Journal articles on the topic 'Violin'
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1
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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Sandu, Ion, Petru Ovidiu Tanasa, Irina Crina Anca Sandu, Ioan Cristinel Negru, Andrei Victor Sandu, and Viorica Vasilache. "Authentication of an Old Violin by Multianalytical Methods." Applied Sciences 10, no. 1 (December 31, 2019): 306. http://dx.doi.org/10.3390/app10010306.
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The paper presents the authentication of a Stradivari 1737 type violin, which belonged to the Romanian scientist Ştefan Odobleja. The analytical methods used in the study for assessing archaeometric characteristics of some component materials, along with the white degree and glycolysis rate measurements of the label that allowed an extensive evaluation of the violin, were OM, SEM–EDX, and micro-FTIR. The preparation binder (egg white from thin gypsum layers) and the varnish (identification of linseed oil and colophony components, alongside contamination impurities) were assessed in order to evaluate the artefact conservation state, as well as the restoration and counterfeiting interventions. We can conclude that the violin was done by a violin maker from the Stradivari family, and it is a replica of the violins of that period.
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Yokoyama, Masao, Amane Takei, Ryuji Shioya, and Genki Yagawa. "Coupled simulation of vibration and sound field of Stradivari violin." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A197. http://dx.doi.org/10.1121/10.0018643.
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The aim of this study is to clarify the relationship between the vibration of violins made by Antonio Stradivari and the acoustic radiation around it. The highly precise geometry of the violin was determined with a micro-computed tomography scanner, and the material properties of the violin body (spruce and maple) were set as the orthotropic properties in the numerical simulation. Then, the numerical simulations coupling the vibrations by a forced oscillation on a bridge with the acoustic field pressure around the violin were performed. Furthermore, the sound pressure emanating in a huge rectangular box was successfully calculated by large scale computing and the open-source parallel acoustic analysis software.
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AYDIN, Birol. "STARTING THE VIOLIN TRAINING." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 87–99. http://dx.doi.org/10.31567/ssd.772.
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The purpose of this study is to make a training guide book by emphasizing the importance of the basic technical hardware of the violin and the importance of the start-up phase. The reason why the focus is especially on the start-up phase is that certain obstacles and mistakes occurring in the advanced stages are the ones which have been ignored, learned and/or taught during this phase. In this study, playing techniques in parallel with the physical changes of the violin from the past to today are mentioned and the study has been corroborated with the images in order to be comprehensive about the development process of being the violin performer. Since violin training is a type of master-apprentice relationship, by making use of the experiences of important violinists and violin masters, a lot of elements have been included in this study to raise awareness of both the teacher and the student. Holding and posture experiences in the study have been exemplified so as to provide the most physically-comfortable way of playing based on modern violin playing techniques. The important steps in violin training such as the adaptation of the student to the instrument, the relationship of the teacher and the student, first sessions, holding, posture and the experience of the first concert have been explained in detail. The data, obtained by the literatüre review, has been evaluated qualitatively and synthesized with the personal experiences of the auther, who is also a vioin educator. The study is considered important in terms of its usage in the violin training curriculum.
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Podmazova, Polina B. "“Le père-créateur” of modern school of violin playing: marking the anniversary of Giovanni B. Viotti." Contemporary Musicology, no. 2 (2020): 27–49. http://dx.doi.org/10.56620/2587-9731-2020-2-027-049.
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The article focuses on one of the key figures in the world of music at the turn of the 18th/19th centuries, an acknowledged leader of French school of violin playing—G.B. Viotti. The study is the first attempt of Russian musicology to highlight the role of Viotti as the founder of the modern school of violin playing. Viotti's performing art with its large-scale and expressive manner of playing that reveals all the possibilities of violin as an instrument as well as ample opportunity for its artistic presentation, is vividly reflected in the genre of the solo violin concerto. His vision of the genre served as a model for the next generation of violin composers. Viotti's traditions of creativity have extended throughout Europe. In France, they were developed by his closest followers—R. Kreutzer, P. Rode, P. Baillot, who embodied them in their joint work—the famous "Méthode de violon" (1802) of the Paris Conservatory. A. Robberechts became their successor in the Franco-Belgian violin school, while F.W. Pixis developed Viotti’s tradition in the Czech school. Viotti's principles are rooted in German violin art thanks to the composing and performing activities of L. Spohr. At the new stage in the development of violin performance, a great contribution to the preservation and development of Viotti’s tradition was made by J. Joachim and L. Auer. The two outstanding teachers brought up more than one generation of famous violinists. N. Paganini, L. van Beethoven, F. Mendelssohn, H. Vieuxtemps, H. Wieniawski, E. Lalo, A. Dvořák, P. Tchaikovsky, A. Glazunov, J. Sibelius, as well as S. Prokofiev, D. Shostakovich, and A. Khachaturian borrowed, rethought and interpreted the creative ideas of Viotti's concerts and the traces of these ideas are found in their violin works. The paper offers a fresh look at the activities of the greatest violinist of the past and evaluates Viotti's contribution to the formation of the best traditions of violin playing.
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Pezzoli, Mirco, Antonio Canclini, Fabio Antonacci, and Augusto Sarti. "A comparative analysis of the directional sound radiation of historical violins." Journal of the Acoustical Society of America 152, no. 1 (July 2022): 354–67. http://dx.doi.org/10.1121/10.0012577.
