Relevant bibliographies by topics / Violin

Academic literature on the topic 'Violin'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2024

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Journal articles on the topic "Violin"

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Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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Perea, Manuel, and Victoria Panadero. "Does Viotin Activate Violin More Than Viocin?" Experimental Psychology 61, no. 1 (January 1, 2014): 23–29. http://dx.doi.org/10.1027/1618-3169/a000223.

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The vast majority of neural and computational models of visual-word recognition assume that lexical access is achieved via the activation of abstract letter identities. Thus, a word’s overall shape should play no role in this process. In the present lexical decision experiment, we compared word-like pseudowords like viotín (same shape as its base word: violín) vs. viocín (different shape) in mature (college-aged skilled readers), immature (normally reading children), and immature/impaired (young readers with developmental dyslexia) word-recognition systems. Results revealed similar response times (and error rates) to consistent-shape and inconsistent-shape pseudowords for both adult skilled readers and normally reading children – this is consistent with current models of visual-word recognition. In contrast, young readers with developmental dyslexia made significantly more errors to viotín-like pseudowords than to viocín-like pseudowords. Thus, unlike normally reading children, young readers with developmental dyslexia are sensitive to a word’s visual cues, presumably because of poor letter representations.
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Mihălcică, Mircea, Mariana Domnica Stanciu, Silviu Marian Nastac, Florin Dinulică, Alina Maria Nauncef, Ioan Călin Roșca, and Adriana Savin. "Signature Modes of Old and New Violins with Symmetric Anatomical Wood Structure." Applied Sciences 11, no. 23 (November 29, 2021): 11297. http://dx.doi.org/10.3390/app112311297.

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The paper aims to investigate old and new violins from the perspective of the correlation between the anatomical structure of spruce and maple wood, and the dynamic response of violins. Thus, in the first stage, for each violin, the characteristics of the annual rings were measured on the entire width of the top plate, determining the degree of symmetry of the face with respect to the longitudinal axis of the violin body. Then, each violin was dynamically tested with the impact hammer, determining its own frequency spectrum, mainly the so-called “signature” mode and quality factors. The most important findings consist of identification of the first five modes for old violins, (known as provenance), current new violins, and violins whose origin is unknown, but which could correlate with anatomical, constructive and dynamic characteristics, in order to be able establish origins, and also the measurement of anatomical features of top and back plates in the violins’ construction.
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Caselli, Gabriele, Giovanni Cecchi, and Giulio Masetti. "Characteristics, mechanisms, and perceivability of combination tones in violins." Journal of the Acoustical Society of America 152, no. 5 (November 2022): 2513–23. http://dx.doi.org/10.1121/10.0014600.

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Combination tones (CTs) generated by the inner ear have been widely investigated in the past, starting from the famous Tartini's “third tone.” Instead, much less attention has been dedicated to the CTs generated by musical instruments. In this paper, the CTs generated by a set of violins of different quality and age have been investigated when playing a selected set of dyads. CTs were found in all of the violins, and the strongest of them occurred at a frequency below the lower note of the dyad. Its amplitude was strongly dependent on violin and dyad played and was greatest in two old Italian violins and decreased down to a minimum in a factory-made violin. All of these findings are well explained by the boosting action of A0, the main air resonance of the violin that correlates well with the strongest CT. A listening test, performed using selected dyads and violins, showed that the differences between dyads with and without CTs were correctly recognized by a group of professional and amateur musicians, suggesting a possible musical significance of the main CT. The results investigating the possible source of violin nonlinearity are also described.
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Wang, Qi, and Changchun Bao. "Individual Violin Recognition Method Combining Tonal and Nontonal Features." Electronics 9, no. 6 (June 8, 2020): 950. http://dx.doi.org/10.3390/electronics9060950.

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Individual recognition among instruments of the same type is a challenging problem and it has been rarely investigated. In this study, the individual recognition of violins is explored. Based on the source–filter model, the spectrum can be divided into tonal content and nontonal content, which reflects the timbre from complementary aspects. The tonal/nontonal gammatone frequency cepstral coefficients (GFCC) are combined to describe the corresponding spectrum contents in this study. In the recognition system, Gaussian mixture models–universal background model (GMM–UBM) is employed to parameterize the distribution of the combined features. In order to evaluate the recognition task of violin individuals, a solo dataset including 86 violins is developed in this study. Compared with other features, the combined features show a better performance in both individual violin recognition and violin grade classification. Experimental results also show the GMM–UBM outperforms the CNN, especially when the training data are limited. Finally, the effect of players on the individual violin recognition is investigated.
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Stanciu, Mariana Domnica, Mircea Mihălcică, Florin Dinulică, Alina Maria Nauncef, Robert Purdoiu, Radu Lăcătuș, and Ghiorghe Vasile Gliga. "X-ray Imaging and Computed Tomography for the Identification of Geometry and Construction Elements in the Structure of Old Violins." Materials 14, no. 20 (October 9, 2021): 5926. http://dx.doi.org/10.3390/ma14205926.

