Tesis: "Computer and violin music"

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Lee, Terry Alan. "Grancloud, a real-time granular synthesis application and its implementation in the interactive composition Creo". Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12151.

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For flute, violin, French horn, piano, and live electronics. Includes graphic notation for computer. Includes performance notes. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 93-94).

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2

Bell, Jeffrey C. "Present Absence: A work for string quintet and live electronics". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2822/.

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Present Absence is a work that integrates electronic processing and live performance. It is approximately 20 minutes long and is divided into three movements. The movements are distinct from each other, but are related through various elements. Incorporating electronic processing and live performance can be cumbersome. The primary objective of this piece is to use electronic processing in a manner that liberates the performers from any restrictions imposed by the use of electronic processing. The electronic processing in the work is accomplished through the program MAX/Msp, a real-time digital signal processing environment. The patch that was created for this piece is called MOO-V. This paper discusses the both the technical details in the construction of this patch, and the aesthetic it serves.

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3

Wallace, Frank James. "Graduation recital compositions". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

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4

Galvan-Herrera, Rafael. "Graduate violin recital". FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/3443.

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Sonata for Solo Violin Op. 27, No.2 ("Obsession") E. ugene Ysaye (1853-1931) I. Prelude. Poco Vivace IL Malinconia IIL Danse des ombres Concerto for Violin No. 2, Op.63 - Sergei Prokofiev (1891-1953) I. Allegro moderato II. Andante assai Sonata No. 3 for Violin and Piano, Op. 45 - Edvard Grieg (1843-1945) I. Allegro molto ed appassionato II. Allegretto espressivo alla Romanza IIL Allegro animato Estrellita (Mexican song for violin and piano) .M. Manuel M. Ponce (1 882-1948) Jascha Heifetz (1901-1987)

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5

Chernova, Elena. "Graduate Violin Recital". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2168.

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

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6

Kim, Seong Ae. "Sonata for Violin and Piano". Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.

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My dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances.

The formal shape and material intentions of the piece— the fast-slow-fast tempo profile of the three movements, typical of so much Western music, is anchored conceptually in Korean ideas of "Heung" (communal joy-exploding energy) and "Han" (suffering-repressed energy). Each movement will make reference to a different folk music genre, the first movement alluding to "Sanjo," the second to "Gut," and the third from "Pungmul" (see chart). In addition, each movement will contain gestures from the Korean folk dances "Taepyongmu," "Sal puri," and "Sangmo Dolighi," all of which have different ceremonial functions in traditional Korean society. Each movement will also have its own characteristic folk rhythm pattern. The first movement will be based on an explicit Korean folk tune, while the overarching emphasis thematically in the three movements respectively will be "Garak" (melody), "Puri" (loosening), and "Nori" (fun).

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7

Billing, Sally. "Bacewicz : the violin concertos". Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.

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This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devoted to a contextual analysis of Bacewicz's series of seven violin concertos and the study concludes with a consideration of a number of factors affecting Bacewicz's career and subsequent reception, addressing issues such as Polish cultural policy, the status of women composers, and her juggling of a number of professional and domestic roles. Appendices provide comprehensive listings of both her catalogue of works and recordings. Most importantly, however, the study uncovers the merit and originality of a number of works which exhibit a creative approach to string writing and a highly imaginative use of timbre. Such research should provide the invitation to others for further investigation into a catalogue containing over two hundred works.

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8

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

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Word processed copy.
Includes bibliographical references (leaves 72-75).
This dissertation presents a study and critical analysis of violin bowing technique. The works of some of the great twentieth century violin pedagogues were studied and their ideas on efficiency of movement, posture and balance in violin playing are highlighted. Motion analyses comparing linear and non-linear bowing styles were conducted using digital motion-tracking techniques.

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9

Ya, ng Semi C. Miss. "Violin Etudes: A Pedagogical Guide". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1146083212.

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10

Ho, Frank Kwantat. "The violin music of Karol Szymanowski (Poland)". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59725.pdf.

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Hiew, Alexandra T. "Towards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology ResearchTowards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology Research". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1380619860.

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12

Collins, Susan May. "The violin and piano music of Raymond Hansen /". Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20051110.160444/index.html.

