Dissertations / Theses on the topic 'Violin Bowing'
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1
Foale, Maria. "Efficiency of movement in violin bowing." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8137.
Full textAbstract:
Word processed copy.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.
2
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.
3
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.
4
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
5
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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6
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.
7
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.
11
Shih-WeiHuang and 黃仕偉. "Violin Bowing Techniques Synthesis." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/29466853417582678333.
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Stein, Peter Jonathan. "Task variables in violin bowing: influence on variability of bow and bowing limb movement." Thesis, 2016. https://hdl.handle.net/2144/19562.
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To achieve expressive musical results in violin bowing, performers access wide ranges of combined musical tone loudness and duration variables. By comparison, allowable mechanical variability in bow stroke execution may be limited. Such constraints on string bowing variability similarly might limit variability of bowing limb movement. Constrained variability may carry risk of upper extremity musculoskeletal disorders. Therefore if musical and/or bowing-execution variables influence bowing limb movement variability, they may in turn influence risk of cumulative injury in the player.
In two experimental studies we examined the influence of the musical variables of duration and sound intensity (loudness) on variability in both string bowing mechanical variables and bowing limb joint moments (i.e. rotational forces) and joint angle trajectories. Five violinists performed playing tasks in which bow strokes varied across four levels of duration and three levels of loudness. Given a constant-amplitude bow stroke, quiet, brief strokes and loud, long strokes had to be executed close to the lower and upper limits of permissible bow-on-string force (bow force). In Study #1, we computed one- and three-dimensional bow movement variance measures, in both kinematic (bow velocity across violin string, distance from bow-to-bridge) and kinetic (bow force) variables. In Study #2 we computed the cycle-to-cycle standard deviation of joint moments and angles for each moment and angular degree of freedom in the bowing limb. In each study, these variability measures were compared across the 12 experimental conditions.
We hypothesized that variability would be lowest when executing quiet/brief and loud/long strokes, compared to strokes that could be executed further from bow force limits. However, it was also anticipated that variability instead could be influenced most strongly by bow and/or limb velocity, magnitude of bow force, and/or bowed-string loudness response properties. Results from both studies indicated that variability in both bow-on-string and limb movement was conditioned on these latter properties: tone duration and loudness exerted consistent effects on variances and standard deviations. Contradicting the main hypothesis, variability was not influenced by proximity to bow force limits. We conclude that bowing variability is constrained mainly by factors not specific to variability tolerance at the bow-violin string interface.
13
Chen, Chun-Wei, and 陳存威. "The Physical Modeling of the Bowing Techniques for Violin." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/41753394845689530767.
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碩士大同大學
資訊工程學系(所)
95
Today, music is not necessarily generated by physical instruments playing by musicians in person. Music of a particular instrument can be easily synthesized lifelikely by modeling its physical characteristic programmatically. In the past few years, physical simulation of musical instruments, called waveguide synthesis, has been got popular due to the improvement of computational devices and techniques. Technically, waveguide synthesis is quite different from the traditional wave-table synthesis. Due to the duplicating nature of the latter, its expressibility is quite limited. With physical model of music instruments, it is possible for the synthesized instruments to have some control parameters over the real one. Its expressing ability is thus superior to the former quite a bit. The main goal of this thesis is to implement a physical model of violin and apply several bowing techniques to show its music expression power. In particular, the focus of the thesis is placed on the interaction model between the bow and the strings. The successful development of the model will enable the players to express their emotion changes dramatically. For verification, some comparisons were made on bowing techniques of ours and traditional ones by experiments.
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"Modeling instrumental gestures: an analysis/synthesis framework for violin bowing." Universitat Pompeu Fabra, 2009. http://www.tesisenxarxa.net/TDX-1210109-120145/.
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LIU, YA-CHIH, and 劉雅智. "The Analysis of Bowing and Teaching Strategy of Suzuki Violin School." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/92694588934138883288.
