Relevant bibliographies by topics / Violin Bowing

Academic literature on the topic 'Violin Bowing'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Violin Bowing"

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Hall, Cordelia, and John T. O'Donnell. "Regular Expressions as Violin Bowing Patterns." Computer Music Journal 36, no. 2 (June 2012): 74–84. http://dx.doi.org/10.1162/comj_a_00120.

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String players spend a significant amount of practice time creating and learning bowings. These may be indicated in the music using up-bow and down-bow symbols, but those traditional notations do not capture the complex bowing patterns that are latent within the music. Regular expressions, a mathematical notation for a simple class of formal languages, can describe precisely the bowing patterns that commonly arise in string music. A software tool based on regular expressions enables performers to search for passages that can be handled with similar bowings, and to edit them consistently. A computer-based music editor incorporating bowing patterns has been implemented, using Lilypond to typeset the music. Our approach has been evaluated by using the editor to study ten movements from six violin sonatas by W. A. Mozart. Our experience shows that the editor is successful at finding passages and inserting bowings; that relatively complex patterns occur a number of times; and that the bowings can be inserted automatically and consistently.
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Sun, Shih-Wei, Bao-Yun Liu, and Pao-Chi Chang. "Deep Learning-Based Violin Bowing Action Recognition." Sensors 20, no. 20 (October 9, 2020): 5732. http://dx.doi.org/10.3390/s20205732.

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We propose a violin bowing action recognition system that can accurately recognize distinct bowing actions in classical violin performance. This system can recognize bowing actions by analyzing signals from a depth camera and from inertial sensors that are worn by a violinist. The contribution of this study is threefold: (1) a dataset comprising violin bowing actions was constructed from data captured by a depth camera and multiple inertial sensors; (2) data augmentation was achieved for depth-frame data through rotation in three-dimensional world coordinates and for inertial sensing data through yaw, pitch, and roll angle transformations; and, (3) bowing action classifiers were trained using different modalities, to compensate for the strengths and weaknesses of each modality, based on deep learning methods with a decision-level fusion process. In experiments, large external motions and subtle local motions produced from violin bow manipulations were both accurately recognized by the proposed system (average accuracy > 80%).
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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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Provenzale, Cecilia, Nicola Di Stefano, Alessia Noccaro, and Fabrizio Taffoni. "Assessing the Bowing Technique in Violin Beginners Using MIMU and Optical Proximity Sensors: A Feasibility Study." Sensors 21, no. 17 (August 29, 2021): 5817. http://dx.doi.org/10.3390/s21175817.

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Bowing is the fundamental motor action responsible for sound production in violin playing. A lot of effort is required to control such a complex technique, especially at the beginning of violin training, also due to a lack of quantitative assessments of bowing movements. Here, we present magneto-inertial measurement units (MIMUs) and an optical sensor interface for the real-time monitoring of the fundamental parameters of bowing. Two MIMUs and a sound recorder were used to estimate the bow orientation and acquire sounds. An optical motion capture system was used as the gold standard for comparison. Four optical sensors positioned on the bow stick measured the stick–hair distance. During a pilot test, a musician was asked to perform strokes using different sections of the bow at different paces. Distance data were used to train two classifiers, a linear discriminant (LD) classifier and a decision tree (DT) classifier, to estimate the bow section used. The DT classifier reached the best classification accuracy (94.2%). Larger data analysis on nine violin beginners showed that the orientation error was less than 2°; the bow tilt correlated with the audio information (r134=−0.973, 95% CI −0.981,−0.962, p<0.001). The results confirmed that the interface provides reliable information on the bowing technique that might improve the learning performance of violin beginners.
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Brown, Clive. "Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing." Journal of the Royal Musical Association 113, no. 1 (1988): 97–128. http://dx.doi.org/10.1093/jrma/113.1.97.