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The directivity pattern of a musical instrument describes the sound energy radiation as a function of frequency and direction of emission. Violins exhibit a rather complex directivity pattern, which is known to show rapid variations across frequencies, and whose behavior cannot be easily predicted except in the lowest frequency range. The acoustic behavior of the violin is a fascinating research topic that has prompted numerous published works, but a thorough, comprehensive, and comparative analysis of violin directivity patterns is long overdue. In this article, we propose a set of metrics for characterizing the radiative behavior of musical instruments and, in particular, for comparing their directivity patterns. We apply such metrics for a comparative analysis of the directivity patterns of some of the most prestigious historical violins ever made, including grand masters such as Antonio Stradivari, Giuseppe Guarneri “del Gesú” and members of the Amati family. The instruments are preserved in the Violin Museum of Cremona, Italy, where our lab is located. The analysis methodology introduced in this work allowed us to quantitatively evaluate the similarity of directivity patterns of such extraordinary instruments and draw some interesting conclusions.
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Sandu, Ion, Petru Ovidiu Tănasă, Florin Brînză, Viorica Vasilache, Ana Drob, and Vasile Drobotă. "Authentication of a Stradivarius “Petite Violin” Type from 1723." Applied Sciences 13, no. 2 (January 12, 2023): 1048. http://dx.doi.org/10.3390/app13021048.
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By correlating the structural–functional dimensional data with a series of archaeometric and chemometric characteristics determined by dendrochronological analysis and by three instrumental techniques (Scanning Electronic Microscopy, coupled with Energy Dispersive X-ray, µ-FTIR Spectroscopy and Thermal Analysis in Dynamic Mode), a Stradivarius violin was authenticated as having been made by one of the two Stradivari sons (Francesco or Omobono) in 1723. It should be noted that the “petite” type violin, which comes from a private collection and was recently purchased on the open market, has the original label and is in a poor preservation state. There is only one revarnishing intervention on the violin, and it is older than 80 years. There have been several attempts at sampling (all of which are under 30 years old) for the wooden support and varnish (from the top cover of the resonance box), but the existence of some analysis results is unknown. The dimensional characteristics of the structural–functional components place the violin in “petite violins”, and it is one of the more than 40 still preserved as an authentic artifact.
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Whitmore, Philip. "Towards an Understanding of the Capriccio." Journal of the Royal Musical Association 113, no. 1 (1988): 47–56. http://dx.doi.org/10.1093/jrma/113.1.47.
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An extended, unaccompanied violin passage labelled ‘Capriccio’ occurs towards the end of the first and last movements of each of the 12 solo violin concertos, op. 3, by Pietro Antonio Locatelli (1695–1764). These concertos, all of which observe the three-movement fast-slow-fast layout, were published in 1733 by Le Cène in Amsterdam under the title L'arte del violino, but were probably written in the late 1720s. The capriccios may last up to a few pages, and some are longer than the whole of the rest of the movement to which they belong.
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Casazza, Marco, Fabrizio Barone, Elvio Bonisoli, Luca Dimauro, Simone Venturini, Marco Carlo Masoero, and Louena Shtrepi. "A procedure for the characterization of a music instrument vibro-acoustic fingerprint: the case of a contemporary violin." Acta IMEKO 12, no. 3 (September 4, 2023): 1–6. http://dx.doi.org/10.21014/actaimeko.v12i3.1445.
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Violins are wooden musical instruments, whose quality is mainly evaluated on the basis of their aesthetics, as well as depending on the historical relevance of their makers. However, their acoustic quality remains a key evaluation parameter for performers and listeners. The instrument perceived quality, in turn, depends on one side, on the player, the environmental conditions and on the listeners’ psychoacoustic factors. On the other side, the quality of a violin depends on its materials, constructive and set-up parameters, that impact on the vibro-acoustical characteristics of the instrument. This work investigates a procedure for the vibro-acoustic characterization of a violin, here called vibro-acoustic fingerprint, as an example of vibro-acoustical characterization of a wooden music instrument. The procedure was applied, as a case study, to an Italian contemporary violin, built on the basis of a Guarneri del Gesù model in the year 2011.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.
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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.
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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).
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Lowery, Seth, and Andrew A. Piacsek. "A quantitative assessment of uncertainty in the measurement of violin impact response." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A158. http://dx.doi.org/10.1121/10.0010963.
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It is a commonly stated belief among violin players and luthiers that new violins require a period of “playing in” for the tone to develop. Several studies have worked towards an answer to this question, such as measuring the change in tone according to the human ear or the vibrational response of stimulated wood. As the effects of sustained excitation on the mechanical response of violins will likely be subtle, it is necessary to create a consistent method of measurement and to quantify the expected range of deviation among repeated measurements. We measure admittance (velocity/force) by tapping the bridge with a small modal impact hammer and recording the velocity response of the top plate near the opposite side of the bridge using a laser doppler vibrometer. The acoustic response is also measured in an anechoic chamber. Since measurements of the same violin on different days do not produce identical response curves, several methods of characterizing the deviation were developed and compared. These uncertainty metrics will be used in the second phase of the experiment to determine the significance of the results, and ultimately work towards a better understanding of the effects of breaking in violins.
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Flašar, Martin. "MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači." Musicologica Brunensia, no. 2 (2022): 177–86. http://dx.doi.org/10.5817/mb2022-2-9.
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The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.
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Tang, Y. "A SCANNER-BASED 3D MODELING METHOD OF IMPROVING THE TIMBRE OF CHINESE GUQIN BY TRANSPLANTING THE BASS BAR OF THE VIOLIN." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 263–68. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-263-2023.