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Numerous studies on heritage violins have shown that there are a number of factors that contribute to the acoustic quality of old violins. Among them are the geometric shape of the violin, the thickness of the tiles, the arching of the tiles, the dimensions and position of the bass bar, the size and position of the acoustic holes. Thus, the paper aims to compare the structural and constructive elements of old violins made in various famous violin workshops (Stainer, Klotz, Leeb, Babos Bela), using nondestructive and noncontact techniques based on image analysis. The violins that were studied date from 1716 to 1920, being in good condition, most of them being used by artists from the Brașov Philharmonic of Romania. In the first stage of the study, the violins were optically analyzed and scanned to identify the structure of the resonant wood, using the WinDENDRO Density 2007 program. X-ray imaging and computed tomography (CT) were also used. Combining the types of analyses, capitalizing on the expertise of violin producers and the knowledge of researchers in the field, valuable data on the geometric and constructive characteristics of old violins were extracted.
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Mahmudin, Mohammad. "ANALISIS TEKNIK PERMAINAN VIOLIN II PADA LAGU CONCERTO FOR TWO VIOLINS, 1st MOVEMENT KARYA J.S. BACH." Repertoar Journal 2, no. 2 (July 9, 2022): 295–311. http://dx.doi.org/10.26740/rj.v2n2.p295-311.

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Abstrak: Penelitian ini membahas tentang teknik permainan violin yaitu teknik bowing dan teknik fingering lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Penelitian ini bertujuan untuk mendeskripsikan teknik permainan violin II pada Lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Metode yang digunakan pada penelitian ini adalah metode penelitian kualitatif deskriptif. Data yang diperoleh dalam penelitian ini melalui observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan adalah reduksi data, penyajian data, dan kesimpulan data. Sementara itu, terdapat uji keabsahan data dengan teknik triangulasi. Hasil penelitian menunjukkan bahwa teknik permainan yang digunakan violin II pada lagu Concerto For Two Violins, 1st Movement karya J.S. Bach adalah teknik staccato, legato, legatura, trill, tenutto, vobrato dan accent. Sementara itu, terdapat tanda ekspresi dan dinamika diantaranya adalah diminuendo, poco dim, ritardo, vermata, forte (f), mezzo forte (ff), crescendo (<), decrescendo (>), piano (p), pianissimo (pp), dan mezzo piano (mp).
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Widyaswara, Silvana Nada, and Slamet Haryono. "Bamboo Violin Innovation in Japan Village Kudus Regency." Jurnal Seni Musik 12, no. 1 (June 30, 2023): 60–70. http://dx.doi.org/10.15294/jsm.v12i1.68111.

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The violin is a common musical instrument constructed of wood, specifically a variety of maple wood. A bamboo violin musical instrument has been created by a woodworker from Kudus Regency's Japan Village. The aim of this study was to discover and describe the innovations used by woodworkers in the production of violins in Japan Village, Kudus Regency, as well as the discovery and description of the production method for bamboo-based violins in Japan Village, Kudus Regency. The research was conducted using a case study research design and a qualitative research methodology. Following are the study's findings: 1) Local wood and bamboo, such as petung bamboo, rosewood wood, Dutch teak wood, and wood mahogany, are used as the basic building blocks for violins. Wood craftsmen also incorporate Indonesian wayang carvings and a scroll design with an eagle head and a puppet head that both have symbolic meaning when creating violin designs for their musical instruments.
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Dondi, Piercarlo, Luca Lombardi, Marco Malagodi, and Maurizio Licchelli. "3D modelling and measurements of historical violins." ACTA IMEKO 6, no. 3 (September 27, 2017): 29. http://dx.doi.org/10.21014/acta_imeko.v6i3.455.