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There are many aspects of nineteenth-century violin playing that have received little attention from scholars. The subject is a vast and complicated one, far beyond the scope of a short article to treat adequately, but there are a number of important areas in which problems have not even been recognized, let alone investigated. For instance, the most substantial recent work on this subject, Robin Stowell's Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (Cambridge, 1985), provides a useful digest of what the major violin methods of the period say, but because it is mainly confined to these sources, ignoring for the most part journalism and other contemporary accounts, and because it has a rather artificial terminal date of 1840, it fails to illuminate major underlying patterns of continuity and change in nineteenth-century violin playing. It may be valuable, therefore, to put forward a few ideas and suggest a few fruitful lines of enquiry which have until now remained largely unconsidered.
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Adzkia, Sagaf, and Alya Sabina Muntasya. "Variasi Bowing Etudes Ou Caprices No. 2 Rodolphe Kreutzer Sebagai Strategi Pembentukan Teknik Tangan Kanan Pada Pemain Violin." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 5, no. 2 (November 27, 2022): 96–103. http://dx.doi.org/10.26740/vt.v5n2.p96-103.

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Violin players are required to have balanced technical skills not only with the left hand (finger operation on the strings), but also the role of the right hand (playing the bow). Qualifications that emphasize exercises that focus on right-hand skills are in fact often under-appreciated. This research proposal presents a study-based violin learning strategy that emphasizes right hand skills through bowing variation treatment, which is applied to Rodolphe Kreutzer's Etudes Ou Caprices No. 2. The focus of this research is the music education study program, ISI Yogyakarta. This study uses a qualitative method with a musicological approach. The stages that were passed in this research were through the process of literature study, observation, interviews, and analysis. The results of this study are: the emergence of eight variations of bowing which was applied to Etudes Ou Caprices no.2 Rodolphe Kreutzer; the treatment applied is useful in improving the right hand technique and the differentiating specifications between each bowing technique; through continuous practice of bowing variation techniques can make students responsive in reading notation symbols, especially on the diversity of right-handed techniques; treatment of variations of bowing detache, staccato, spiccato, legato, and their variations can be easily applied to the repertoire/songs being studied to support interpretation.
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SHIBUYA, Koji, and Shigeki SUGANO. "Analysis of Bowing Motion in Violin Playing." Japanese journal of ergonomics 32, Supplement (1996): 96–97. http://dx.doi.org/10.5100/jje.32.supplement_96.

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Hall, Cordelia V., and John T. O’Donnell. "Calibrating a bowing checker for violin students." Journal of Music, Technology and Education 3, no. 2 (April 19, 2011): 125–39. http://dx.doi.org/10.1386/jmte.3.2-3.125_1.

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Schoonderwaldt, Erwin, and Eckart Altenmüller. "Coordination in Fast Repetitive Violin-Bowing Patterns." PLoS ONE 9, no. 9 (September 10, 2014): e106615. http://dx.doi.org/10.1371/journal.pone.0106615.

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Bishop, Laura, and Werner Goebl. "Beating time: How ensemble musicians’ cueing gestures communicate beat position and tempo." Psychology of Music 46, no. 1 (April 27, 2017): 84–106. http://dx.doi.org/10.1177/0305735617702971.

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Ensemble musicians typically exchange visual cues to coordinate piece entrances. “Cueing-in” gestures indicate when to begin playing and at what tempo. This study investigated how timing information is encoded in musicians’ cueing-in gestures. Gesture acceleration patterns were expected to indicate beat position, while gesture periodicity, duration, and peak gesture velocity were expected to indicate tempo. Same-instrument ensembles (e.g., piano–piano) were expected to synchronize more successfully than mixed-instrument ensembles (e.g., piano–violin). Duos performed short passages as their head and (for violinists) bowing hand movements were tracked with accelerometers and Kinect sensors. Performers alternated between leader/follower roles; leaders heard a tempo via headphones and cued their partner in nonverbally. Violin duos synchronized more successfully than either piano duos or piano–violin duos, possibly because violinists were more experienced in ensemble playing than pianists. Peak acceleration indicated beat position in leaders’ head-nodding gestures. Gesture duration and periodicity in leaders’ head and bowing hand gestures indicated tempo. The results show that the spatio-temporal characteristics of cueing-in gestures guide beat perception, enabling synchronization with visual gestures that follow a range of spatial trajectories.
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Dissertations / Theses on the topic "Violin Bowing"

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Foale, Maria. "Efficiency of movement in violin bowing." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8137.