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Abstract. Guqin is the Chinese oldest musical instrument and intangible cultural heritage. The Tang Dynasty was the most prosperous in Chinese history, with a flourishing culture. One of the Guqin manufactured by Master Lei Wei, a notable Guqin maker in the Tang Dynasty, was recognized as a reference standard instrument and is kept in the Palace Museum in Beijing. Stradivari, a well-known Italian violin maker, has created and improved violins that no one else can surpass. Triangulation laser and CT/CBCT Scanner-Based 3D modelling data-driven analysis of the ancient musical instrument Guqin from the Tang Dynasty has been compared with the Italy Stradivari violin in a historical review perspective in this paper. After delving into the wood, spatial structure, and other aspects of the Stradivari violin, it has been discovered that the wood, paint, and inner cavity design used by the two masters during their respective heydays are strikingly similar, revealing their shared experience in creating ancient musical instruments in their countries. The bass bar of a Stradivari violin is meant to be transplanted into a Chinese Guqin prototype and get the conclusion that the timbre of the Guqin can be improved according to MATLAB spectrum analysis. This is the first time the two masters from Eastern and Western comparison analysis after the millennium.
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Piacsek, Andrew A., and Seth Lowery. "An experiment to measure changes in violin frequency response due to playing-in." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A287. http://dx.doi.org/10.1121/10.0023547.
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There is a widespread (but not universal) conviction among luthiers and performers of stringed instruments that a new instrument will sound “better” after it has been played for a certain amount of time. It is not uncommon for instruments to be mechanically stimulated to accelerate the process. The goal of the present experiment is to determine whether sustained mechanical stimulation of previously unplayed violins produces measurable changes in bridge admittance or radiativity. Our test instruments comprised three sibling violins (Andre Tellis, model 200), two of which were excited continuously for 12 weeks using different methods, while the third served as a control. Once per week during the excitation period, we measured bridge admittance with a laser vibrometer and radiativity in an anechoic chamber for each violin using the hammer tap method. The mass of each violin was also recorded prior to each measurement to account for fluctuations in moisture content. The resulting frequency response functions were analyzed within specific bands for changes that followed a trend over time or exceeded the standard deviation derived from a set of baseline measurements. Preliminary results do not show any significant changes in either the bridge admittance or radiativity for any of the violins.
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Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (June 30, 2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.
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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. These materials provide original solutions to challenges concerning individual elements of violin playing and the musical development of students. Therefore, they also represent an important contribution to the development of violin pedagogy and violin playing in Slovenia.
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Tai, Hwan-Ching, Guo-Chian Li, Shing-Jong Huang, Chang-Ruei Jhu, Jen-Hsuan Chung, Bo Y. Wang, Chia-Shuo Hsu, et al. "Chemical distinctions between Stradivari’s maple and modern tonewood." Proceedings of the National Academy of Sciences 114, no. 1 (December 19, 2016): 27–32. http://dx.doi.org/10.1073/pnas.1611253114.
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Violins made by Antonio Stradivari are renowned for having been the preferred instruments of many leading violinists for over two centuries. There have been long-standing questions about whether wood used by Stradivari possessed unique properties compared with modern tonewood for violin making. Analyses of maple samples removed from four Stradivari and a Guarneri instrument revealed highly distinct organic and inorganic compositions compared with modern maples. By solid-state13C NMR spectroscopy, we observed that about one-third of hemicellulose had decomposed after three centuries, accompanied by signs of lignin oxidation. No apparent changes in cellulose were detected by NMR and synchrotron X-ray diffraction. By thermogravimetric analysis, historical maples exhibited reduced equilibrium moisture content. In differential scanning calorimetry measurements, only maples from Stradivari violins, but not his cellos, exhibited unusual thermooxidation patterns distinct from natural wood. Elemental analyses by inductively coupled plasma mass spectrometry suggested that Stradivari’s maples were treated with complex mineral preservatives containing Al, Ca, Cu, Na, K, and Zn. This type of chemical seasoning was an unusual practice, unknown to later generations of violin makers. In their current state, maples in Stradivari violins have very different chemical properties compared with their modern counterparts, likely due to the combined effects of aging, chemical treatments, and vibrations. These findings may inspire further chemical experimentation with tonewood processing for instrument making in the 21st century.
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Fu'adi, Fu'adi, Birul Walidaini, Agustianto Agustianto, and Sritanto Sritanto. "Eklektik filosofis, teknis, dan psikologis bermain biola dalam pengembangan pembelajaran musik di Indonesia." Imaji 21, no. 1 (April 24, 2023): 64–73. http://dx.doi.org/10.21831/imaji.v21i1.58360.
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In learning the violin, there are various kinds of challenges and obstacles, both technical and non-technical. Strong motivation is needed, supported by appropriate learning methods so that students can develop into capable violinists. This article outlines the philosophical, technical, and psychological aspects of violin learning by world-class violin pedagogues, which are then analyzed in an eclectic manner in order to obtain new approaches that can be applied to develop violin learning in Indonesia. The literature review method is used to select important aspects used in violin learning. The research results show important points of philosophical study in learning the violin include philosophy in starting to learn the violin, mental approach, emotional aesthetics, and talent in music. Technical and psychological studies include body position in playing the violin, sound production, intonation, vibrato, legato, musical nuances, psychological musicians, and the repertoire played. It can be interpreted that these selected and analyzed philosophical, technical, and psychological values of how to play the violin can become the basis for understanding and efforts to build students' capabilities in playing the violin in a comprehensive manner, in accordance with the Indonesian cultural background. Keywords: Eclectic, philosophy, violin technique, musical learning
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Zhang, Cheng Zhong, Bang Yan Ye, Xi Zhi Hu, Xue Zhi Zhao, and Yun Feng Cao. "Finite Element Simulation Application for Vibration Characteristic of Violin." Key Engineering Materials 620 (August 2014): 662–67. http://dx.doi.org/10.4028/www.scientific.net/kem.620.662.