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Measuring historical violins provides crucial information about the morphology of the instruments, useful both for researchers and violin makers. Generally, these measures are taken manually using a calliper, but they can be repeated only occasionally due to both the restricted access to these precious instruments and the need of avoiding accidental damages to the wood or to the varnishes. In this work, we describe and assess the accuracy of a protocol for the acquisition and creation of high quality 3D models of violins, suitable for taking accurate measurements. Six historical violins of 17th – 18th centuries, kept in “Museo del Violino” in Cremona (Italy), were used as test set. The quality of the final outcomes was checked comparing measures taken on the 3D meshes with the correspondent ones taken by calliper on the original instruments. Finally, a comparison between the sound board of the instruments were performed.
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Tai, Hwan-Ching, Yen-Ping Shen, Jer-Horng Lin, and Dai-Ting Chung. "Acoustic evolution of old Italian violins from Amati to Stradivari." Proceedings of the National Academy of Sciences 115, no. 23 (May 21, 2018): 5926–31. http://dx.doi.org/10.1073/pnas.1800666115.

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The shape and design of the modern violin are largely influenced by two makers from Cremona, Italy: The instrument was invented by Andrea Amati and then improved by Antonio Stradivari. Although the construction methods of Amati and Stradivari have been carefully examined, the underlying acoustic qualities which contribute to their popularity are little understood. According to Geminiani, a Baroque violinist, the ideal violin tone should “rival the most perfect human voice.” To investigate whether Amati and Stradivari violins produce voice-like features, we recorded the scales of 15 antique Italian violins as well as male and female singers. The frequency response curves are similar between the Andrea Amati violin and human singers, up to ∼4.2 kHz. By linear predictive coding analyses, the first two formants of the Amati exhibit vowel-like qualities (F1/F2 = 503/1,583 Hz), mapping to the central region on the vowel diagram. Its third and fourth formants (F3/F4 = 2,602/3,731 Hz) resemble those produced by male singers. Using F1 to F4 values to estimate the corresponding vocal tract length, we observed that antique Italian violins generally resemble basses/baritones, but Stradivari violins are closer to tenors/altos. Furthermore, the vowel qualities of Stradivari violins show reduced backness and height. The unique formant properties displayed by Stradivari violins may represent the acoustic correlate of their distinctive brilliance perceived by musicians. Our data demonstrate that the pioneering designs of Cremonese violins exhibit voice-like qualities in their acoustic output.
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Dissertations / Theses on the topic "Violin"

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Lischka, Rainer. "Violin-Samba: für 2 Violinen." Rainer Lischka, 2013. https://slub.qucosa.de/id/qucosa%3A23416.

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Bruderer, Conrad David. "A study of twentieth-century violin and viola duos : including critical reviews and analyses of selected works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839494.

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Thesis (Ph. D.--Music)--University of California, San Diego, 1998.
Vita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.
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Heras, i. Fortuny Lluís Maria. "El violó tenor en la música espanyola dels segles XVI al XIX." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/671814.