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Includes bibliographical references (leaves 72-75).
This dissertation presents a study and critical analysis of violin bowing technique. The works of some of the great twentieth century violin pedagogues were studied and their ideas on efficiency of movement, posture and balance in violin playing are highlighted. Motion analyses comparing linear and non-linear bowing styles were conducted using digital motion-tracking techniques.
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Maestre, Gómez Esteban. "Modeling instrumental gestures: an analysis/synthesis framework for violin bowing." Doctoral thesis, Universitat Pompeu Fabra, 2009. http://hdl.handle.net/10803/7562.

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Aquest treball presenta una metodologia per modelar el gest instrumental en la interpretació amb instruments musicals d'excitació contínua. En concret, la tesi tracta el control d'arc en interpretació clàssica de violí. S'hi introdueixen tècniques de mesura que presenten baixa intrusivitat, i són aplicades per a l'adquisició de senyals de paràmetres de control d'arc relacionats amb el timbre del so, i per a la construcció d'una base de dades la interpretació. Mitjançant la definició d'un vocabulari d'envolupants, es fan servir seqüències de corbes paramètriques de Bézier per modelar els contorns de velocitat de l'arc, força aplicada a l'arc, i distància entre l'arc i el pont del violí. Així, s'obté una parametrització que permet reconstruir els contorns originals amb robustesa i fidelitat. A partir de la parametrització dels contorns continguts a la base de dades, es construeix un model estadístic per l'anàlisi i la síntesi d'envolupants de paràmetres de control d'arc. Aquest model permet un mapeig flexible entre anotacions de partitura i envolupants. L'entorn de modelat es fa servir per generar contorns sintétics a partir d'una representació textual de la partitura, mitjançant un algorisme de planificació de l'ús d'arc capaç de reproduir les limitacions imposades per les dimensions físiques de l'arc. Els paràmetres de control sintetitzats s'utilitzen amb éxit per generar interpretacions artificials de violí fent servir dues de les técniques de síntesi de so més exteses: models físics basats en guies digitals d'ona, i síntesi basada en mostres.
This work presents a methodology for modeling instrumental gestures in excitation-continuous musical instruments. In particular, it approaches bowing control in violin classical performance. Nearly non-intrusive sensing techniques are introduced and applied for accurately acquiring relevant timbre-related bowing control parameter signals and constructing a performance database. By defining a vocabulary of bowing parameter envelopes, the contours of bow velocity, bow pressing force, and bow-bridge distance are modeled as sequences of Bézier cubic curve segments, yielding a robust parameterization that is well suited for reconstructing original contours with significant fidelity. An analysis/synthesis statistical modeling framework is constructed from a database of parameterized contours of bowing controls, enabling a flexible mapping between score annotations and bowing parameter envelopes. The framework is used for score-based generation of synthetic bowing parameter contours through a bow planning algorithm able to reproduce possible constraints imposed by the finite length of the bow. Rendered bowing control signals are successfully applied to automatic performance by being used for driving offline violin sound generation through two of the most extended techniques: digital waveguide physical modeling, and sample-based synthesis.
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Johnson, Kelley Marie. "Lucien Capet: comparisons and connections to contemporary violin bowing technique." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/992.

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This thesis explores Lucien Capet's bowing technique and identifies connections to contemporary violin bowing practices. It includes a developed biography of Capet; a review of the Capet treatise; a historical analysis linking Capet's bowing technique back to his predecessor Baillot and forward to the present day; a detailed comparative analysis that determines Capet's pedagogical connections to Ivan Galamian and Simon Fischer; and an examination of the ramifications of the results including the the finding that Capet's technique is a viable and important component to developing refined contemporary bowing technique.
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Villaret, Amanda Louise. "The Franco-Belgian and Russian methods of bowing : a pedagogic study." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535903.

