekers, Wim. "Bridge shapes of the violin and other bowed instruments, 1400–1900: the origin and evolution of their design." Early Music 48, no. 2 (May 2020): 225–50. http://dx.doi.org/10.1093/em/caaa027.
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Abstract As one goes back in time, the number of extant bowed instruments decreases gradually, and this is particularly true for loose parts such as bridges, pegs and tailpieces. The current article traces the development of bridges of instruments of the violin family, based on a study of extant instruments and around 800 iconographic sources. This study reveals the origins of the various elements of bridges found on modern instruments of the violin family, and reconstructs the different stages of their evolution. Many elements of the modern violin bridge were already present, sometimes hidden, in bowed-instrument bridges of the 16th century. The extensive appendices and many line drawings offer today’s researchers, makers and restorers the possibility of providing historically informed bridges that are less fantasized than those hitherto often encountered on restorations or reconstructions of old instruments.
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Mi Yeon Byun and 백민숙. "Design Development of Stage Clothes for Fashion Show -Focusing on violin play clothes-." Journal of Korea Design Knowledge ll, no. 24 (December 2012): 368–76. http://dx.doi.org/10.17246/jkdk.2012..24.035.
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Dzizinska, Nataliia. "The Second Violin Consert Of Bela Bartok In The Context Of Genre Development." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 127 (July 8, 2020): 67–82. http://dx.doi.org/10.31318/2522-4190.2020.127.213884.
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Ho, Tracy Kwei-Liang, Huann-shyang Lin, Ching-Kong Chen, and Jih-Long Tsai. "Development of a computer-based visualised quantitative learning system for playing violin vibrato." British Journal of Educational Technology 46, no. 1 (December 10, 2013): 71–81. http://dx.doi.org/10.1111/bjet.12124.
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Refsum Jensenius, Alexander, and Victoria Johnson. "Performing the Electric Violin in a Sonic Space." Computer Music Journal 36, no. 4 (December 2012): 28–39. http://dx.doi.org/10.1162/comj_a_00148.
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This article presents the development of the improvisation piece Transformation for electric violin and live electronics. The aim of the project was to develop an “invisible” technological setup that would allow the performer to move freely on stage while still being in full control of the electronics. The developed system consists of a video-based motion-tracking system, with a camera hanging in the ceiling above the stage. The performer's motion and position on stage is used to control the playback of sonic fragments from a database of violin sounds, using concatenative synthesis as the sound engine. The setup allows the performer to improvise freely together with the electronic sounds being played back as she moves around the “sonic space.” The system has been stable in rehearsal and performance, and the simplicity of the approach has been inspiring to both the performer and the audience.
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Simangunsong, Christine. "ANALISIS STRUKTUR MUSIK DAN TEKNIK BERMAIN BIOLA FOUR SEASON “WINTER” KARYA KOMPONIS ANTONIO VIVALDI." Grenek Music Journal 6, no. 1 (October 11, 2018): 1. http://dx.doi.org/10.24114/grenek.v6i1.10958.
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This study aims to determine how the structure of music andviolin technique Four Season "Winter" by composer Antonio Vivaldi.In the discussion of this study used the theories related to researchtopics such as Antonio Vivaldi biography, analytical understanding,understanding of musical forms, musical structure and technique ofplaying the violin. The method used by the researchers in this study isdescriptive-qualitative method. The sample in this study such as thesheet music and videos of Four Season "Winter" by composer AntonioVivaldi. The techniques of data collection in this research are workinglaboratory analysis the melody of violin instrument like musicalstructure and technique of playing the violin and literature studyconducted at the Laboratory of the Department of Music Arts, Facultyof Languages and Arts, State University of Medan. From the results ofthis study can be obtained structure of music Four Season "Winter" bycomposer Antonio Vivaldi has 63 bars with 12 motifs includingoriginal motive literal replications and development, up and downsequence, bridges, enlargement of the interval, 10 phrases and is a 3-part song form complex / major played by violin playing techniques asdiverse namely legato, staccato, trill, double stops, and sforzando andusing the dynamic crescendo, mezzo forte, forte, piano, with the righthand position of mixed fingering position of the I-VII. Interpretationof the Four Seasons "Winter" tells the eerie atmosphere transitionalclimate when winter freeze with the sound of the wind through thestrains indicated cruel instrument tones on the violin.