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La present tesi, al voltant de l’existència del violó tenor i el seu paper en la música espanyola dels segles XVI al XIX, basa la recerca en dos àmbits principals: d’una banda, clarifica els aspectes etimològics del terme ‘violón’ tot determinant a quin instrument corresponia aquest terme en cada època i lloc. D’altra banda, aporta evidències que avalen l’existència, i ús, del violó tenor en la música espanyola d’aquest període. La recerca sobre l’etimologia es basa en la consulta de documentació civil diversa: actes, diccionaris històrics, partitures, tractats, etc.. La recerca al voltant de violó tenor contempla diversos vessants: en primer lloc, inclou una base de dades d’aproximadament cinc-centes partitures (amb parts destacades de violó, en funcions diferents a les de l’acompanyament continu) procedents del buidat exhaustiu d’una trentena d’arxius espanyols. D’aquestes partitures s’analitzen detalladament setanta-sis obres que aporten dades objectives sobre clau, àmbit i nota mediana de la tessitura emprada, que són fonamentals per a determinar les característiques de l’instrument idoni per a interpretar cada una d’aquestes parts. En segon lloc, s’inclou una base de dades que cataloga violons espanyols dels segles XVII i XVIII, en la que es constata l’existència d’instruments amb característiques de violons tenors. Finalment, una darrera base de dades amb obres d’art hispàniques dels segles XVI al XVIII en les que hi ha representacions de violons que completen la informació sobre la diversitat organològica dels violons en aquella època. Aquesta recerca s’ha fet comparant els resultats obtinguts amb resultats d’estudis sobre casos similars en la música europea del mateix període. El resultat i la discussió de les dades obtingudes porten a concloure que el violó tenor, en les seves diverses versions, va tenir un espai propi, encara que minoritari, en la música espanyola entre els segles XVI i XIX.
La presente tesis, acerca de la existencia del violón tenor y su papel en la música española de los siglos XVI al XIX, basa su investigación en dos áreas principales: en primer lugar, clarifica los aspectos etimológicos del término ‘violón’, determinando a qué instrumento correspondía este término en cada época y lugar. Por otro lado, aporta evidencias que avalan la existencia, y uso, del violón tenor en la música española de ese período. La investigación acerca de la etimología está basada en la consulta de documentación civil diversa: actas, diccionarios históricos, partituras, tratados, etc.. La investigación acerca del violón tenor contempla diversos aspectos: en primer lugar, incluye una base de datos de aproximadamente quinientas partituras (con partes destacadas de violón, en funciones distintas a las del acompañamiento continuo), provenientes del vaciado exhaustivo de una treintena de archivos españoles. De estas partituras se muestra un análisis detallado de setenta y seis obras que aportan datos objetivos sobre clave, ámbito y nota mediana de la tesitura empleada, que resultan fundamentales para determinar las características del instrumento ideal para interpretar cada una de esas partes. En segundo lugar, se incluye una base de datos que cataloga violones españoles de los siglos XVII y XVIII, en la que se constata la existencia de instrumentos con características de violones tenores. Finalmente, una última base de datos con obras de arte hispánicas de los siglos XVI al XVIII en las que se representan violones que completan la diversidad organológica de los violones de aquella época. Esta investigación se ha realizado comparando los resultados obtenidos con resultados de estudios sobre casos similares en la música europea del mismo período. El resultado y la discusión de los datos obtenidos llevan a la conclusión que el violón tenor, en sus distintas versiones, tuvo un espacio propio, aunque minoritario, en la música española entre los siglos XVI y XIX.
The present thesis, based on the existence of the tenor violin in the Spanish music between the 16th and 19th centuries, focuses the research on two main areas: on the one hand, it clarifies the etymological aspects of the term ‘violón’ by determining which instrument this term corresponded in each era and each place. On the other hand, it provides evidence to support the existence and use of the tenor violin in Spanish music in this period. The etymological research is based on the consultation of various civil documents: deeds, historical dictionaries, scores, treatises, etc. The research on the tenor violin examines several aspects: first, it includes a database of about five hundred scores (with prominent violón parts) from about thirty Spanish archives. Of these, seventy-six works are analyzed in detail to provide objective data on the keys, range and pitch median of the tessitura employed, which is fundamental for determining the characteristics of the ideal instrument for performance of each. Secondly, it includes a database cataloging Spanish stringed instruments from the 17th and 18th centuries, confirming the existence of instruments with the characteristics of tenor violins. Finally, it presents a final database of Hispanic artworks from the 16th to the 18th centuries in which the representation of stringed instruments completes the information on the organological diversity of stringed instruments at that time. This research was carried out by comparing the results with the results of other studies on similar cases in European music of the same period. The results and the subsequent discussion of the data lead to the conclusion that the tenor violin, in its various forms, had a place of its own, albeit a minority one, in Spanish music between the 16th and 19th centuries.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
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Benjumea, Natalia Londoño. "Posicionamento na mão esquerda do violino : um estudo experimental com iniciantes." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/115660.

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A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros.
The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.
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Andersson, Oskar. "Liten till stor : Att byta från violin till viola." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79008.

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Efter att vid två olika tillfällen spelat på masterclasses för violinprofessor Ulf Wallin, rekommenderades jag ett huvudinstrumentbyte från violin till viola. Detta med tanke på de rygg- och nackproblem som jag brottats med under en längre period och som hindrat mig från att komma vidare i mitt violinspel. I detta arbete utforskar jag speltekniska skillnader mellan violin och viola. Jag har under åtta veckor systematiskt övat på skalor, etyder och repertoar. Jag har valt att dela upp processen i fyra olika moment: instrumentfattning, stråkteknik, intonation och altklav. Under processen redogör jag för hur jag arbetat med de olika momenten och med hjälp av mina lärare tagit mig an de utmaningar jag stött på. Jag har regelbundet fört loggbok och antecknat intressanta saker jag upptäckt under övningspassen. Jag har också spelat in videoklipp för att kunna följa min utveckling. Jag har analyserat denna process utifrån Gibsons affordance-begrepp, vilket har fått mig att inse varför jag har olika förutsättningar beroende på om jag spelar violin eller viola. Arbetet har resulterat i att jag uppnått en förbättrad teknik och musikaliskt uttryck. Jag redovisar det genom en inspelning jag gjort av ett solostycke med ljud och bild i en gotländsk kyrka.
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Walton, Eliot Alexander Lawson. "Léon Souroujon: complete works for violin solo." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28521.