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In this paper, Finite Element Technology is applied to study the vibration state of violin sounding box using numerical simulation. By means of geometric modeling for the complicated shape of violin sounding box and Finite Element Analysis, the structural parameters of violin box, including thickness of violin plate, height and distribution and change of the shape of arch in front plate geometry, status of bass bar and sound-post etc, are investigated for their influence on vibration patterns and frequency response of violin box. Experiment is carried out for measuring the frequencies responses of violin box to verify the results of the Finite Element Analysis. This research provides a feasible way of theories for violin makers to improve the vibration characteristics of violin.
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Surma, Joanna. "Nomenclature of the traditional violin repertoire based on the instrumental prac- tice of selected violinists from Central Poland." Ethnomusic 18, no. 1 (December 2022): 83–99. http://dx.doi.org/10.33398/2523-4846-2022-18-1-83-99.
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Nomenclature of the traditional violin repertoire based on the instrumental prac- tice of selected violinists from Central Poland Mazurkas and oberekas were the main musical genres performed in Central Po- land until World War I by traditional musical groups consisted initially of a violi- nist and a drummer. Depending on the sub-region, these two terms were used inter- changeably, sometimes they were considered as two different genres, and sometimes confused – for example, in Powiśle, instrumental mazurkas were called “wędrowce” (sing. “wędrowiec”), “podróżniaki” (sing. “podróżniak) or “światowce” (sing. “świa- towiec”), while in many villages near Radom, the term mazurka did not occur at all. The third commonly performed musical genre before World War I was the polka. In the interwar period and in the first years after World War II, the traditional repertoire significantly expanded to include waltzes, sztajerki (sing. sztajer or sztajerek) and tangos. The article deals with the issue of muscial genres nomenclature performed by selected violinists from Central Poland, focusing on four figures associated with the traditional violin music of the Radom region: Stanisław Lewandowski (Brogowa, b. 1933), Jan Skretowski (Borowina, b. 1941), Adam Tarnowski (Domaniów, b. 1945) and Zdzisław Kwapiński (b. in 1951 in Szymanów, from 1984 residing in Przytyk, and from the late 1980s in Radom). Another important issue is the nomenclature of single musical works performed by the aforesaid violinists, what reveals their creativ- ity as well as the rural way of perceiving music. Keywords: mazurka, oberek, polka, violin, violin music, Central Poland.
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Banks, Margaret Downie. "The violin piccolo and other small violins." Early Music XVIII, no. 4 (November 1990): 588–98. http://dx.doi.org/10.1093/earlyj/xviii.4.588.
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Sakti, Alqtuiss Patri. "PERTUNJUKAN MUSIK SOLO VIOLIN DENGAN REPERTOAR CHACONNE IN G MINOR, SPIRITED AWAY, DAN WE WIIL ROCK YOU." Laga-Laga : Jurnal Seni Pertunjukan 8, no. 1 (May 28, 2022): 1. http://dx.doi.org/10.26887/lg.v8i1.2002.
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Chaconne In G Minor adalah pertunjukan solo violin pertama yang merupakan komposisi solo violin gubahan T.A. Vitali(1663), yakni seorang pemain violin ternama pada zaman barok. Komposisi musik tersebut dikenal dengan istilah chaconne yang berhubungan pada era barok (klasik). Ide dan strukturnya hampir serupa dengan bentuk passacaglia dari bentuk (form) yang sama. Spirit away adalah pertunjukan solo violin kedua, yakni merupakan komposisi solo violin karya Iskandar Widjaja seorang violinist yang lahir pada tahun 1986 asal Jerman berdarah Indonesia. We Will Rock You adalah pertunjukan solo violin ketiga yang merupakan transkripsi vocal pada instrumen violin dari lagu band Queen, yaitu band asal Inggris (London) yang berdiri pada tahun 1970. Metode penyajian yang digunakan ialah penerapan tekhnik permainan violin pada tiga komposisi musik Chaconne In G Minor, Spirit away, We Will Rock You melalui pendekatan etude, yaitu sebuah buku panduan dalam menguasai tekhnik permainan violin. Etude yang digunakan ialah Rodolphe Kreutzer 42 etude's, buku panduan tersebut merupakan karangan dari seorang pianis bernama Rodolphe Kreutzer (1766-1831). Tekhnik yang diterapkan merupakan tekhnik yang terdapat pada komposisi musik yang dipertunjukan, di antaranya; stacato, legato, arpeggio,, richochet dan double stop. Pertunjukan solo violin yang menerapkan komposisi musik berbeda zaman dan style (gaya), yakni antara klasikal dan modern adalah bentuk kesukaran dalam mewujudkannya. Rodolphe Kreutzer 42 etude's adalah panduan yang memuat tekhnik-tekhnik bermain violin, sehingga penerapan komposisi musik tersebut dapat di garap dengan kaidah baku yang memiliki suatu standar permainan violin.Kata kunci: Chaconne In G Minor; Spirit Away ; Rodolphe Kreutzer
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Fauzi, Ade, and Uyuni Widiastuti. "INOVASI INSTRUMEN BIOLA BERFRET DI MTS NURHASANAH KABUPATEN BATUBARA." Grenek Music Journal 9, no. 1 (January 30, 2021): 1. http://dx.doi.org/10.24114/grenek.v9i1.23292.