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13

MacAdam-Somer, Batya. "Program notes Masters recital, October 3, 2009 /". Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/fullcit?p1470608.

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Thesis (M.A.)--University of California, San Diego, 2009.
Available via ProQuest Digital Dissertations. With accompanying disc containing sound files of the thesis recital in 44K stereo. and 96K formats.

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14

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

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Thesis (Ph. D.--Music)--University of California, San Diego, 1998.
Vita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.

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15

Parsons, John Lewis. "Stylistic change in violin performance 1900-1960 : with special reference to recordings of the Hungarian violin school". Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55396/.

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This thesis describes and analyses stylistic change in violin performance (c. 1900-1960) by examining the so-called Hungarian violin school as an exemplar of stylistic change in this period. The thesis uses examples from both written and recorded sources to examine shifts in the use of expressive fingering, vibrato and flexibility of rhythm and tempo. The sources used include: performing editions; treatises; and recordings. In respect of the study of stylistic change, the thesis argues that recordings provide a valuable research resource for assessing the theoretical use of expressive devices, as well as the prominence, character and actual application in performance of such devices. The thesis focuses on the relationship between a player's formal training and the cultural-aesthetic influences to which he/she was subsequently exposed, and also considers the relationship between performing theory and performing practice. Chapter one explores nineteenth-century French and German antecedents to the Hungarian school, before discussing the syllabus and pedagogy of Jeno Hubay in Budapest. The cheaper concludes with a case study of the changing approaches to technique and expression of Hubay's pupil, Josef Szigeti. Chapters two, three and four concentrate on the expressive devices used in the performances of violinists in the twentieth century: chapter two explores fingering; chapter three concerns vibrato; and chapter four addresses rhythm and tempo. The thesis shows that, in the case of the Hungarian school, players retained aspects of their initial training, but that other influences played a more decisive role in their evolution as mature artists. The thesis concludes by arguing that recorded sources have a vital and significant contribution to make to the field of twentieth-century performance practice.

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16

McLennan, John Ewan Physics Faculty of Science UNSW. "The violin music acoustics from baroque to romantic". Awarded by:University of New South Wales. Physics, 2008. http://handle.unsw.edu.au/1959.4/43805.

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A Baroque violin was initially made. It was then incrementally converted to a Romantic (modern) setup by replacing the short neck with a longer, more slender neck and adding a longer ebony fingerboard, a heavier bassbar and soundpost. This increased the total mass from 386 to 440 g. Several different Baroque and modern configurations, with baroque and modern style bows, were used for acoustical measurements and playing tests with professional violinists. Chladni patterns were similar in both versions and also when the bridge was placed below the soundholes. The Baroque version gave higher body mode frequencies than the Romantic. Placing the bridge below the soundholes lowered the frequency of the 800 Hz resonance to 600 Hz. Saunders Loudness Tests showed a response that varied strongly over the body resonances. For the transition from Baroque to Romantic setup, hand bowing showed an increase of 1 dB and machine bowing about 5 dB. The compliance of the body added to the air lowered the main air resonance by 5 Hz, equivalent to adding about 130 cc to the 2000 cc air volume. The top plate stiffness measured at the bridge feet was about 10 kN/m higher at the treble foot than at the bass foot, for all locations of the soundpost outside the treble foot. The stiffness at the bass foot remained constant. This was reversed when the soundpost was placed between the two feet: the stiffness at the treble foot was then lower than at the bass foot. The rocking and bounce frequencies of the bridge were lowered from 3000 and 6000 Hz respectively to about 2.5 and 3 kHz when fitted to the violin. Thinning the bridge waist lowered the rocking frequency. Recordings of performances on the violin were made for many combinations of physical state (baroque or romantic), type of string and bow, position of bridge, and others. Long-term average spectra for these recordings are compared here, and an online appendix includes these recordings in a way that allows them to be readily compared: www.phys.ul1sw.edu.au/music/people/mclennanappendix.html

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17

Bagley, Paul Michael. "Mysticism in 20th and 21st century violin music". Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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“Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20^th and 21^st centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's Baal Shem suite and Poème mystique; Finko's Lamentations of Jeremiah, Zorn's Kol Nidre, Goetia, All Hallow's Eve, and Amour fou; Gubaidulina's In tempus praesens; and Messiaen's Quartet for the End of Time. These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.