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Leon Souroujon (1913–2007) was a well-known Bulgarian violinist and pedagogue, however, his importance as a composer is yet to be recognised. One of the objectives of this dissertation is to present Souroujon as a composer who has a unique style and whose contribution to the unaccompanied solo violin genre is noteworthy. Another objective is to introduce and categorize his collection of published and unpublished compositions and to create a new complete edition of all his compositions. Adopting a qualitative approach, extensive research has been conducted in order to comprehend the historical setting of Souroujon’s life and career. The study highlights important compositions in the development of unaccompanied solo violin genre that extends from the Baroque through to the 20th century and references the composers that influenced Souroujon. Some related information about societal shifts in Europe (in particular about the Second World War) that was linked to the historical development of the unaccompanied solo violin genre was gathered from a rich source of academic literature, online archives, audio recordings, and a varied bibliography. Leon Souroujon’s library of manuscripts reveals his compositional process and is evidence of his being a self-realized composer with a cohesive oeuvre. The dissertation includes the performance of three recitals in which Souroujon’s compositions are performed and juxtaposed to other pieces, including the seminal works of Bach, Paganini and Ysaÿe. Souroujon’s compositions display his own musical language, articulated both by his way of composing and his preferences for certain musical textures and expressions stemming from his influences: Sephardic Jewish folk music, Romantic Music, Classical Music, and violin playing traditions. His compositions, the first complete edition of his work, certificates, diplomas, documents, and photographs are catalogued in the appendices; LEON SOUROUJON: OBRAS COMPLETAS PARA VIOLINO SOLO Resumo: Leon Souroujon (1913–2007) foi um famoso violinista e pedagogo búlgaro; no entanto, a sua importância como compositor está ainda por reconhecer. Um dos objectivos desta dissertação é apresentar Souroujon como compositor com um estilo único, cuja contribuição para o género de Violino Solo Sem Acompanhamento é digna de menção; é, igualmente, catalogar e dar a conhecer a totalidade da sua colecção de obras, publicadas e por publicar, e criar uma nova edição completa de todas as suas composições. Adoptando uma abordagem qualitativa, foi conduzida uma extensa pesquisa por forma a compreender o contexto histórico da vida e carreira de Leon Souroujon. O estudo evidencia importantes composições no desenvolvimento do género de Violino Solo Sem Acompanhamento, que se estende da era barroca e através do séc. XX, fazendo referência aos compositores que influenciaram Souroujon. A partir de uma vasta fonte de literatura académica, arquivos on-line, gravações de áudio e bibliografia variada, foi possível obter alguma informação sobre transformações sociais na Europa (em particular sobre a II Guerra Mundial) relacionada com o desenvolvimento histórico deste género musical. A biblioteca de obras manuscritas por Leon Souroujon permitiu a revelação do seu processo de criação, e prova como ele foi um compositor auto-realizado com uma obra coesa. A dissertação inclui a apresentação de três recitais em que as suas composições são executadas e justapostas a outras peças, incluindo obras de referência de Bach, Paganini e Ysaÿe. As composições de Souroujon exibem a sua própria linguagem musical, articulada tanto pela sua forma de compor como pela sua preferência por certas texturas e expressões musicais que derivam das suas influências: música folclórica judaica sefardita, música romântica, música clássica e música tradicional para violino. As suas composições, a primeira edição completa das suas obras, certificados, diplomas, documentos e fotografias estão catalogados nos apêndices.
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Reinert, Gina. "Fantasia do Concerto para violino e orquestra de Octávio Meneleu Campos : uma proposta pedagógica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12220.