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Chamczyk, Ewa. "Duels in Sound: Pietro Antonio Locatelli vs Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 69–102. http://dx.doi.org/10.4467/23537094kmmuj.20.043.13916.
Full textAbstract:
The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute was the superiority of one of the performers in terms of interpretation and mastery of playing a given instrument, were increasingly growing in importance. The eighteenth century, in which public concert life flourished and demand for virtuoso instrumentalists consequently grew, brought a genuine boom in musical duels. During that era, musical duels were not only confrontations between individual musicians or their patrons, but also important contributions to the exchange of experiences between artists, the spread of musical novelties and dissemination of the works themselves. Additionally, such ‘battles’ symbolised a confrontation of musical styles, in particular the Italian and the French one. Jean-Marie Leclair, known as the French Corelli, is considered by many researchers as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli, is justifiably considered as the Paganini of the eighteenth century. Despite shared roots in the Italian violin school, their music differs in both form and expression. At first glance, Locatelli’s typically Italian music goes far beyond the previously accepted norms as far as demands placed on the violinists are concerned, whereas Leclair’s French music bears the mark of Antonio Vivaldi’s models set in the latter’s violin concertos. We know that the first confrontation of the violinists took place on 22 December 1728 at Kassel court. Some authors speculate that it was not the only meeting of these two musicians. The surviving accounts suggest that both of them stirred strong emotions among the audiences with their playing. Despite their enormous importance for the development of violin music, both composers remain underrated. This article briefly outlines the history of musical duels and sheds light on the practice of violin performances in the first half of the eighteenth century. Additionally, I have attempted a comparative analysis of selected violin concerts, namely: Locatelli’s Violin Concerto in G major Op. 3 No. 9 and Violin Concerto in A minor Op. 7 No. 5 by Jean-Marie Leclair. These two come from a similar period in the work of both composers and are close in time of composition to the famous duel.
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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
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Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Chamczyk, Ewa. "Pojedynki dźwiękiem pisane. Pietro Antonio Locatelli versus Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 71–104. http://dx.doi.org/10.4467/23537094kmmuj.20.018.13204.
Full textAbstract:
Duels of the Sound: Pietro Antonio Locatelli Versus Jean-Marie Leclair The tradition of musical duels harkens back to the days of the ancient Greece. One of the earliest examples of a musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the battles of the ancients served as an inspiration for the next generations of musicians. In each era, they took a different form, tailored to the prevailing norms and customs. In the 16th century the singing competitions of the Meistersingers became extremely popular, and along with the development of instrumental music in 17th century, duels, in which the main subject-matter of the dispute was the superiority of one of the performers in terms of interpretation and fluidity in playing a given instrument, gained increased importance. A real boom of musical duels did not came along until 18th century, in which public concerts bloomed and along with it, the demand for virtuoso instrumentalists increased. During that era, musical duels were not only confrontations between specific musicians or their patrons, but also contributed to the exchange of experiences between the artists and the spread of musical news and the works themselves. Additionally, the battles symbolised a confrontation of musical styles, in particular the Italian and French styles. Jean-Marie Leclair, known as the French Corelli, is considered by many researches as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli is justifiably considered the Paganini of the 18th century. Their music has shared roots in the tradition of the Italian violin school, yet it differs both in terms of its formality as well as expressiveness. At first glance the French music of J.M. Leclair bears the imprint of standards of the violin concerts of Antonio Vivaldi, whereas the typically Italian works of P.A. Locatelli significantly transcend the norms accepted at that time in terms of requirements imposed on violinists. We know that the first confrontation of the violinists took place on 22 December 1728 at the manor in Kassel. However, some speculate that it was not the only meeting of the musicians. The preserved information suggest that both of them stirred strong emotions among the audiences with their playing. The profiles of the aforementioned composers, despite their immense importance on the development of violin music, still remain underrated. This article outlines the short story of musical duels and sheds light on violin concerts in the first half of the 18th century. Additionally, the author made an attempt of a comparative analysis of selected violin concerts, i.e. Locatelli’s Violin Concerto in G major, Op. 3, No. 9 and Violin Concerto in A minor Op. 7, No. 5 by Jean-Marie Leclair’s from a similar artistic period of both composers and close in terms of the time of their creation to their famous duel.