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Barton, Pamela Sage. "Gender roles in the violin music of Bach". Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10111173.

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In Johann Sebastian Bach’s Partita No. 3 in E Major BWV 1006, French societal values for gender roles can be found. This report examines such ideals from the perspective of gender and sexuality and the ways it represents power, politics, and human expression. I will observe various Bach and feminist scholars such as Susan McClary and apply their analysis to gender roles in the Baroque era. I will also use analysis of Bach’s Partita No. 3 to critique these gender roles and to further develop the concept of women’s role in music, thus informing my own interpretation of the piece for my recital performance. These gender roles during the Bach’s time reveal women to be limited to mainly the domestic sphere. Ultimately this domestic role reinforces the patriarchal foundation of music.

By including female roles in the academic discussion of Bach’s music, inclusivity is achieved. There is a great deal of research available on gender roles during the Baroque era suggesting that some women were involved in music but were ultimately restricted by the patriarchy. Women and their roles are studied but are often portrayed as an exception, an afterthought, or a side-note within the male narrative. If music is regarded as a medium of expression and freedom, it seems only fair to recognize those who faced oppression in order to uphold music’s transcendent and progressive properties. By investigating their roles I intend to broaden historical significance where it is due.

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Tu, Kuan-Chang. "In the Fingertips: A Discussion of Stravinsky's Violin Writing in His Ballet Transcriptions for Violin and Piano". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337288174.

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Palamara, Jason Andrew. "Dysphonia, for solo violin, chamber ensemble and live electronics". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1718.

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DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system worn by a dancer. The piece was choreographed by Professor Charlotte Adams of the University of Iowa Dance Department and premiered at the Faculty Graduate Dance Concerts in February of 2015. This piece is inspired by ongoing research into computer programming, gesture and music-making, artificial intelligence (AI), and creative algorithms. While the actual algorithms I developed for use in this piece are far from sentient, it is my hope that this piece may bring about discussion and further interest in creative AI. In our initial discussions, choreographer Charlotte Adams and I discovered that we both have witnessed a large number of people buying into immersive technologies without questioning the total cost to their well being, without questioning whether the technology has a positive impact on their lives, and without an understanding regarding the complex changes being wrought in our society due to the mass adoption of such technologies. Thus we designed this piece around the technology itself, so that the union between the dancer and the prosthesis is brought about by the movement and action that takes place in the piece. The intent was to create a scene where the audience suddenly becomes aware that something new is happening, namely that the dancer’s glove has started to make noise and there is a new connection made between the music and the dance.

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21

Houglum, Daniel Patrick. "Sola fides sufficit: Concerto for violin and ensemble". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1633.

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Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expansion, orchestration, and ultimately a recomposition of Et si sensus deficit… The melodic, harmonic, and formal material in Sola Fides Sufficit is largely based on my detailed musical analysis of the Pange Lingua, an unaccompanied 13th century plainchant written by St. Thomas Aquinas. The six-phrase melody is well-known in the Roman Catholic tradition for its performance at the end of Holy Thursday Mass. My analysis drove my compositional choices regarding two distinct objectives: One, to reflect the chant material in overt ways (e.g., use of neighbor figures) and two, to intentionally diverge from the original chant material, at times exploiting or exaggerating elements purposefully avoided in the chant (e.g., the tritone). I utilized both ways of decision-making to create drama, contrast, tension, and resolution in the piece. My large-scale formal goal was to create a cohesive composition utilizing particular surface and structural aspects of the Pange Lingua melody, while withholding presentation of the melody in its entirety until the climax (conclusion) of the work. Fragments from the chant were selected and employed in varying contexts depending on the formal goals of each section. Some fragments were presented with few changes, while others were transformed and developed through tonality, registration, timbre, and rhythm. My structural design was shaped by four words of character the composer Witold Lutoslawski perceived as essential in the creation of his large-scale works: Introduction, Narrative, Transitional and Concluding. Influenced by Lutoslawski’s psychological approach to listener perception as a compositional and analytical tool, Sola Fides Sufficit unfolds in four unbroken parts, each portraying primarily one of these four formal characters. Within each movement, these formal characters also occur on a smaller scale and give shape to each section. Only during the Narrative portions is the content the most important aspect perceived. During the Introductory, Transitional, and Concluding music, however, the role of the given section in the form is more important than the content.