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O presente trabalho teve como objetivo a realização de uma proposta pedagógica para a obra Fantasia de Concerto, do compositor brasileiro nascido em Belém do Pará, Meneleu Campos. A partir do conhecimento da obra em questão, foi realizada uma comparação com o chamado repertório tradicional violinístico, a fim de identificar os aspectos técnicos semelhantes e, a partir disso, formular uma proposta pedagógica. A comparação com o repertório tradicional, foi baseada no artigo “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). Para a realização da proposta pedagógica, utilizou-se, como referencial teórico o livro “Practice” (2004) de Simon Fischer, no qual o autor mostra soluções técnicas para passagens do repertório tradicional. Identificados os aspectos técnicos e violinísticos da Fantasia de Concerto, foi possível, baseado nas propostas de Fischer, desenvolver exercícios para a obra em estudo.
This essay aimed at presenting a pedagogical proposal for the work Fantasia de Concerto by Meneleu Campos - a Brazilian composer, born in Bélem do Pará. A study of the work paved the way for a comparison with the standard violin repertoire, thus establishing common technical issues which in turn served as the starting point for the pedagogical proposal. The comparison with the standard repertoire was based on the article “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). The pedagogical proposal was based on the book “Practice” (2004) by Simon Fischer. This author offers suggestions on how to work and solve problems found in the standard violin repertoire. Therefore, once the technical difficulties of the Fantasia de Concerto were identified, exercises of a similar nature were devised.
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Collins, Cheri D. "Connecting science and the musical arts in teaching tone quality integrating Helmholtz Motion and master violin teachers' pedagogies /." Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4544.

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Thesis (D.A.)--George Mason University, 2009.
Vita: p. 157. Thesis director: James Gardner. Submitted in partial fulfillment of the requirements for the degree of Doctor of Arts in Community College Education. Title from PDF t.p. (viewed June 10, 2009). Includes bibliographical references (p. 145-156). Also issued in print.
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Ovaska, Johanna. "Hypermobility and violin playing : How hypermobility affects my violin playing." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3293.

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In this thesis I have studied how hypermobile joints affect my violin playing and tried to to find solutions how to cope with hypermobility.  The purpose is to find tools how to change my left-hand technique so that I can play Bach´s Fugue from Solo sonata in g minor in my master concert without pain in my 4th finger and without tension in my left-hand. The goal is to find a way to play with hypermobile joints so that my technique will serve the music in the best possible way.  The biggest questions are: what hypermobility is, how can I cope with it, how to play more relaxed and how to develop a better support for my left-hand little finger, 4th finger.  The thesis will first focus more on the theoretical side of hypermobility in order to get better understanding of what hypermobilty is and how it might affect a violinist. Then I will get more into the aspects of violin playing and my process. After this process I noticed that working with hypermobile joints is a lifelong process. In order to have a good left-hand technique while having hypermobile joints it is crucial to have good muscle control and awareness. The most important thing is to find the right tools that work for yourself while trying to cope with hypermobility.
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Chernova, Elena. "Graduate Violin Recital." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2168.

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Sonata for Solo Violin in G-minor, J. S. Bach (1685-1750) Adagio Fuga Siciliana Presto Sonata for Violin and Piano in G-major, L. Beethoven (1770-1827) Allegro assai Tempo di Menuetto Allegro vivace Sonata for Violin and Piano in A-major, G. Faure (1845-1924) Allegro molto Andante Allegro vivo Allegro quasi presto Jennifer Snyder, piano
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Books on the topic "Violin"

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The violin: A research and information guide. New York: Routledge, 2006.

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Vivier, Claude. Pièce pour violon et piano: Violon et piano = violin and piano = Violine und Klavier. Saint-Nicolas, Qué., Canada: Doberman-Yppan, 1986.

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Rouse, Steve. Violin sonata: Violin and piano. [New York?]: Henmar Press, 1995.

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Rice, Anne. Violin. New York: Ballantine Books, 1998.

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Riggs, Kate. Violin. Mankato, Minn: Creative Paperbacks, 2014.

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Rice, Anne. Violin. New York: Random House Large Print in association with Alred A. Knopf, Inc., 1997.

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Violin. PO Box 10003 Van Nuys, CA 91410: Alfred Publishing Co., Inc., 1994.

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Rice, Anne. Violin. New York, USA: Ballantine Books, 1999.

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Violin. Mankato, Minnesota: Creative Education, 2013.

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Rice, Anne. Violin. New York, USA: Alfred A. Knopf, 1997.

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Book chapters on the topic "Violin"

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Curtin, Joseph, and Thomas D. Rossing. "Violin." In The Science of String Instruments, 209–44. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-7110-4_13.