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Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.
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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.
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Kim, Mingak, Seungyoung Yoo, Changgeun Song, Sungmin Koo, and Dukhwan Lim. "Development of an Automatic Bow Machine for Analyzing Harmonic Structures of the Violin Tone." Audiology and Speech Research 3, no. 2 (December 31, 2007): 145–47. http://dx.doi.org/10.21848/audiol.2007.3.2.145.
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Hutchins, Carleen M. "A 30‐year experiment in the acoustical and musical development of violin‐family instruments." Journal of the Acoustical Society of America 92, no. 2 (August 1992): 639–50. http://dx.doi.org/10.1121/1.403989.
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Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.
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Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical discrepancies, that would be caused by the change of orientation of composer’s creative method, and as a result, in the early works one can discern some key features of the mature ones. It is relevant, among others, for the sonata genre, where composers first achievements, incidentally, were made in its violin type, preceding highly individual accomplishments of piano sonatas. This situation in the given article is explained as a result of a composer becoming more and more mature as a musician through his life, undoubtedly influenced by special features of this process. Results and discussion. Given that F. Schubert’s Violin sonatas are named differently by performers, publishers and scholars (op. 137 consists of three Sonatas or Sonatinas, op. 162 is also known as “Duo”), it was necessary to conduct a research basing on various sources (Holl, 1973; Vetter, 1953; Deutsch, 1978), in order to ensure righteousness of definition of all the pieces regarded as “sonata”. On the foreground of observation on F. Schubert’s understanding of the cycle it was possible to reveal composer’s loyalty to rules of his time. Sonata ор. 137 № 1 is composed as a classical three-movement model; subsequent ones, including op. 162, embody four-movement model, and that can be a reason to draw parallels between F. Schubert and L. van Beethoven. Individual steps of the journey of author’s self-identification as a composer are traced. Sonata ор. 137 № 1 is marked by frequent employment of variative development in the principal theme of the first movement, that causes its turning into digressive episode; inclusion of contrasting episode in the middle sections of Andante in Sonatas ор. 137 № 2–3 (that is not prescribed by chosen musical form) foreshadows tonal device, favoured by F. Schubert in his mature works – preference to Subdominant sphere over Dominant in four-movement cycle with tonal and dramaturgical highlighting of pair “lyricism – game” in middle movements (slow ones and Minuets); binarity of tonal centres in expositions and even recapitulations of sonata form being substituted by ternarity, that causes a whole section to be a principal unit of structure etc. Sonata op. 162 acquires significance of climax in F. Schubert’s ascent to self-identity in sonata genre. Its expanded structure, including gigantic development of the Finale, Minuet being substituted by Scherzo, parts of performers being completely equal in every respect allow to regard this work as first “Grand Sonata” in F. Schubert’s legacy. Moreover – experience gained by composer while creating it will be applied in cyclic composition for piano in mature period of creativity. Conclusions. In Conclusions analytical observations are summarized and generalized as well as levels of artistic structure of Violin sonatas, incarnating specifics of F. Schubert’s understanding of music as a composer of his historical time, are revealed.