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22

Ovaska, Johanna. "Hypermobility and violin playing : How hypermobility affects my violin playing". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3293.

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

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23

Chan, Tzu-Ying. "John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.

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English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford's "The Division Violin." The dissertation first surveys the development of English violin music in the 17th century. Then, the dissertation traces eight selected 16th-century Italian diminution manuals. This will help readers understand the progression of the Italian diminution and improvisation practice in the 16th century and how it relates to the English division of the 17th century. Finally, based on a thorough research of the 17th-century improvisatory style and rhetorical approach, the author of this study provides performance suggestions on "Mr. Farinell's Ground," No. 5 from "The Division Violin."

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Robertson, Chika. "Twentieth-century violin technique : a new pedagogical approach". Thesis, Kingston University, 1999. http://eprints.kingston.ac.uk/20636/.

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The aim of this thesis is to identify the innovations and resultant problems encountered in violin technique and performance practice in the twentieth century. An introduction to the techniques which are encountered most frequently in contemporary repertoire illustrates how compositions have dictated that violinists are required to exhibit new physical and aural skills proficiently. The changes have been studied using a taxonomy based on ergonomics to encourage technical efficiency: a) Part 1 addresses left-hand techniques, which are subdivided into those techniques which use sliding horizontal finger movements ("glissando" and "vibrato" variations), those utilizing vertical finger movements (harmonics), and those involving new hand shapes and finger patterns (high register playing; large, disjunct leaps; unconventional intervals and nontraditional scales); b) Part 2 investigates how novel timbral changes are made with the right hand; c) and Part 3 studies various plucking movements. A critical study of published violin tutors and method books confirms the need for a new teaching approach, which specifically addresses the resultant problems caused by the development of the above movements. Therefore, a unique problem-solving Guidebook has been devised to bridge the current schism between composers' expectations and performers' technical abilities. The original exercises in the Guidebook are cross-referenced to works which are cited from the repertoire.

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Jakubowski, Kelly Joan. ""Informed spontaneity" a theoretical approach to the enhancement of creativity in performance /". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243788323.

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Seymour, Rebecca. "Issues of performance practice in the violin works of Johannes Brahms (1833-1987) /". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19278.pdf.

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Chung, Wonsoon. "The role of solo violin in the orchestral compositions of Richard Strauss /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11416.

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Gorby, Roderick B. "An Appalachian Fantasy for Violin and Orchestra". Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275451979.

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Hutchison, Callie. "An Introduction to Hindustani Violin Technique". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/321309.

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In this document I fuse a study of performance technique and pedagogy, introducing Hindustani violin technique through the lens of a performer trained in western violin practice. While a large body of research on Hindustani music theory, history, and the performance of other instruments currently exists, very little has been written about the Hindustani violin. Aside from a few short interviews with prominent Hindustani violinists, nothing has been published on technique, performance practice or pedagogy. My research involves a comparative analysis of Hindustani and Western violin techniques, enhanced by data from my violin performance and pedagogy lessons with Hindustani performer/teacher Kala Ramnath. The research includes documentation of the history of the violin's regional predecessors such as the sarangi, it's introduction to India, and the first compilation of Hindustani violin techniques and exercises, for basic sliding, shifting and improvisation. Knowledge of the Hindustani violin performance tradition offers Western musicians new perspectives on creative violin approaches, and enhances their ability to perform with greater flexibility and virtuosity.

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Pyykönen, Krista. "Many Memories, Many Stories : Participatory Music Project for Elderly People with Dementia – Music Pedagogical Applications for Elderly Care". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1378.