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Two important parts of violin pedadogy are left hand and right hand technique. Of these two parts, the right hand technique is eminently more complex, and causes greater frustration for the player. Bow technique Is a combination of many diverse functions in the left arm, and requires great agility and cooperation from the arm and back muscles. Because most of the expression and interpretation of the music comes through the bow, it is important that there be no obstacles confronting the player that would hinder a quality performance.How, then, is such a complicated art taught to students of the violin? In the years preceding World War II, the majority of teachers developed their own methods based on personal experience and pedagogic knowledge. Because pedadogic knowledge was often scant, personal experience was the basis of one's technique, which consisted of a system of rules designed to work for that individual. This method could be impractical when applied to others.By the twentieth century, two schools of bowing technique had been developed and proved to be the most successful in producing superior violinists. Both the Franco/Belgian andRussian methods of bowing are grounded in the Viotti tradition, which, through the past two centuries, has proven to contain the basic, fundamental principles of successful bow technique.It took a few more years to commit these methods to paper and be published, which allowed standard bowing technique to circulate beyond the few prominent music schools and conservatories. Yet, even today, many teachers are unaware of these two schools of bowing, and how they can guide both the teacher and pupil to satisfactory results when confronted with bowing problems.This dissertation presents the history of bowing technique from the first appearance of the violin to the development of Franco/Belgian and Russian bowing techniques. It compares and contrasts the two methods, and examines how the use of either bow grip will affect the execution of the bow strokes. Finally, this work analyzes the strengths and weaknesses of each method, and how one determines which method will accomplish the desired results and help each student to develop to his/her full potential by allowing for individual differences.
School of Music
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Schoonderwaldt, Erwin. "Mechanics and acoustics of violin bowing : Freedom, constraints and control in performance." Doctoral thesis, Stockholm : Datavetenskap och kommunikation, Kungliga Tekniska högskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-9826.

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Young, Diana S. (Diana Santos) 1975. "A methodology for investigation of bowed string performance through measurement of violin bowing technique." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38637.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.
Includes bibliographical references (leaves 181-186).
Virtuosic bowed string performance in many ways exemplifies the incredible potential of human physical performance and expression. Today, a great deal is known about the physics of the violin family and those factors responsible for its sound capabilities. However, there remains much to be discovered about the intricacies of how players control these instruments in order to achieve their characteristic range and nuance of sound. Today, technology offers the ability to study this player control under realistic, unimpeded playing conditions to lead to greater understanding of these performance skills. Presented here is a new methodology for investigation of bowed string performance that uses a playable hardware measurement system to capture the gestures of right hand violin bowing technique. Building upon previous Hyperstring research, this measurement system was optimized to be small, lightweight, and portable and was installed on a carbon fiber violin bow and an electric violin to enable study of realistic, unencumbered violin performances. Included in the system are inertial and force sensors, and an electric field position sensor. In order to maximize the applicability of the gesture data provided by this system to related fields of interest, all of the sensors were calibrated in SI units.
(cont.) The gesture data captured by these sensors are recorded together with the audio data from the violin as they are produced by violinists in typical playing scenarios. To explore the potential of the bowing measurement system created, a study of standard bowing techniques, such as detache, martele and spiccato, was conducted with expert violinist participants. Gesture data from these trials were evaluated and input to a classifier to examine physical distinctions between bowing techniques, as well as between players. Results from this analysis, and their implications on this methodology will be presented. In addition to this examination of bowing techniques, applications of the measurement system for study of bowed string acoustics and digital music instrument performance, with focus on virtual instruments created from physical models, will be discussed.
by Diana Young.
Ph.D.
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Galu, Ioana. "The Solo Violin Works of Samuel Adler, Chen Yi, and Shulamit Ran: A Performer's Perspective." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1337712284.

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Shepherd, Joshua D. "York Bowen's Viola Concerto: A Methodology of Study." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/590.

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According to musicologists and critics, the “English Musical Renaissance” or the second Renaissance of English music, as it also called, to distinguish it from the generation of English musicians of the Renaissance, produced many composers in Great Britain during the years 1880 to 1966. This resurgence of nationalistic musical activity was a time of prolific musical output by composers such as Edward Elgar, Arnold Bax, Gustav Holst and Ralph Vaughan Williams. Another composer who flourished during the English Renaissance was Edwin York Bowen (1884-1961). His Viola Concerto in C minor, Op. 25 (1907), is the subject of this essay. Bowen’s Viola Concerto was written with Lionel Tertis (1876-1975) in mind. Tertis, the leading violist of the day, made it his life’s mission to popularize the viola as a solo instrument. This essay explores the Concerto from a theoretical point of view. In addition, the piece will be approached from a performance/pedagogical point of view, with the inclusion of a methodology of study based on sixteen specific technical excerpts drawn from the piece.
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Tate, Selena Daniels. "Parents' Lived Experiences of Youth-to-Parent Violence: A Qualitative Inquiry Using the Bowen Family Systems Theory." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447411315.