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MacLeod, Rebecca B. "Violin and Viola Fingerings." In Teaching Strings in Today’s Classroom, 101–13. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351254144-11.

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MacKnight, William J. "The Violin." In Progress in Pacific Polymer Science, 411–13. Berlin, Heidelberg: Springer Berlin Heidelberg, 1991. http://dx.doi.org/10.1007/978-3-642-84115-6_48.

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Moon, Keon-Woong. "Violin Plot." In Use R!, 191–200. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-53019-2_20.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Violin." In The Teaching of Instrumental Music, 406–14. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-28.

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Ihas, Dijana, Miranda Wilson, and Gaelen McCormick. "Berlin violin school." In Teaching Violin, Viola, Cello, and Double Bass, 49–57. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003154938-8.

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Ihas, Dijana, Miranda Wilson, and Gaelen McCormick. "French violin school." In Teaching Violin, Viola, Cello, and Double Bass, 20–32. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003154938-5.

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Harvey, Brian W., and Carla J. Shapreau. "Intentional and Innocent Misdescriptions." In Violin Fraud, 120–29. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166559.003.0010.

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Abstract When a seller makes incorrect statements regarding a violin’s authenticity, value, provenance, condition, or title, several potential claims may arise, including claims for fraud (intentional mis representation), negligent misrepresentation, breach of contract, or breach of express and implied warranties. As discussed by Brian Harvey in Chapter 2, violin makers and dealers have long engaged in the practice of making and selling copies of well known violins. Such efforts are sometimes innocent, and some times not.
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Boyden, David D. "Violin Music in the Sixteenth Century." In The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music, 49–64. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161837.003.0008.

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Abstract Much of the specific information about the origin and development of the violin, related in the first two chapters, raises provocative and tantalizing questions. What kind of music was composed for the violin during the first century of its existence? Who played it, how was it performed, and under what conditions? Was the music written for the early violin of three strings different from that for the four-stringed violin after 155o-or, for that matter, from music for the viols? Was the violin used to accompany voices in such prevailing forms as the masses, motets, chansons, and madrigals? To what extent did the violins usurp the place and role of their ancestor instruments?
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Harvey, Brian W., and Carla J. Shapreau. "Stolen Violins." In Violin Fraud, 75–93. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166559.003.0007.

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Abstract Thefts of violins and other bowed stringed instruments have been endemic for the past two centuries. Violins can be beautiful things. They are known by the general public to be of value. A few collectors, players, or other ‘fidiculomaniacs’ are happy to conceal a famous stolen violin, it seems for their lifetimes (as is the case with dishonest art collectors), and less famous violins can be disposed of in various ways, just like other stolen goods. For the last hundred years or so the pages of the Strad have been full of sad accounts of the loss of someone’s instrument, more often than not taken with its case when proper attention to its safety was not being paid. In one recent example the owner put her double violin case on the ground while helping an elderly cellist into her car. In this brief moment the double violin case was taken.
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Conference papers on the topic "Violin"

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Lo, Yu-Hsuan, Shih-Peng Li, and Shih-Wei Sun. "Deep Violin: Deep Learning-Based Violin Bowing Training System." In 2023 International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan). IEEE, 2023. http://dx.doi.org/10.1109/icce-taiwan58799.2023.10227040.

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Huang, H. H., W. H. Li, Y. J. Chen, and C. C. Wen. "Automatic violin player." In 2012 10th World Congress on Intelligent Control and Automation (WCICA 2012). IEEE, 2012. http://dx.doi.org/10.1109/wcica.2012.6359122.

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Yin, Jun, Ye Wang, and David Hsu. "Digital violin tutor." In the 13th annual ACM international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1101149.1101353.

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Thorn, Seth Dominicus. "Hybrid Violin Performance." In MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404251.

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Wang, Zhen J., and Cesar Ortega-Sanchez. "Electronic Assisting Violin Tuner." In TENCON 2012 - 2012 IEEE Region 10 Conference. IEEE, 2012. http://dx.doi.org/10.1109/tencon.2012.6412214.

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Charles, J. A., D. Fitzgerald, and E. Coyle. "Violin sound quality detection." In IET Irish Signals and Systems Conference (ISSC 2008). IEE, 2008. http://dx.doi.org/10.1049/cp:20080676.

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Charles, J. A., D. Fitzgerald, and E. Coyle. "Violin timbre space features." In IET Irish Signals and Systems Conference (ISSC 2006). IEE, 2006. http://dx.doi.org/10.1049/cp:20060481.