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Kajino, Ena. "A Lost Opportunity for Tradition: The Violin in Early Twentieth-Century Japanese Traditional Music." Nineteenth-Century Music Review 10, no. 2 (December 2013): 293–321. http://dx.doi.org/10.1017/s147940981300027x.
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Less than a century after the introduction of the violin to Japan, in the late nineteenth century, Japan offers the highest level of training on the instrument and has produced many internationally successful violinists. Although one can hardly imagine it from the current role of the violin in modern Japan, in the early twentieth century the instrument played a significant role, not in the development there of Western classical music, but in the survival of the indigenous Japanese music that we call today ‘traditional Japanese music’.With the flood of Western culture into Japan after the Meiji Restoration, of 1868, the Japanese government reconsidered whether their native music was worthy of Japan as a civilized country. In fact, except for court music, native Japanese music was held in low esteem by society and the government alike. The music of the shamisen was particularly problematic, due to the vulgar texts of shamisen songs and the low class status of shamisen consumers. Shakuhachi had until recently been restricted to Fuke monks, and was still establishing a new role in the musical culture. Thus, the whole world of ‘traditional Japanese music’ was entering a new age.It was during this period that many Japanese became acquainted with the violin, by playing it in ensemble with koto, shamisen and shakuhachi. Young Japanese professional musicians began to learn the violin. The principles of Western music they learned in this way gradually made their way into Japanese music. At one time, the ‘traditional Japanese music’ ensemble of violin with Japanese instruments seemed to have become firmly rooted in Japan as ‘home music’; but this has not turned out to be the case. As Japanese violinists have become increasingly dedicated to Western classical music, traditional Japanese music has once again become the exclusive use of native instruments.
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Knapp, Raymond. "Passing——and Failing——in Late-Nineteenth-Century Russia; or Why We Should Care about the Cuts in Tchaikovsky's Violin Concerto." 19th-Century Music 26, no. 3 (2003): 195–234. http://dx.doi.org/10.1525/ncm.2003.26.3.195.
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The traditional cuts in Tchaikovsky's Violin Concerto include nearly half of a developmental passage in the first movement and a series of shorter cuts in the finale. The first-movement cut comes after the second tutti, a triumphant thematic culmination that rings false on two levels, since it is a "polonaise" in 4/4, and since there has been no first tutti. The developmental passage that follows seems to confirm Tchaikovsky's self-confessed weakness in handling large-scale forms, but may arguably constitute an "anti-development" that sets up a mincing violin variation, which, in falling between two versions of the orchestral tutti and rescuing the larger group from its developmental ineptitude, models a homosexuality closeted within the aristocracy (this structural grouping reappears in the original slow movement). The various instances of "passing" in this movement (the faux polonaise, the "second tutti," the "anti-development," and a gradually emergent octatonic element in the violin climax just before these events) relate to Tchaikovsky's own "passing" dilemma, both as a homosexual and as a Russian nationalist working within Germanic forms; his specific treatment reflects the fact that the concerto was composed between his disastrous marriage and his later affiliation with the imperial court. A particular marker for Tchaikovsky's musical "passing" is the blended octatonic passage in the main theme of the finale——which, however, forms the core of the series of traditional cuts in that movement.
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Reynolds, Jonathan F., Robert E. Leduc, Emily K. Kahnert, and Paula M. Ludewig. "Development of three-dimensional shoulder kinematic and electromyographic exposure variation analysis methodology in violin musicians." Ergonomics 57, no. 7 (April 30, 2014): 1021–39. http://dx.doi.org/10.1080/00140139.2014.907448.
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Sayers, Samantha, Guerlain Ulysse, Zuoshuang Xiang, and Yongqun He. "Vaxjo: A Web-Based Vaccine Adjuvant Database and Its Application for Analysis of Vaccine Adjuvants and Their Uses in Vaccine Development." Journal of Biomedicine and Biotechnology 2012 (2012): 1–13. http://dx.doi.org/10.1155/2012/831486.