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Yapp, Francis Anthony. "Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)." Thesis, University of Canterbury. School of Music, 2012. http://hdl.handle.net/10092/7464.

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When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue. Yet notwithstanding its repertoire and the skill of its performers, this generation of French cellist-composers has remained undervalued and underexplored. To a large extent, this neglect has arisen because a succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing. This dissertation focuses exclusively on the early French cello school. It seeks to examine the rise of the solo cello in France within its socio- cultural and historical context; to provide biographies of those com- prising the early French cello school; to explore the repertoire with particular emphasis on the growth of technique and idiom, detailing features that may be described as uniquely French, and to assert the importance of and gain recognition for this school, not as a forerunner of the so-called Duport school but as an entity in itself.
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Books on the topic "Violin Bowing"

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Hildebrandt, Merrick B. Technique de l'archet: Pour violon = Technic of the bow : for violin = Bogentechnik : für Violine. 2nd ed. Mainz: Schott, 2008.

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Szende, Ottó. Unterweisung in verschiedenen Stricharten auf der Geige. Wien: Universal Edition, 1985.

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Gähler, Rudolf. Der Rundbogen für die Violine - ein Phantom? / Rudolf Gähler. Regensburg: ConBrio, 1997.

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The mastery of the bow. Tamarac, Fla: Distinctive Pub. Corp., 1988.

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Holopainen, Juhani. Jousenkäytön teoria ja todellisuus: Jousitekniikan ja viulumusiikin vestaavuuden systemaattinen tutkimus. Jyväskylä: Jyväskylän yliopisto, 2000.

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Gerle, Robert. The art of bowing practice: The expressive bow technique. London: Stainer & Bell, 1991.

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Eichholz, Klaus. Der künstlerische Aspekt der Bogenführung. Wien: Universal-Edition, 2002.

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Wales, Jennifer. 3D movement and muscle activity patterns in a violin bowing task. St. Catharines, Ont: Brock University, Faculty of Applied Health Sciences, 2007.

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I︠U︡rʹev, A. I︠U︡. Ocherki istorii i teorii smychkovoĭ kulʹtury skripacha: Iz tvorcheskogo nasledii︠a︡ skripichnogo pedagoga. Sankt-Peterburg: Peterburgskai︠a︡ gos. konservatorii︠a︡ im. N.A. Rimskogo-Korsakova, 2002.

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Seidel, Bridgette. Picture yourself playing violin: Step-by-step instruction for proper fingering and bowing techniques, reading sheet music, and more. Boston, MA: Thomson Course Technology, 2008.

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Book chapters on the topic "Violin Bowing"

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Perez-Carrillo, Alfonso. "Violin Timbre Navigator: Real-Time Visual Feedback of Violin Bowing Based on Audio Analysis and Machine Learning." In MultiMedia Modeling, 182–93. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-05716-9_15.

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Reiter, Walter S. "François Couperin: Septiéme Concert (II)." In The Baroque Violin & Viola, vol. II, 160–65. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0016.

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The influence of Lully on the formation of a national French style is outlined. Muffat codified Lully’s insistence on bowings that suited the articulation and character of each dance: the greatest skill of the Lullists was that even with many repeated down-bows, nothing unpleasant was heard. A bowing based on Muffat is suggested for the start of the Sarabande and a bowed Sarabande by Montéclair is reproduced to demonstrate other bowing possibilities. The detailed Observations section highlights the subtlety and sophistication of Couperin’s music, including the extraordinary ending, in which the two parts descend slowly in parallel notes but with contrary rhythms.
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Reiter, Walter S. "Johann Sebastian Bach." In The Baroque Violin & Viola, vol. II, 275–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0028.