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”Many Stories, Many Memories” was a participatory creative music project carried out in collaboration with three professional musicians, a group of seven senior residents and the occupational therapist of “Suomikoti”-elderly home in Stockholm, February 20th – March 21st 2013 . The aim of the project was to build community feeling, participation and operation for the elderly people with dementia by intervening musically in their everyday lives. During the eight workshop-sessions, improvisation pieces were created by using song, text, fine arts, percussion instruments, body percussion, piano, kantele, and violin.The emphasized qualities of the project’s musical working methods were contextuality, and person-centered and focus group - oriented approaches. The purpose of multi-sensor exercises was to support the participants’ sense of body and reinforce their identity. The project, during which the musicians and the group of seniors met in the field of performing arts, was completed with a collectively composed semi-improvised concert, which was performed to an audience consisting of the residents and staff of Suomikoti, as well as family members.“Many Memories, Many Stories” was my Professional Integration Project (PIP) in the international Joint Music Master for New Audience and Innovative Practice – Master Degree Program (NAIP) at on the Royal College of Music in Stockholm. Observational periods at local Stockholm elderly homes as well as a preparatory project were conducted prior to the PIP-project. The goal of the PIP-project and this Master Thesis was to create new empiric data on the potentials of creative participatory music workshops for elderly care. This project’s musical intervention was carried out as practice-based research, and was documented session by session both in written reflections and on video for data- analysis. Semi-structured thematic interviews were also conducted for obtaining data. The interviewees were professional practitioners on the fields of music and health-care.The outcomes of the project reveal that intensive participation in the project had positive effects on the people’s motor skills, creativity, expression, social interaction and self- esteem, which by enriching their everyday lives improve their general quality of life.Attached to this Master Thesis are two videos; a documentary-DVD describing the process of the project, and an edition of the”Many Memories, Many Stories”-concert in full length. The documentary DVD contains mainly video-footage from the workshop sessions.

Bilaga: 1 DVD

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31

Wollston, Silas. "The instrumentation of English violin-band music,1660-1685". Thesis, Open University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518202.

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van, den Bogerd Nicolette Maria Madeleine. "Musicien Francais| Nationalism and tradition in Claude Debussy's violin sonata". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1526967.

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This paper investigates how Debussy redefined French nationalism and tradition in music by drawing a connection between nationality and authenticity using World War I and the German oppression to justify his ethnocentrism in music. Debussy's last work, the violin sonata, is used as an example to demonstrate these changes. The first chapter surveys the cultural context in relationship to Debussy in his late years before and after World War I. Chapter 2 provides an analysis of Debussy's late works, and includes the sonata for cello and piano and the sonata for viola, flute, and harp. An analysis of the violin sonata is provided in chapter 3. The following chapter is a critical study of nationalism in relationship to Debussy and his music. The focus is on his musical and political preferences. The final chapter reveals the concept of nationalism redefined by Debussy as he uses it in the violin sonata.

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33

Saitis, Charalampos. "Evaluating violin quality: player reliability and verbalization". Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121419.