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Vaccine adjuvants are compounds that enhance host immune responses to co-administered antigens in vaccines. Vaxjo is a web-based central database and analysis system that curates, stores, and analyzes vaccine adjuvants and their usages in vaccine development. Basic information of a vaccine adjuvant stored in Vaxjo includes adjuvant name, components, structure, appearance, storage, preparation, function, safety, and vaccines that use this adjuvant. Reliable references are curated and cited. Bioinformatics scripts are developed and used to link vaccine adjuvants to different adjuvanted vaccines stored in the general VIOLIN vaccine database. Presently, 103 vaccine adjuvants have been curated in Vaxjo. Among these adjuvants, 98 have been used in 384 vaccines stored in VIOLIN against over 81 pathogens, cancers, or allergies. All these vaccine adjuvants are categorized and analyzed based on adjuvant types, pathogens used, and vaccine types. As a use case study of vaccine adjuvants in infectious disease vaccines, the adjuvants used inBrucellavaccines are specifically analyzed. A user-friendly web query and visualization interface is developed for interactive vaccine adjuvant search. To support data exchange, the information of vaccine adjuvants is stored in the Vaccine Ontology (VO) in the Web Ontology Language (OWL) format.
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Kabnani, Jefri Soli. "Sasandu Gong and Sasando Violin: Changing the Pentatonic Scales to Diatonic." Resital: Jurnal Seni Pertunjukan 22, no. 1 (September 23, 2021): 24–35. http://dx.doi.org/10.24821/resital.v22i1.3728.
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This study aims to determine the main causes of changes in the scales that occur. Changes in the scale of the Sasando musical instrument are influenced by mass culture, popular culture and the development of the market industry which has led to the tendency of the people of NTT, especially the city of Kupang to lead to Western lifestyles as if starting to leave local traditions. Values, meanings and social functions of Sasandu Gong are diminished and will even disappear in future generations. The influence of colonialism is assumed to be the cause of the people of Kupang prefer something modern than local wisdom. Some articles, journals, books and even websites often talk about the implementation of local cultural values as a cultural heritage and traditional art which is the identity of the Indonesian people. The author uses the concept of Leela Gandhi and Edward Said in general to discuss efforts to undermine Western hegemony, in which the domination of Western powers over the Eastern world considers the East as weak and full of imagination. The qualitative method is used as an exploratory approach that relies on in-depth data analysis in the form of text obtained from the speakers. The research results are discussed in three (3) stages. First, from the Postcolonial perspective that the change occurred starting from the history of the entry of Christianity into East Nusa Tenggara (NTT) by the Dutch people. Second, musicologically, Sasando Violin experienced the development of scales with several variations made by Mr. Drs. Djony L. K. Theedens. Third, the physicality of the sound of the Sasas Gong changes in shifting functions, values, and meanings that existed before.
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Malshina, Nataliya А., and Quanzhi Mu. "The Mechanisms of Development of Musical Culture Industry in Russia and China: Educational Cooperation." ICONI, no. 4 (2019): 6–13. http://dx.doi.org/10.33779/2658-4824.2019.4.006-013.
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The increasing globalization and internationalization of the cultural industry requires careful consideration of the global trends in the development of the cultural industry. During the last decade many Asian countries, especially China, have also taken a leading position in the global market of services of the cultural industry. China has achieved an impressive amount of success in the development and industry of culture and tourism around the world. The relevance of this study is due to the opportunities and need to make use of the experience of China for the development of the cultural industry and, primarily, musical culture in Russia. The development of the cultural industry, the experience of propaganda, the experience of opposing the Western model, and the experience of financing and internationalization must be studied and adapted to Russian conditions. After the Nanjing Peace Treaty of 1842 there began a gradual influence of European artistic achievements on China. Solo violin, chamber and orchestral music became widespread, the system of professional training for violinists began to take shape, and Chinese composers started composing their first works for the violin. In the context of the formation of a contemporary model of relations between Russia and China, scientific and educational cooperation involves a detailed analysis of the mechanisms of the organization of partner countries and the identification of possible ways of cooperation in this area. The development of the management experience of cultural industry, propaganda experience, the experience of opposition to the Western model, and the experience of financing and internationalization must be studied and disseminated in the Russian context.