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The purpose of this study 1) To determine the learning process of the violin using the innovation of the fret violin instrument at MTs Nurhasanah Batubara Regency, 2) To determine the process of making the violin instrument innovation. The theories used are innovation theory, learning theory, violin theory, and fret (tone barrier). Data collection techniques through observation, interviews, and documentation. The results of this study indicate 1) The learning process of the violin includes an explanation of the parts of the violin and their functions followed by reading music notation with tabulated numbers and teaching material from the Suzuki method manual. 2) The production of the stringed violin instrument consists of several stages, including: (1) the manufacturing process, (2) the manufacturing steps, (3) the materials used, and (4) the advantages and disadvantages of the stringed violin instrument. The manufacturing process is quite simple, just adding a fret that is planted on the fingerboard and then measured by a cromatic tuner measuring instrument.
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Nastac, Silviu Marian, Vasile Ghiorghe Gliga, Mircea Mihalcica, Alina Maria Nauncef, Florin Dinulica, and Mihaela Campean. "Correlation between Acoustic Analysis and Psycho-Acoustic Evaluation of Violins." Applied Sciences 12, no. 17 (August 28, 2022): 8620. http://dx.doi.org/10.3390/app12178620.
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This paper presents the results of an experimental study performed on seven violins obtained from a top plate made of resonance spruce and a back plate made of curly maple. Each pair of plates had a different modification to its thickness profile. Some were thickened and others were thinned compared to the classical thickness profile. Then, a soloist played a musical sequence on each violin and the acoustic signals were recorded. The sound quality of the signals was evaluated with a psycho-acoustic evaluation based on a blind questionnaire completed by listeners. It turned out that: (1) respondents with more musical experience (especially those with over 26 years of experience) were more demanding in assessing sound clarity and offered the widest range of scores in assessing this quality; (2) the musical experience of the respondents influenced to the highest degree the appreciation of the warm sound quality; (3) the scores for the violins with thinned plates were weaker, especially according to the psycho-acoustic analysis; and (4) the highest score was obtained by the violin with the thickest plates, which can be correlated with the two dominant frequencies extracted from the FFT analysis, whose values coincide with the frequencies of the B1− and B1+ modes.
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Nishimura, Yuya, Rin Ema Minami, and Sohei Nishimura. "Study on the Spatial Radiation Characteristic by Adjusting the Violin Sound Post." European Journal of Engineering Research and Science 5, no. 3 (March 17, 2020): 314–19. http://dx.doi.org/10.24018/ejers.2020.5.3.1821.
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Violins were invented in the 16th century in Italy, many methods of manufacturing and adjusting have been developed. Certain violins are highly valued from a cultural perspective as well as for their high sound quality. However, Violin repairers have carried on techniques that have largely been transmitted verbally from generation to generation, so there is a little detailed documentation. Much research has been done to elucidate manufacturing technology and materials used for these valuable violins. This study aims to support the passing down of certain techniques from an acoustic engineering perspective. Many elements defining the timbre, but this study will be focusing on the sound post and the bridge. By clarifying the relationship of adjusting the sound post to the Spatial Radiation Characteristic, we will estimate the ideal position of the sound post and attempt to present the results in the form of a graph.
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Nishimura, Yuya, Rin Ema Minami, and Sohei Nishimura. "Study on the Spatial Radiation Characteristic by Adjusting the Violin Sound Post." European Journal of Engineering and Technology Research 5, no. 3 (March 17, 2020): 314–19. http://dx.doi.org/10.24018/ejeng.2020.5.3.1821.
Full textAbstract:
Violins were invented in the 16th century in Italy, many methods of manufacturing and adjusting have been developed. Certain violins are highly valued from a cultural perspective as well as for their high sound quality. However, Violin repairers have carried on techniques that have largely been transmitted verbally from generation to generation, so there is a little detailed documentation. Much research has been done to elucidate manufacturing technology and materials used for these valuable violins. This study aims to support the passing down of certain techniques from an acoustic engineering perspective. Many elements defining the timbre, but this study will be focusing on the sound post and the bridge. By clarifying the relationship of adjusting the sound post to the Spatial Radiation Characteristic, we will estimate the ideal position of the sound post and attempt to present the results in the form of a graph.
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Onishchenko, Aleksandra. "Violin and non-violin in the performing activity (the Concert for violin with orchestra D-dur, op. 35 is consideredby P. I. Tchaikovsky)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 132–49. http://dx.doi.org/10.34064/khnum1-57.08.