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This thesis addresses the perceptual evaluation of violins from the player perspective. Three carefully controlled violin-playing studies were carried out, wherein experienced musicians assessed violins of different make and age, and described their choices in open-ended questionnaires. The focus was gradually narrowed from examining overall preference (Study 1) to the evaluation of certain perceptual attributes of the violin (Studies 2 and 3). Two distinct yet complementary approaches were followed: a systematic investigation into the reliability of preference judgments, and an exploratory analysis of concepts emerging from impromptu preference verbalizations.Study 1 examined both intra- and inter-player consistency in repetitive violin preference rankings. It was found that violinists are self-consistent when evaluating different instruments but a significant lack of agreement between musicians was observed. Study 2 investigated the origin of inter-individual differences and measured the extent to which different attributes of the instrument influence preference. Results showed that whereas violinists tend to agree of what particular qualities they look for in an instrument—preference was strongly associated with sound richness and, to a lesser extent, dynamic range—the perception of the same attributes widely varies across individuals. Study 3 focused on the evaluation of richness and dynamic range in constrained (playing only certain notes on certain registers) vs. unconstrained (playing a certain excerpt from the classical repertoire) tasks. The perception of richness from playing vs. listening tasks (using recorded sounds from the playing task) was also examined. Results suggested that specifying the musical material and technique removes a significant amount of inter-player variability: the more focused the task, the more self-consistent violinists are and the more they agree with each other. From verbal responses collected in the first and second studies, a categorization scheme emerged that illustrates the complex links between the different player-typical concepts (e.g., response, clarity, balance), properties (e.g., ease, richness, projection), and underlying themes (handling, sound and their relevance to the individual). A psycholinguistic analysis of the quality-relevant lexicon showed a diversity of linguistic devices borrowed mainly from four semantic fields (perceptual dimensions) related to texture-temperature (smooth vs. rough), action-presence (resonant vs. muted), size-volume (deep vs. flat) and light (dark vs. bright). Richness, associated with the perceived amount of low-to-mid harmonics in the sound, was identified as a key perceptual factor in evaluating violin quality.
Cette thèse aborde le problème de l'évaluation perceptive des violons par des violonistes. La méthodologie de ce travail repose sur trois séries d'expériences contrôlées durant lesquelles des violonistes expérimentés ont eu accès à des instruments de différents modèles et de différentes époques et ont décrit leurs évaluations en répondant à une liste de questions ouvertes. Le travail s'est tout d'abord intéressé à la préférences globale pour se concentrer ensuite sur l'évaluation de certains attributs perceptifs du violon. Deux approches distinctes mais complémentaires ont été menées : une investigation systématique de la cohérence des jugements de préférence, et une analyse linguistique exploratoire des concepts exprimés lors de la verbalisation des préférences des instrumentistes.La première expérience avait pour but d'évaluer la cohérence des jugements de préférence exprimés par un même musicien, ainsi que d'un musicien à l'autre. Cette expérience a montré que les jugements des violonistes sont cohérents à l'échelle individuelle, et qu'il existe des différences significatives de ces jugements entre les musiciens. La deuxième expérience avait pour objectif de mieux comprendre l'origine des différences de jugements inter-individuelles et de mesurer si certains attributs des instruments influencaient les jugements de préférence. Les résultats de cette étude on montré que, bien que les violonistes s'accordent sur les qualités recherchées d'un instrument—principalement richesse du son et de façon moindre la dynamique—la perception de ces qualités varie fortement d'un individu à l'autre. La troisième expérience menée pour cette thèse s'est donc concentrée sur l'évaluation de la richesse et de la dynamique dans un contexte de jeu libre (jeu d'une oeuvre musicale du répertoire classique) ainsi que dans un contexte de jeu plus contraint (jeu de certaines notes dans certains registres). La différence de perception de la richesse dans des tâches de jeu et d'écoute (à partir d'enregistrements sonores des tâches de jeu) a aussi été étudiée. Les résultats de ces études ont suggéré que la variabilité inter-musicien est grandement diminuée par le fait de spécifier le matériau musical et la technique du jeu: plus la tâche est contrainte et précise, plus les instrumentistes sont cohérents avec eux-mêmes et plus ils sont d'accord entre eux.Enfin, à partir des discussions recueillies lors des deux premières expériences, un schéma de catégorisation illustrant les liens complexes entre les concepts de la pratique musicale (la réponse, la clarté, l'équilibre), les attributs de l'instrument (la facilité de jeu, la richesse, la projection) et certains thèmes sous-jacents (le toucher, le son et leur pertinence pour chaque individu) a été établi. Une analyse psycho-linguistique du lexique utilisé pour décrire la qualité a dévoilé la diversité des procédés linguistiques utilisés, s'organisant globalement en quatre champs sémantiques (dimensions de la perception): un axe texture-température (smooth vs. rough), un axe action-présence (résonant vs. assourdi), un axe taille-volume (profond vs. plat) et finalement un axe lumière (sombre vs. brillant). La richesse, associée à la quantité perçue, dans le son, d'harmoniques de basse et moyenne fréquence, a été identifiée comme étant un facteur perceptif primordial dans l'évaluation de la qualité des violons.

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34

Lee, Sunny. "The unique expression of Shostakovich's violin writing /". Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11436.

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Blaker, Suzanne Leslie. "A Survey of Suzuki Violin Programs in Community Music Schools in The United States". Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225905109.

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Meyer, Hwa-Soon. "A computer system to improve violin intonation /". Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1154319x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 93-45).

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37

"Violin Virtuoso: A game for violin education". Thesis, 2012. http://hdl.handle.net/1911/70262.