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碩士中國文化大學
音樂學系
104
Abstract The main aim of this dissertation is to study how the Four selected compositions in the advanced volume of Suzuki Methods, including Volume Six to Eight, would enable right-handed string players to manage to overcome the difficulties in the processes of teaching violin. The dissertation is structured in six main chapters, including: Chapter (1) introduction included four main sections Research Purpose, Research Scope, Research Methodology, Research Content. (1) Analyzing the critical skills from the selected compositions in the advanced volume of Suzuki Methods, addressing the possible solutions for the right handed or left handed players. (2) Case Study, by presenting the Performance interpretations, detailed analysis of the appropriate ways of applications for performance in actual performances. Chapter (2) to Chapter (5) will focous separately on J.-H. Fiocco Allegro, J.PH. Rameau Gavotte, G.F. Handel Violin Sonata No.1 in A Major, H. Eccles Sonata in G Minor, teaching analysis and terpretation into performance. Chapter (6) conclusion I conclude by offering recommendations and learning approaches as to how to better teach versatility on the basis of the findings of the previous chapters as well as the selected compositions in the advanced volume of Suzuki Methods. Key Words: Suzuki Methods, Suzuki Violin, Violin Sonata Right-handed Violin Bowing Techniques.
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Ling-ChiHsu and 許玲綺. "EMG Signal Analysis of Violin Bowing By Using Synchronously Recorded Music Signals." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/38115170388024849296.
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碩士國立成功大學
資訊工程學系
102
Playing a music instrument relies on the harmonious body movements. Motor sequences are trained to achieve the perfect performances in musicians. Thus, the information from audio signal is not enough to understand the sensorimotor programming in players. Recently, the investigation of muscular activities of players during performance has attracted our interests. In this work, we propose a multi-channel system that records the audio sounds and electromyography (EMG) signal simultaneously and also develop algorithms to analyze the music performance and discover its relation to player’s motor sequences. The movement segment was first identified by the information of audio sounds, and the direction of violin bowing detected by the EMG signal. Six features were introduced to reveal the variations of muscular activities during violin playing. With the additional information of the audio signal, the proposed work could efficiently extract the period and detect the direction of motor changes in violin bowing. Therefore, the proposed work could provide a better understanding of how players activate the muscles to organize the multi-joint movement during violin performance.
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Chen, Chia-wen, and 陳佳雯. "The Bowings of Vitali’s Chaconne related to Baroque treatises on violin playing." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/47129509955423174134.
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碩士國立中山大學
音樂學系研究所
104
Violin became more important during the Baroque period because of the prosperity of opera. The instrumental evolution not only promoted the ability of instrument, but also provoked more virtuosic violinists during the eighteenth century, such as Italian violinist Tomaso Antonio Vitali (1663-1745). This essay will focus on his famous violin work, Chaconne, concentrating on Baroque bowings. The publishing of treatises on violin playing flourished during the eighteenth century. Due to the huge demand of violin learning, these tool books helped both amateur and professional violinists to improve their playing skills. There were three treatises of Baroque violin playing published at the time, including: The Art of Playing on the Violin (1751) by Francesco Geminiani (1678-1762), A Treatise on the Fundamental Principles of Violin Playing (1756) by Leopold Mozart (1719- 1787), and Les Principes du Violon (1761) by Joseph-Barnabé Saint-Sevin dit L''Abbé le Fils (1727-1803). “The Art of Violin Bowing” by Giuseppe Tartini also contained lots of variations to introduce different bowing possibilities. This essay includes three chapters. The first chapter delineates the musical environment and popular genres of Baroque period. The second chapter will survey four Baroque treatises on violin playing. The final chapter will discuss the Baroque bowings focusing on Vitali’s Chaconne, to testify to the various bowings stressed in these treatises.
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Holdcroft, Z. T. (. Zillah Theresa). "String techniques, notation systems and symbols in selected 20th century string quartets." Thesis, 1999. http://hdl.handle.net/10500/16959.