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Hasegawa, Natsumi, Hironoshin Yabu, and Koji Shibuya. "2A1-L06 Development and Evaluation of Right Forearm and Wrist for Violin-playing Robot(Communication Robot)." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2014 (2014): _2A1—L06_1—_2A1—L06_4. http://dx.doi.org/10.1299/jsmermd.2014._2a1-l06_1.
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Visentin, Peter, Shiming Li, Guillaume Tardif, and Gongbing Shan. "Unraveling mysteries of personal performance style; biomechanics of left-hand position changes (shifting) in violin performance." PeerJ 3 (October 1, 2015): e1299. http://dx.doi.org/10.7717/peerj.1299.
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Instrumental music performance ranks among the most complex of learned human behaviors, requiring development of highly nuanced powers of sensory and neural discrimination, intricate motor skills, and adaptive abilities in a temporal activity. Teaching, learning and performing on the violin generally occur within musico-cultural parameters most often transmitted through aural traditions that include both verbal instruction and performance modeling. In most parts of the world, violin is taught in a manner virtually indistinguishable from that used 200 years ago. The current study uses methods from movement science to examine the “how” and “what” of left-hand position changes (shifting), a movement skill essential during violin performance. In doing so, it begins a discussion of artistic individualization in terms of anthropometry, the performer-instrument interface, and the strategic use of motor behaviors. Results based on 540 shifting samples, a case series of 6 professional-level violinists, showed that some elements of the skill were individualized in surprising ways while others were explainable by anthropometry, ergonomics and entrainment. Remarkably, results demonstrated each violinist to have developed an individualized pacing for shifts, a feature that should influence timing effects and prove foundational to aesthetic outcomes during performance. Such results underpin the potential for scientific methodologies to unravel mysteries of performance that are associated with a performer’s personal artistic style.
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Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.
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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of gender equality is quite acute in contemporary public discourse. The indicated tendencies determine the interest of many musicians and listeners in the work of women-composers (for example, recently, the creativity by Clara Schumann attracts the attention of performers all over the world, in particular, in Ukraine the International Music Festival “Kharkiv Assemblies” – 2018 was dedicated to her works). The theme of the proposed work is also a response to the noted trends in performing practice and musicology discourse. For the first time in domestic musicology an attempt is made to give a brief overview of the life and career of another talented woman, whose name is little known in the post-Soviet space. This is a Swedish violinist, composer and pianist Amanda Röntgen-Maier (1853–1894), a graduate of the Stockholm Royal College of Music and the Leipzig Conservatory, a contemporary of Clara Schumann, J. Brahms, E. Grieg, with whom she and her husband – composer, pianist, conductor Julius Röntgen – were associated for enough long time by creative and friendly relationships. In the post-Soviet space, not a single work has been published that would be dedicated to the works of A. Maier. In European and American musicology, the composer’s personality and creative heritage is also not widely studied. Her name is only occasionally mentioned in works examining the musical culture and, in particular, the performing arts of Sweden at that time (Jönsson, Å., 1995, 151–156; Karlsson, Å., 1994, 38–43; Lundholm, L., 1992, 14–15; Löndahl, T., 1994; Öhrström, E., 1987, 1995). The aim of the proposed study is to characterize Amanda Meier’s creative heritage in the context of European romanticism. Research results. Based on the available sources, we summarized the basic information about the life and career of A. Maier. Carolina Amanda Erica Maier (married Röntgen-Maier ) was born on February 20, 1853 in Landskrona. She received the first music lessons from his father, Karl Edward Mayer, a native of Germany (from Württemberg), who worked as a confectioner in Landskrona, but also studied music, in particular, in 1852 he received a diploma of “music director” in Stockholm and had regular contracts. In 1869, Amanda entered to the Kungliga Musikaliska