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Background. The matters of performing and composing art of the XIXth century are considered in this article. The way of formation and changes that have been brought into the violin literature for 100 years ‒ extension of performing techniques, breaking stereotypes that had been built for centuries ‒ were taken as a standard in the repertoire of the violinists of that time. The development of the concert genre by famous performers – composers and division of these two functions by the end of the century encouraged musicians to talk about «violin» and «non violin», limiting performer’s opportunities, by giving them anti violin tasks. It was encouraged by the presence of certain templates that were formed in the period of Italian violinists-composers, who defined a specific format of sound performances, formed definite formulas of technical phrases, and developed a full range of performing tools that built the violin-performing machine. In their turn, composers of the late XIX century had an opportunity to look at the performing structure from another perspective, bringing new acoustic author’s expressions into the violin literature. E. Lalo, A. Dvořák, К. Saint-Saens, J. Brahms, P. Tchaikovsky laid the foundation for new trends and performances that created a discussion about violin and non-violin. During 5 years (from 1874 until 1879), the mentioned authors were divided into two camps – followers of traditions E. Lalo, A. Dvořák, К. Saint-Saens and innovators in the concert genre J. Brahms and P. Tchaikovsky. The latter ones managed to avoid violin clichés and despite much resentment in the musical world showed those sides of performer’s characteristics that could not be positioned with related to violin performance. Objectives. This article is aimed at defining the range of techniques that allow to talk about «violin» and «non-violin» following the analysis of musical edition of the Concert for violin with orchestra by P. Thaikovsky. Results. Every era of violin art has brought its elements of expressive means that extended the violinists’ capabilities, thereby enriching the performing palette with new techniques and at the same time a range of complicated figurativesemantic objectives are given to performers. During a long period (from the seventeenth until the mid-nineteenth centuries), performers-composers, creating compositions for violin, did some methodical work as well, using specific technical tools for specific artistic objectives. In other words, musical value was intrinsically connected with the comfort while performing. Types of fingerings, dashes, chord techniques, timbres – what makes a performer’s toolbox ‒ was determined in the study and performance practice as a certain template. Over time teaching materials in form of «schools of violin performance», used for mastering performer’s technique, focused the composers on certain sound technical models, that particular «violin» structure that could be easily «read» not only the time of the composition creation but its style belonging and even its authorship. However, in the history of musical art the cases when the author’s imagination goes beyond templates, setting difficult objectives, including technical ones, for the performer are not so rare. Premier failures, musicians’ refusal to participate in the performance of a new composition ‒ all of it was the consequence of inertial processes of concert practice, its «delay» towards the composer’s practice. A clear example of such a situation is the Concert for violin with orchestra by P. Tchaikovsky, the composition that generated a discussion about «violin» and «non-violin» in musical art. It is evident that the modern performing toolbox allows mastering and overcoming those difficulties, which created an opinion about the composition as inconvenient and «non-violin» in days of the composer. So, what is the meaning of «violin» and «non violin»? Can «non violin» be outdated or is it a phenomenon at different stages of the evolution of musical stylistics? Conclusions. The end of the XIXth century was marked not only by the renewal of violin material, but also by extension of performer’s techniques, withdrawal of stereotypes that had been built for centuries and were taken as a standard in the repertoire of the performers of that time. The richness of the Concert for violin by P. Tchikovsky with technical discoveries, going ahead of the time, caused L. Auer’s refusal to take part in the premiere. A young soloist A. Brodsky needed more than a year to learn the musical language, dramaturgy and all those difficulties that were mentioned above. Nowadays the Concert for violin by P. Tchaikovsky is a mandatory composition in all prestigious violin contests. It is evident that modern violinist’s toolbox allows them to master and overcome all those difficulties that earlier were told to be «inconvenient» and «non-violin» in the composition. These days «non violin» can be considered a thing of the past. A range of authors of remarquable methodical works of the XX‒XXI centuries (К. Flesch, K. Mostras, I. Yampolsky, Yu. Yankelevich, L. Gurevich, M. Berlianchik) relied on their own experience while answering the questions that worried all the performers without any exception during the development of the whole complex of techniques. However, none of them studies the notion «non violin» as a methodological problem because the practice proves: the technical inconveniences are overcomed in case the performer can hear and understand the innovations, offered by a composer, that raise the performer above any stereotypes.
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Morrison, Andrew C. "Revisiting a classic experiment in violin acoustics as a classroom demonstration or laboratory activity." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A146. http://dx.doi.org/10.1121/10.0027109.
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In 1982, Carleen Hutchins built a violin to conduct experiments largely to learn about the role of air cavity resonances on the overall sound produced by the violin. This violin was of a standard design except for 65 holes 5 mm in diameter drilled into the ribs. The holes could be selectively plugged with corks for experimentation. Carleen Hutchins was a skilled luthier, and this violin, playfully called “Le Gruyère,” was a finely crafted musical instrument. For an introductory acoustics general education laboratory course, a version of Hutchins' Swiss cheese violin was created by drilling holes in the ribs of a factory-made student-model violin. Students in the course have the opportunity to replicate classic acoustics experiments or this violin can be used for class demonstration purposes. In this presentation, the advantages and challenges of implementing this activity as a laboratory or classroom demonstration are discussed.
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Sarjoko, Moh. "Subject of Main Instruments (Violin) Madya Level Course In Music Study Program, Faculty of Languages and Arts, Universitas Negeri Surabaya." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 6, no. 1 (June 30, 2023): 44–56. http://dx.doi.org/10.26740/vt.v6n1.p44-56.
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Soprano violin is part of a stringed instrument. Today, the violin is one of the most popular musical instruments in the community. Many people learn this violin instrument in studios, music courses, schools and other educational institutions. Therefore, the need for the availability of this violin instrument is quite a lot. This also has an impact on the needs of teachers/tutors, the need for books/tools to support the ability to play the violin, and so on. Music Study Program, Faculty of Languages and Arts, Universitas Negeri Surabaya is one of the educational institutions where many students choose the violin major specialization. This research is a class action research at the intermediate level elective principal instrument subject using the case study method through direct observation of the level of difficulty and suitability of the material, so that it can produce a book output. This book is a guide in learning the violin musical instrument which is equipped with techniques, scales, etudes, and repertoire for students of the Music Study Program, Faculty of Languages and Arts, Universitas Negeri Surabaya who are taking the subject matter of violin at the intermediate level.