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This study develops a way to use the technology of video games to help teach people the violin. The unique characteristics of this research are to create a visual representation for music for violinists, to utilize pedagogy for violin education within a video game, and to use the Fast Fourier Transform to process input from an actual acoustic instrument and use the data to track user progress. Music games like JamGuru [9], Rocksmith [19], LittleBigStar [13], and Rock Band [18] have made strides in these areas of research; however, most of these technologies have not been applied to the violin. Expected results are that students' progress rate will increase as a result of playing the game. The input processing used in this research could be applied to areas where sound recognition is important. Furthermore, the concept of an adaptable game can be applied to other academic subjects.

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38

DuBois, R. Luke DuBois R. Luke DuBois R. Luke DuBois R. Luke. "Applications of generative string-substitutions in computer music ; Growing pains : for mandolin and electronics ; Repeat after me ; Biology I/II/III /". 2003. http://music.columbia.edu/%7Eluke/dissertation/.

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Thesis (D.M.A.)--Columbia University, 2003.
Repeat after me for flute and electronics; Biology I/II/III for violin. First work is a commentary to accompany the three scores. Department: Music. Includes bibliographical references (leaves 98-101). Pro Quest Digital Dissertations Online; Subscription required. Also available via the World Wide Web;

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39

Percival, Graham Keith. "Computer-assisted musical instrument tutoring with targeted exercises". Thesis, 2008. http://hdl.handle.net/1828/1081.

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Learning to play a musical instrument is a daunting task. Musicians must execute unusual physical movements within very tight tolerances, and must continually adjust their bodies in response to auditory feedback. However, most beginners lack the ability to accurately evaluate their own sound. We therefore turn to computers to analyze the student's performance. By extracting certain information from the audio, computers can provide accurate and objective feedback to students. This thesis lays out some general principles for such projects, and introduces tools to help practicing rhythms and violin intonation. There are three distinct portions to this research: automatic exercise creation, audio analysis, and visualization of errors. Exercises were created with Constraint Satisfaction Programming, audio analysis was performed with amplitude and pitch detection, and errors were displayed with a novel graphical interface. This led to the creation of MEAWS, an open-source program for music students.

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40

Koo, Yunkyong. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/15889.

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Brankovic, Marina. "Master's thesis recital (violin)". 2012. http://hdl.handle.net/2152/19190.

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The art of fugue, BWV 1080 / Johann Sebastian Bach -- String quartet no. 64 in D major, op. 76, no. 5 / Franz Joseph Haydn -- String quartet no. 10 in E flat major, op. 51 "Slavonic" / Antonin Dvorak -- Pannonia boundless / Aleksandra Vrebalov.
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Lee, Yunji. "Doctoral thesis recital (violin)". 2014. http://hdl.handle.net/2152/28160.

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McCullough, Colleen. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/11546.

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Prelude, fugue and variation in B minor, op.18 / Cesar Franck -- Violin sonata no.32 in B flat major, K.454 / Wolfgang Amadeus Mozart -- Sonata no.1 in G major, op.78 / Johannes Brahms -- Tango (por una cabeza) / Carlos Gardel
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44

Sabouri, Pasha. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/11584.

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Sonata for piano and violin in A major KV 305 / Wolfgang Amadeus Mozart -- Sonata no.3 for violin and piano in D minor, op.8 / Johannes Brahms -- Sonata no.1 for violin and piano in D minor, op.75 / Camille Saint-Saens
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45

Luce, Anna. "Master's thesis recital (violin)". 2011. http://hdl.handle.net/2152/16374.

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Sung, Kyoung Joo. "Doctoral thesis recital (violin)". Thesis, 2014. http://hdl.handle.net/2152/24508.

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Partain, Turner. "Master's thesis recital (violin)". 2011. http://hdl.handle.net/2152/16468.

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Lin, Christabel. "Artist diploma recital (violin)". Thesis, 2014. http://hdl.handle.net/2152/24596.

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Nam, Soo Jin. "Master's thesis recital (violin)". 2010. http://hdl.handle.net/2152/11565.

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Tsai, Stacy Heng-Chen. "Master's thesis recital (violin)". 2010. http://hdl.handle.net/2152/11622.

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