akademien (Royal College of Music) in Stockholm. There she learns to play several instruments at once: the violin, cello, piano, organ, and also studies history, music theory and musical aesthetics. A. Maier graduated from Royal College successfully and became the first woman who received the title of “Musik Direktor”. The final concert, which took place in April 1873, included the performance of the program on the violin and on the organ and also A. Maier’s own work – the Romance for Violin. In the spring of 1874, Amanda received the grant from the Royal College for further studies at the Leipzig Conservatory. Here, Engelbert Röntgen, the accompanist of the glorious orchestra Gewandhaus, becomes her teacher on the violin, and she studies harmony and composition under the guidance of Karl Heinrich Karsten Reinecke and Ernst Friedrich Richter. Education in Leipzig lasts from 1874 to 1876. In the summer and autumn of 1875, A. Maier returns to Landskron, where she writes the first major work – the Concerto for violin and orchestra in one-movement, D minor, which was performed twice: in December 1875 in Halle and in February 1876 with the Gewandhaus Orchestra under the direction of K. Reinecke. The further career of A. Maier, both performing and composing, developed very successfully. She made several major concert trips between 1876 and 1880: to Sweden and Norway, to Finland and St. Petersburg; she also played to the Swedish king Oscar II (1876); concerts were held with constant success. While studying in Leipzig, A. Maier met her future husband (the son of her violin teacher) Julius Röntgen, composer and conductor. They married 1880 in Landskrona. Their personal relationships included active creative communication, both playing music together, and exchanging musical ideas, getting to know each other’s works. Part of his chamber opuses, for example, the cycle of Swedish folk dances, A. Maier created in collaboration with her husband. An analogy with life of Robert and Clara Schumann may take place here, although the Röntgen spouses did not have to endure such dramatic collisions that fell to the lot of the first. After the wedding, Röntgen family moved to Amsterdam, where Julius Röntgen soon occupies senior positions in several music organizations. On the contrary, the concert and composing activities of A. Maier go to the decline. This was due both, to the birth of two sons, and to a significant deterioration in her health. Nevertheless, she maintains her violin skills at the proper level and actively participates in performances in music salons, which the family arranges at home. The guests of these meetings were, in particular, J. Brahms, K. Schumann, E. Grieg with his wife and A. Rubinstein. The last years of A. Maier’s life were connected with Nice, Davos and Norway. In the fall of 1888 she was in Nice with the goal of treating the lungs, communicating there with her friends Heinrich and Elizabeth Herzogenberg. With the latter, they played Brahms violin sonatas, and the next (1889) year A. Maier played the same pieces with Clara Schumann. Amanda Maier spent the autumn of 1889 under the supervision of doctors in Davos, and the winter – in Nice. In 1890, she returned to Amsterdam. His last major work dates back to 1891 – the Piano Quartet in D minor. During the last three years of her life, she visited Denmark, Sweden and Norway, where she performed, among other, her husband’s works, for example, the suite “From Jotunheim”. In the summer of 1889, A. Maier took part in concerts at the Nirgaard Castle in Denmark. In 1894, she returned to Amsterdam again. Her health seems stable, a few hours before her death she was conducting classes with her sons. A. Maier died July 15, 1894. The works of A. Maier, published during the life of the composer, include the following: Sonata in H minor (1878); 6 Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891). Still unprinted are the following works: Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. The composer style of A. Mayer incorporates the characteristic features of the Romantic era, in particular, the Leipzig school. Lyric elements prevail in her works, although the composer is not alien to dramatic, heroic, epic images (the Piano Quartet E minor, some pieces from the Six Songs for Violin and Piano series). In the embodiment of such a circle of images, parallels with the musical style of the works of J. Brahms are quite clearly traced. In constructing thematic structures, A. Maier relies on the melody of the Schubert-Mendelssohn type. The compositional solutions are defined mainly by the classical principles of forming, which resembles the works of F. Mendelssohn, the late chamber compositions of R. Schumann, where the lyrical