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Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (July 2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.
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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.
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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.
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AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper extremity. Pain intensity during the last 7 days was measured by an 11-point numeric rating scale (NRS) with a score from 0 to 10, as well as was disadvantage at work and leisure. RESULTS: Of the interviewed musicians, 20% presented playing-related musculoskeletal disorders at the time of the interview. Compared to other professional orchestra musicians, violin and viola players reported significantly more intense pain in the hand during the last week. Also, they had experienced more frequent neck pain ever and in 5 years than the others. During the past 30 days, violin and viola players had also perceived more harm in their upper limb joints. Violin/cello and violin/French horn players did not differ from the others. CONCLUSIONS: Our study showed that musicians playing the violin or viola have more intense hand pain and more frequent neck pain than other musicians, but these seem to disturb their daily tasks only a little.
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Ridhwan, Urfan Saniylabdhawega, Rita Milyartini, and Diah Latifah. "Study of The Violin Book for The Development of Beginner Level Violin Teaching Materials Based on National Song." Gondang: Jurnal Seni dan Budaya 7, no. 1 (June 12, 2023): 104. http://dx.doi.org/10.24114/gondang.v7i1.45978.
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The violin is proven to be able to build the positive character of a nation. Venezuela's experience with its program, El Sistema, where the violin instrument is learned by the wider community, has had a positive impact in terms of social and economic aspects, including a sense of empathy, cooperation, self-confidence and can help increase awareness of national identity. In Indonesia, the violin is known as a western classical musical instrument. This assumption is supported by the rise of violin course institutions that use eurocentric teaching materials. Learning from Venezuela's experience, an effort is needed to develop violin teaching materials that offer material related to Indonesian National songs, as an effort to build national character. As a first step, a review of beginner level violin books with high credibility will be carried out. The purpose of this study is to determine the characteristics of beginner level violin teaching materials. The research method used is analytical descriptive. This process is expected to produce the basics that need to be considered in the process of developing teaching materials, especially teaching materials for violin musical instruments. The researcher hopes to be able to inspire researchers who are developing music teaching materials through a content analysis process carried out by researchers to produce teaching materials with international standards.
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Yang, Qi. "The Emergence and Application of Violin Virtuosity During the Romantic Period." Communications in Humanities Research 14, no. 1 (November 20, 2023): 70–79. http://dx.doi.org/10.54254/2753-7064/14/20230409.
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Musicians used virtuosity to showcase the pinnacle of human mastery over musical instruments, and the violin, known as the king of instruments, excels in terms of its range, tone, and flexibility. The combination of the violin and virtuosity allows for an infinite range of possibilities in musical expression. The virtuoso style emerged during the Romantic period, an era that celebrated the beauty of humanity and freedom, and it propelled violin artistry to unprecedented heights. This phenomenon was not a coincidence but the result of the interplay of musical style inheritance, advances in violin-making techniques, social change, and commercial development. The historical context imbued violin virtuosity with unique significance, determining the characteristics of virtuoso musical genres, composition styles, and performance contexts. This holds a special place in the history of Western music and violin development, profoundly influencing the philosophy of violin music performance. However, the ultimate goal of virtuosity is not just to perform fast and seamless notes flawlessly but to use technique as a means to showcase a unique style and evoke musical emotions. Violin students, when practicing and performing virtuosic music, should possess a certain understanding of virtuosity as an art form and endeavor to uncover the musical depth behind the technical prowess.
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PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.
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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed in folklore, collaborated with well-known Hutsul virtuosos-performers on the flute traditional instruments – Vasyl Popadiuk (1940–1991), Mykhaylo Tymofiiv (1944), violinist Petro Terpeliuk (1941–2012), cymbalist Vasyl Myroniuk. He gained performance experience while serving together with them Huzul wedding ceremonies in a manner aimed at folk authentication and adopted traditional huzul folklore repertoire using oral method. At the time of obtaining higher education at the Kyiv Institute of Culture (specialty of folk bandmaster), S. Orel already had a two-year record of the soloist and bandmaster of the Hutsul song-and-dance ensemble of the Ivano-Frankivsk Philharmonia, as well as the experience of Kolomyia musical bands director. Musician’s move to the village of Deliatyn, Nadvirna district of Ivano-Frankivsk region in 1977 became fateful major shift, where he, having taken a position of the musical school director, founded together with his wife – singer Liubov Orel (Bilinkevych) the Arkan orchestra. Having rallied first nine participants he created his music piece – musical adaptation of Arkan Hutsul dance. Subsequently, the entire band’s repertory was developing of personal orchestrations and musician’s own works. The general features of his orchestral style include the improvisatory enriched themes of the violin-solo part, main texture load on the string group (violin solo, three parts of violin, viola, cello, contrabass), fipple flute and cymbal second parts, accordeon’s chordal and harmonic functions, tambourine rhythmic patterns, which highlight melody features. A year later, the orchestra gained “folk” title and represented Hutsul region in contests and festivals taking winner awards. Today, about 3,000 S. Orel’s note developments are known, including his own vocal and instrumental works, numerous orchestrations of Ukrainian and multi-ethnic folklore, interpretation of famous composer miniatures, church choral works, author’s music for children’s performances and theatrical productions, genre music pieces for violins and cymbals with orchestra. The phenomenon of the violin-interpreter had an impact on a style of play of presently municipal Arkan folk music orchestra founded by Serhiy Orel, which represents in complex the creative achievements of its artistic director across different scenes of Ukraine and worldwide.