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Wang, Ye, and Jia Zhu. "Interactive digital violin tutor (IDVT)." In the international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1255047.1255135.

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Tanjo, Yuuki, Junichi Ogawa, Sadanori Ito, Ryuuki Sakamoto, Ichiro Umata, and Hiroshi Ando. "Training support system for violin bowing." In the 2nd Augmented Human International Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1959826.1959863.

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Fu, Lei, Gary Scavone, and Claudia Fritz. "How different strings affect violin qualities." In 176th Meeting of Acoustical Society of America 2018 Acoustics Week in Canada. ASA, 2018. http://dx.doi.org/10.1121/2.0001007.

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Reports on the topic "Violin"

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Brewer, Charles E. Sonata á Violino Solo by Johann Heinrich Schmelzer. Society for Seventeenth-Century Music, December 2022. http://dx.doi.org/10.53610/tkcn2435.

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This edition presents a sonata for solo scordatura violin by Johann Heinrich Schmelzer comprised of 99 varied repetitions of an ostinato. Included here is a detailed examination of the source, problems with the continuo, and a possible performance solution. A complete score and continuo part are included in the appendices along with a detailed formal analysis of the work.
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Cai, Wenjie, and Hwan-Ching Tai. String Theories: Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00006.

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The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.
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Graham, R. A., M. U. Anderson, G. T. Holman, and M. R. Baer. Prediction of violent mechanochemical processes. Office of Scientific and Technical Information (OSTI), January 1997. http://dx.doi.org/10.2172/437696.

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Sagartz, M. J. Violent reaction source term study. Office of Scientific and Technical Information (OSTI), January 1995. http://dx.doi.org/10.2172/10114881.

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Scrivens, Ryan, Steven M. Chermak, Joshua D. Freilich, Thomas W. Wojciechowski, and Richard Frank. Detecting Extremists Online: Examining Online Posting Behaviors of Violent and Non-Violent Right-Wing Extremists. RESOLVE Network, September 2021. http://dx.doi.org/10.37805/pn2021.21.remve.

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Like most of us, violent extremists often leave a digital footprint behind. Researchers, practitioners, and policymakers raise questions about whether violent individuals can be identified online prior to their attacks offline based on their online posting behaviors. Despite ongoing concerns, few empirically grounded analyses have identified which online users have engaged in violent extremism offline and then assessed their digital footprints, and fewer analyses have identified differences in posting behaviors of those who share extreme ideological beliefs but are violent or non-violent in the offline world. This policy note highlights the importance of both identifying and examining the online behaviors of violent and non-violent extremists in preventing and countering violent extremism (P/CVE) and provides researchers, practitioners, and policymakers with a number of recommendations for detecting and analyzing the online behaviors of violent and non-violent extremists in the future.
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Villalta, Carlos J., José G. Castillo, and Juan A. Torres. Violent Crime in Latin American Cities. Inter-American Development Bank, August 2016. http://dx.doi.org/10.18235/0000428.

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Dahl, Gordon, and Stefano DellaVigna. Does Movie Violence Increase Violent Crime? Cambridge, MA: National Bureau of Economic Research, January 2008. http://dx.doi.org/10.3386/w13718.

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Lindo, Jason, Isaac Swensen, and Glen Waddell. Persistent Effects of Violent Media Content. Cambridge, MA: National Bureau of Economic Research, May 2020. http://dx.doi.org/10.3386/w27240.

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Torres, Juan A., José G. Castillo, and Carlos J. Vilalta Perdomo. Violent Crime in Latin American Cities. Inter-American Development Bank, August 2016. http://dx.doi.org/10.18235/0007973.

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In the last two decades, Latin America has been describes as an unsafe and violent region. Nonetheless, such picture is mostly based on homicide rates. Even though homicide is considered the best recorded crime, it does not provide full account of other forms of violent crime. Moreover, a great deal of research on crime throughout the region tends to be descriptive and anecdotal. Misunderstanding the causes of crime and disregarding evidence might induce policy makers to implement ineffective strategies, particularly at the local level. Therefore, based on Social Disorganization Theory, this study explains violent crime across and within selected cities of Latin America.
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Crawford, Justin. Homegrown violent extremists: A seemingly undetectable threat. Office of Scientific and Technical Information (OSTI), April 2017. http://dx.doi.org/10.2172/1365521.

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