expression gets a clear, complete form. The harmonic language of the works of A. Maier gravitates toward classical functionality rather than the uncertainty, instability and colorfulness inherent in the harmony of F. Liszt, R. Wagner and their followers. The main instrument, for which most of the opuses by A. Maier was created, the violin, is interpreted in various ways: it appears both, in the lyrical and the virtuoso roles. The piano texture of chamber compositions by A. Maier is quite developed and rich; the composer clearly gravitates towards the equality of all parties in an ensemble. At the same time, piano techniques are reminiscent of texture formulas by F. Mendelssohn and J. Brahms. Finally, in A. Mayer’s works manifest themself such characteristic of European romanticism, as attraction to folklore, a reliance on folk song sources. Conclusions. Periods in the history of music seemed already well studied, hide many more composer names and works, which are worthy of the attention of performers, musicologists and listeners. A. Mayer’s creativity, despite the lack of pronounced innovation, has an independent artistic value and, at the same time, is one of such musical phenomena that help to compile a more complete picture of the development of musical art in the XIX century and gain a deeper understanding of the musical culture of this period. The prospect of further development of the topic of this essay should be a more detailed study of the creative heritage of A. Maier in the context of European musical Romanticism.
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Taher, Cecilia, Robert Hasegawa, and Stephen McAdams. "Effects of Musical Context on the Recognition of Musical Motives During Listening." Music Perception 36, no. 1 (September 1, 2018): 77–97. http://dx.doi.org/10.1525/mp.2018.36.1.77.
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Previous research suggests that musical context affects the formation of similarity relations among motivic/thematic materials during listening, and that three contextual aspects, namely contrasts in surface features and the organization and development of the musical materials, shape the listening experience of complete works. We empirically investigate the effects of these three contextual aspects on the perceived similarity of motivic variations while listening to Boulez's Anthèmes. This piece exists in two versions: 1) solo violin, and 2) violin and electronics. They contain clear categories of motivic materials, whose recognition can be studied within the natural contexts of the two versions. In Experiment 1, participants freely classified motivic variations extracted from Anthèmes 1 representing different motivic categories. In Experiment 2, participants provided dissimilarity ratings for these variations. From these results, motivic models were selected for each category. In Experiment 3, musicians identified variations of the models while listening to either version of Anthèmes. The results indicate that musical contexts that are more contrasting on the surface, or more predictable in terms of motivic features and organization, facilitate the identification of motivic variations, whereas the overall formal development of the musical materials and their context over time disturbs the recognition of those variations.
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Clarke, Eric, Mark Doffman, and Renee Timmers. "Creativity, Collaboration and Development in Jeremy Thurlow's Ouija for Peter Sheppard Skærved." Journal of the Royal Musical Association 141, no. 1 (2016): 113–65. http://dx.doi.org/10.1080/02690403.2016.1151240.
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ABSTRACTThis article documents and analyses a creative collaboration between the composer Jeremy Thurlow and the violinist Peter Sheppard Skærved in the production of Ouija, a work for solo violin and laptop computer. The article situates the account of this creative process within recent literature on distributed and collaborative creativity, and focuses on three aspects of the project: verbal interaction between the two musicians, analysed in terms of ‘creative-talk’ and ‘face-talk’, and the relationship between immediate and more contextual concerns (‘inside/outside the room’); a quantitative analysis of changes in the musical material, focusing on timing; and a qualitative analysis of the role of the violinist's embodied and instrumental engagement with the music. The article discusses the findings in relation to forwards-orientated (process) and backwards-orientated (product) conceptions of creativity, the operation of different social components in creative collaboration and the relationship between craft, history and embodiment.