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The history and background of the loure from its appearance in 1701 is followed by a description of its choreography. The tempo and bowings are arrived at using French sources; as the loure is described as a slow gigue, an exercise recommends playing it as such, gradually reducing the speed until a comfortable tempo is reached that preserves the dance feel. Bowings by Michel Pignolet de Montéclair are reproduced and used as an initial blueprint for bowing Bach’s Loure. Five points culled from quoted sources help seek out the character: this leads to a discussion on punctuation and articulation in dance movements generally, quoting Mattheson’s annotated example of a minuet. One feature of the loure is the irregular length of its phrases, and these are marked. Ornamentation in Bach’s dances is discussed: his French-style Table of Ornaments is reproduced along with examples of his own ornaments in his transcription of the Loure for lute.
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Reiter, Walter S. "More Basic Concepts and Techniques." In The Baroque Violin & Viola, 51–65. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0007.

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In a lesson packed with historical, musical, and technical information, this one presents the book’s first complete piece of music written specifically for the violin. Many basic concepts are examined including rhythm, articulation, the retaking (or not) of the bow, punctuation, tessitura, impulses and rebounds, causes and effects, and the difference between “Good” and “Bad” notes (“if every note is important, no note is important”); the link between phrasing and bowing is emphasized as being direct and crucial. The melody and bass lines are shown to be inseparable so one cannot be considered without the other. The lesson shows the way to differentiate between how notes were written and how they were played in specific contexts, referring to the Tonotechnie of Engramelle. There are detailed observations and tips about almost every bar plus specially devised technical exercises on dotted notes, explaining how to travel through the bow while playing dotted rhythms and exploring the vast spectrum of articulations.
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Reiter, Walter S. "Johann Sebastian Bach." In The Baroque Violin & Viola, vol. II, 227–38. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0022.

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The fugue is the crowning glory of Baroque form, with Bach its indisputable master. He had already written a G minor fugue with Basso Continuo while working in Weimar: his influences were Corelli and Westhoff ,whose fugues were less sophisticated,. This Fuga is the shortest of the three solo ones; it has a nine-note subject with a range of just a fourth. Bach’s seemingly infinite ingenuity in the handling of such sparse material is commented upon: each time the fugue subject occurs it has a different feel. This poses a challenge to the performer, who must constantly match these differences with new colors. The author does not believe that we are obliged to use the same bowing throughout. Slurs are discussed: are they harmonic shorthand or intended to be played literally? There is advice on voicing, an exercise on how to exploit the violin’s resonance when playing chords and copious bar-by-bar observations.
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Reiter, Walter S. "A Lesson from Francesco Rognoni Taeggio." In The Baroque Violin & Viola, vol. II, 31–37. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0004.

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Part One of Rognoni’s Selva (1620) builds on the ornaments of Caccini, introducing two further devices “useful to him who desires to sing with grace and style,” the “portar della voce” and “accenti,” both ways of moving gracefully from note to note. In this lesson, all ornaments are explored in terms of violin technique. Rognoni’s passaggi and cadences are more than merely exhaustive in their invention, they are miniature masterpieces that should be systematically worked through in the way advocated in previous lessons. Part Two completes the link between vocal and instrumental music. Describing the violin as “crude and harsh,” Rognoni shows us ways of sweetening the sound with a table of bowing patterns, showing remarkable variety and sophistication; it is reproduced in full, with observations. There is also information on a useful trill/vibrato hybrid advocated by Rognoni and on the need to insert commas before final notes of passaggi, gruppi, and trilli.
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Brown, Clive. "Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing." In Classical and Romantic Music, 429–60. Routledge, 2017. http://dx.doi.org/10.4324/9781315095653-26.

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Ittzés, Tamás. "There Is No Such Thing as Sound Production, or Sound=Release – The Importance of Natural Movement and Its Teaching in Violin Playing." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/16.

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This study details an approach which, in a certain respect, simplifies violin playing and teaching in the extreme. Creating a sound is based on a very simple rule: the sound = release. Release is preceded by tension, which is released with the sounding of the note. This is true on every level, in every direction. This general rule (or view) helps to make violin playing, the sounds created relaxed, natural and beautiful. The study shows step by step, how the necessary active tension comes into being and then how it is released, how and in what forms performers can use gravity. The main elements of this process are the posture of the body and the instrument, the movements of the arms and the joints (shoulder/armpit/upper arm. elbow/lower arm, wrist/back of the hand/palm and fingers) in their natural direction, the positions of the left hand, touch and vibrato, the relationship of the bow to the string, the use of bowing positions and right bow division, and strokes. Without the appropriate teaching of these no mechanism can be established and because of these deficiencies many a talent has been lost unable to even approach their own boundaries and unable to ever become a professional player. Keywords: sound production, release, natural mechanism, freedom, gravitation, violin
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Reiter, Walter S. "Johann Sebastian Bach." In The Baroque Violin & Viola, vol. II, 293–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0030.