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Ramadhani, Rahma, and Irdhan Epria Darma Putra. "PENERAPAN METODE SUZUKI DALAM PEMBELAJARAN BIOLA DI GILANG RAMADHAN STUDIO BAND PADANG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 195. http://dx.doi.org/10.24036/jsu.v9i2.110528.
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This study aims to determine how the application of Suzuki method is in violin learning at Gilang Ramadhan Studio Band Padang. This research belongs to a descriptive research which produces qualitative data. The data were obtained during the learning process through interviews conducted to violin instructors at Gilang Ramadhan Studio Band (GRSB) Padang, as well as documentation containing photos during the violin learning process at Gilang Ramadhan Studio Band (GRSB) Padang. Based on the results, the use of Suzuki method in the violin learning process at Gilang Ramadhan Studio Band has not been fully applied. This can be seen in the implementation of learning where there are no group games or group exercises, and there is no CD playing so that it causes the violin learning process to be hampered. Some of the Suzuki method have been applied in the violin learning process at Gilang Ramadhan Studio Band (GRSB) Padang. These include giving music education starting at an early age, rehearsing song material repeatedly, listening to music before playing it, and reading block notation using fingers.Keywords: Method, Suzuki, Violin
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Pu, Lihua. "Performance Perspectives in Jenő Hubay's Violin Concertos." Studia Musicologica 63, no. 3-4 (June 19, 2023): 329–46. http://dx.doi.org/10.1556/6.2022.00014.
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AbstractJenő Hubay (1858–1937) attained his greatest stature as the founder of the Hungarian Violin School. Although Hubay's name is mostly mentioned in violin pedagogy, he was also a popular composer during his lifetime. He composed over 300 violin works, and his role as composer is underestimated unlike those of contemporaries such as Eugène Ysaÿe. The present paper focuses on the performance perspectives in Hubay's violin concertos, by examining the historical background of each concerto, followed by a systematic approach to violin and musical techniques. This includes guidelines for determining tempo, dynamics/dynamic planning, bowing/articulation, tempo rubato, and portamenti/vibrato to create a style of performance appropriate to Hubay's works.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.
Full textAbstract:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Fang, Jinwen. "Theory and practice of applying the principle of continuity of pre-university and university levels of violin teaching in China." Педагогика и просвещение, no. 2 (February 2024): 57–65. http://dx.doi.org/10.7256/2454-0676.2024.2.70675.
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This article examines the issue of violin education in the People's Republic of China from the point of view of theory and practice. A historical excursion is conducted and a retrospective of the formation of professional university violin education in China is given. The educational process in the leading conservatories of China is studied on the example of programs, as well as the activities of teachers and professors. The author comes to the conclusion that due to the application of the principle of continuity of pre-university and university levels of violin playing in China, Chinese violin art by the turn of the XX-XXI centuries not only reached the world level, but became one of the brightest, independent and deeply original areas of the world violin art. The article uses theoretical methods of research: analysis, synthesis, classification of the results obtained, as well as the method of generalization. The violin is one of the most popular European musical instruments in China, so many people want to master this instrument. There are so many applicants that there are not enough educational institutions for them, which operate only on the territory of large cities. In this regard, private music education is widespread in China. In parallel with the formation of the performing arts, the technique of playing the violin has received multilateral development and scientific justification. The development of Russian and European teaching systems has become the basis of the Chinese methodological system adapted for China and taking into account the individual characteristics of students. Thanks to the application of the principle of continuity of pre-university and university levels of violin playing in China, Chinese violin art by the turn of the XX-XXI centuries not only reached the world level, but became one of the brightest, independent and deeply original areas of world violin art.
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Kok, Laura M., Jim Schrijvers, Marta Fiocco, Barend van Royen, and Jaap Harlaar. "Use of a Shoulder Rest for Playing the Violin Revisited: An Analysis of the Effect of Shoulder Rest Height on Muscle Activity, Violin Fixation Force, and Player Comfort." Medical Problems of Performing Artists 34, no. 1 (March 1, 2019): 39–46. http://dx.doi.org/10.21091/mppa.2019.1009.
Full textAbstract:
AIMS: For violinists, the shoulder rest is an ergonomic adaptation to reduce musculoskeletal load. In this study, we aimed to evaluate how the height of the shoulder rest affects the violin fixation force and electromyographic (EMG) activity of the superficial neck and shoulder muscles. METHODS: In professional violinists, four different shoulder rest heights during five playing conditions were evaluated. Outcome variables included the jaw-shoulder violin fixation force and bilateral surface EMG of the upper trapezius (mTP), sternocleidomastoid (mSCM), and left anterior part of the left deltoid muscle (mDTA). Playing comfort was subjectively rated on a visual analogue scale (VAS). Linear regression models were estimated to investigate the influence of the shoulder rest height on muscle activity and violin fixation force as well as the muscle activity of the five evaluated muscles on violin fixation force. RESULTS: 20 professional violinists (4 males, 16 females, mean age 29.4 yrs) participated in this study. The shoulder rest condition had a significant effect on playing comfort (p<0.001), with higher shoulder rest conditions associated with decreased subjective playing comfort. The mean violin fixation force for each shoulder rest condition ranged between 2.92 and 3.39 N; higher shoulder rests were related to a higher violin fixation force (p<0.001). CONCLUSION: In this study, violin fixation force and muscle activity of the left mDTA increased while playing with an increasing height of the shoulder rest. As the shoulder rest influences muscle activity patterns and violin fixation force, adjustment of the shoulder rest and positioning of the violin need to be carefully optimized.