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This thesis sets out to investigate new notation symbols, systems, and string techniques in some one
hundred 20th century string quartets, selected from a variety of composers. The analysis includes
compositions that have, through contemporary aesthetic ideals, extended musical and technical
resources and stimulated the development of compositional methods in such a way as to influence
later works in the genre.
k
The thesis divided into two parts : Histoiy and Research
Part One is a brief history of 20th century music, and includes the development o f the string quartet
from earliest times up to the mid-century. Part Two researches string techniques and notation from
the turn of the century up to 1990.
The historical perspective demonstrates that after World War n, with the emergence o f the electronic
age and a changing social and intellectual climate, traditional concepts were being challenged.
Composers facing the dilemma affecting music in general, and the string quartet in particular, had
to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were
initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the
developmental paths took shape from the problem itself and different approaches emerged to master
the multi-faceted dimensions available to composers.
Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems
and string techniques. Quartets of the first half of the century show that both the dissolution and the
extension o f traditional processes were contained, importantly, within the continued use of
conventional notation. The impact and significance of these quartets within the context of 20th
century development cannot be ignored. However, the quartets researched post-1960 demonstrate that
composers have enlarged all parameters of the genre through the extension of traditional resources
and by radical innovation.
This research demonstrates that the emergence of new symbols and string techniques in the second
half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these
elements is undertaken.Art History, Visual Arts & Musicology
D.Mus. (Musicology)
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"A Transcription of Four Viola Works by York Bowen for Clarinet and Piano." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14318.
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abstract: Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.Dissertation/Thesis
York Bowen
D.M.A. Music 2011
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Wu, Ning-Chih, and 吳凝芝. "An Analysis and Interpretation of York Bowen: Viola Sonata No.1 in C Minor Op.18." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6w885j.
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Lavoie, Sophie. "Les violoneux du Saguenay-Lac-St-Jean : style et répertoire des derniers de leur lignée." Thèse, 2019. http://hdl.handle.net/1866/23596.
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La région du Saguenay-Lac-St-Jean est géographiquement située dans une enclave qui a contribué à l’isolement des populations s’y étant installées. Aussi cet éloignement aurait-il favorisé la présence de certaines spécificités culturelles dans cette région, spécificités ayant été relevées au sein de plusieurs domaines tel que la génétique, la linguistique, le patrimoine culinaire, l’histoire et la musique. Cette recherche vise à documenter plus spécifiquement l’élément musical dans la région du Saguenay-Lac-St-Jean par l’analyse du style et du répertoire de quatre joueurs de violon traditionnel ayant appris par transmission orale. La classification du répertoire et l’identification de différentes techniques de jeu au niveau du style permettent de relever à la fois des éléments communs et distincts chez les quatre violoneux. Outre les analyses quantitatives et qualitatives proposées au niveau du répertoire et du style, cette recherche comprend un survol de l’histoire des populations de la région avançant différentes pistes sur les origines et les influences des violoneux ayant habité ou séjourné sur le territoire depuis la traite des fourrures jusqu’à l’industrialisation, de même qu’un recensement de plus d’une centaine de violoneux du Saguenay-Lac-St-Jean depuis la colonisation, et un lexique endogène de la terminologie des violoneux étudiés.The Saguenay-Lac-St-Jean region is an enclave, and this fact contributed, through the years, to the isolation of the populations established there. This isolation is a factor that would have contributed to the presence of cultural distinctiveness amongst the inhabitants of the region. This cultural specificity has been observed in many fields of research, such as genetics, linguistics, culinary traditions, history and music. This thesis documents the musical element of culture in the region of Saguenay-Lac-St-Jean, through the analysis of style and repertoire of four fiddle players from the region. The classification of repertoire and the identification of different playing techniques, highlight both common and individual elements featured in the music of these four fiddlers. The research also contains a historical overview of the people who lived in or crossed the region, from the period of fur trading to industrialisation, and how they could have influenced the music in this region. Additionally, this research contains a census of over 100 fiddle players who have inhabited or passed through the region since colonisation, as well as a lexic explaining over 70 terms and expressions used by the fiddle players of Saguenay-Lac-St-Jean.