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The minuet is the Baroque dance “par excellence,” first danced in Louis XIV’s court. One of its intrinsic characteristics is the deliberate contradiction between the movements and the music. Phrase lengths can also vary, thus creating even more intricate ambiguities between music and steps. Choreographic descriptions are given. As to tempo, the sources are by no means unanimous. Minuets in French court dances typically come in pairs, a tradition Bach generally follows: although no dynamic instructions are offered, the two Bach minuets examined here have clear stylistic differences. Minuet I has almost no slurs for the first eighteen bars; Montéclair’s bowings for the minuet are examined and used as an initial blueprint for this example. By contrast, the first half of Minuet II centers around a musette-like drone and is more legato in character. The Observations section provides detailed musical and technical advice, and source-derived quotations.
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Reiter, Walter S. "A Brief History of Baroque Romanticism." In The Baroque Violin & Viola, vol. II, 203–10. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0020.

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This lesson looks at how the way of playing the solo works of Bach evolved through the nineteenth and twentieth centuries. The author expresses respect for the great artists who perform in a more traditional way but notes that times are changing, with today’s students having more available stylistic options. Both the title and title page of Bach’s book are discussed in detail and the question of symbolism here and elsewhere in the work is explored. A history of the book and the Bach revival from Mendelssohn to modern times follows. Robert Schumann, Felix Mendelssohn, Johannes Brahms, and Fritz Kreisler added piano accompaniments. The philosophy of bringing Bach’s music stylistically “up to date” was a constant, the first editions liberally changing bowings and adding fingerings reflecting contemporary playing style. Not until modern times were editions available showing what Bach actually wrote. By that time the tradition of playing Bach in a Romantic way firmly embedded.
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Conference papers on the topic "Violin Bowing"

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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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Ortega, Fabio J. M., Sergio I. Giraldo, and Rafael Ramirez. "Bowing modeling for violin students assistance." In ICMI '17: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3139513.3139525.

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Tomoki, Tsuneyoshi, and Yumi Wakita. "Development of practice support system for violin bowing." In 2022 IEEE 11th Global Conference on Consumer Electronics (GCCE). IEEE, 2022. http://dx.doi.org/10.1109/gcce56475.2022.10014271.

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Liu, Bao-Yun, Yi-Hsin Jen, Shih-Wei Sun, Li Su, and Pao-Chi Chang. "Multi-Modal Deep Learning-Based Violin Bowing Action Recognition." In 2020 IEEE International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan). IEEE, 2020. http://dx.doi.org/10.1109/icce-taiwan49838.2020.9257995.

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Schoonderwaldt, Erwin, Matthias Demoucron, Eckart Altenmüller, and Marc Leman. "Perception and production of complex bowing movements in violin performance." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4801072.

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Hirata, Asuka, Keitaro Tanaka, Masatoshi Hamanaka, and Shigeo Morishima. "Audio-Driven Violin Performance Animation with Clear Fingering and Bowing." In SIGGRAPH '22: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3532719.3543240.

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van der Linden, Janet, Erwin Schoonderwaldt, and Jon Bird. "Towards a real-time system for teaching novices correct violin bowing technique." In 2009 IEEE International Workshop on Haptic Audio visual Environments and Games (HAVE 2009). IEEE, 2009. http://dx.doi.org/10.1109/have.2009.5356123.

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Maestre, Esteban. "Analysis/synthesis of bowing control applied to violin sound rendering via physical models." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4801073.

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Perez-Carrillo, Alfonso. "Statistical models for the indirect acquisition of violin bowing controls from audio analysis." In 172nd Meeting of the Acoustical Society of America. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000402.

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Shibuya, Koji, Shoji Matsuda, and Akira Takahara. "Toward Developing a Violin Playing Robot - Bowing by Anthropomorphic Robot Arm and Sound Analysis." In RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2007. http://dx.doi.org/10.1109/roman.2007.4415188.

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