Tesi: "Music – Instruments – Violin"

1

Moss, Kirk D. "Favored sound production exercises of selected violin, viola, cello, and double bass pedagogues an analysis and adaptation /". [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013485.

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2

Borden, Stacy R. "Work for Five-String Electronic Violin and Tape (Torn Edges)". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213920863.

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3

Ortega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.

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4

Queiroga, Elisabete Maria Ledo. "Sinais e sintomas de disfunção da têmporo mandibular em músicos de instrumentos de sopro e violinos". Bachelor's thesis, [s.n.], 2013. http://hdl.handle.net/10284/3846.

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Projeto de Graduação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Licenciada em Fisioterapia
Objectivo: relacionar a prática de instrumentos de sopro e violinos com a presença de sinais e sintomas de disfunção temporomandibular (DTM). Métodos: Participaram nesta amostra 68 indivíduos praticantes de instrumentos de sopro (n=38) e violino (n=30) do Conservatório de Música do Porto, Conservatório Regional de Música de Vila Real, Banda de Música da Portela e Nogueira e Escola Superior de Música, Artes e Espectáculo do Porto, com idades compreendidas entre 18 e 55 anos. Responderam a um questinário, com base nos “Critérios de Diagnóstico para Pesquisa de Desordens Temporo-Mandibulares – RDC/TMD”, assim como questões relativas ao número de anos e horas médias de prática. Resultados: Comparando os intérpretes de sopro e os violinistas existe uma discrepância entre os sinais e sintomas presentes nos dois grupos, principalmente na DTM crónica (31,6% - instrumentos de sopro), limitação de amplitude articular máxima (26,3% - violinos), estalidos (31,6% - instrumentos de sopro) e no ranger e/ou apertar os dentes (45,45% - violinos). Conclusão: Verificou-se maior tendência para a presença do sintoma ranger e/ou apertar os dentes e cefaléia, principalmente nos violinistas. Objective: To relate the practice of wind instruments and violins with the presence of signs and symptoms of temporomandibular dysfunction (TMD). Methods: Participated on the sample 68 patients, players of wind instruments (n = 38) and violin (n = 30) of the “Conservatório de Música” of Porto, “Conservatório Regional de Música” of Vila Real, “Banda de Música” of Portela and Nogueira and “Escola Superior de Música, Artes e Espectáculo” of Porto, with ages varyng from 18 to 55 years. Answered a questionnaire, based on "Research Diagnostic Criteria for Temporo-Mandibular Disorders - RDC / TMD", as well as questions regarding the number of years and average hours of practice. Results: Comparing the interpreters of wind and violinists to find if there is a discrepancy between the signs and symptoms present in both groups, especially in chronic TMD (31.6% - wind instruments), limited joint range maximum (26.3%-violins ), clicks (31.6% - wind instruments) and grinding and/or teeth pressing (45.45% - violins). Conclusion: We found a greater tendency for the presence of the symptom grinding and/or teeth pressing and headache, especially in violinists.

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5

Løland, Olav Eirik. "A New Performance : Exploring the possibilities and difficulties related to the inclusion of the voice in violin playing". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4129.

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This thesis seeks to explore the many possibilities that lie within the incorporation of the voice alongside playing the violin. This territory is still very unknown, and the author believes that many new artistic possibilities and tools are yet to be discovered.The attempts made seek to understand the difficulties and limitations of the incorporation of the voice, while discovering its bountiful treasures.

"Terje Vigen" by Ivar BøksleArrangement by Olav Eirik LølandViolin and vocal - Olav Eirik Løland

Konserten börjar efter två minuter.

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6

Santos, Juliano Buosi dos 1976. "Consort de violinos : música instrumental germânica para mais de quatro vozes na segunda metade do século XVII". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285234.

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Orientador: Esdras Rodrigues Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa tem o propósito de divulgar um repertório pouco conhecido e interpretado atualmente: a música germânica escrita para consort de violinos para mais de quatro vozes, na segunda metade do século XVII. Um estudo histórico e estilístico nos possibilita aproximar desse repertório, identificando as influências que recebeu, seus antecedentes e seu desenvolvimento. Constataremos que a composição para este tipo de ensemble não foi um movimento isolado e nem raro, mas sim uma forma de instrumentação e escrita musical explorada em sua época, dada a sua rica e sofisticada possibilidade inventiva
Abstract: This research wishes to unveil a repertoire, which is little known and very seldom played nowadays: the music written for consort of more than four violins in the seventeenth-century in germanic lands. An historical and stylistic study shall allow us to improve our knowledge of this repertoire, identifying its origins, its influences and development. We will realize that this type of music was neither a peculiar nor a remote one, but rather that it was a particular form of instrumentation, customarily used by composers in that period, given its beautiful and sophisticated aesthetics
Mestrado
Praticas Interpretativas
Mestre em Música

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7

Clark, Antoine Terrell. "Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano: A Performance Edition with Commentary". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243869380.

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8

Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.

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Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.

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9

Fonseca, Renata Simões Borges da. "Bioenergética: um caminho de auxílio no processo de ensino-aprendizagem do violino". Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6597.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Playing an instrument is turning on muscular, affective and mental mechanisms that are closely related. Therefore, in a performance preparation, it is expected from the instrumentalist not just the understanding of the musical speech, but the assimilation and perfection of the motor patterns that will be part of the needed corporal action for the technical accomplishment of this speech as well. In this process, one of the goals of the instrumentalist is to become aware of tension points in their body that can potentially prevent a more free technical execution, looking for ways to minimize or eliminate them. According to the Bioenergetics Analysis, a psychotherapy approach created by Alexander Lowe in 1956, the muscle tensions are the result of emotional blocks, being created most of the times since childhood and developed throughout life. These tensions work as armours , which protect the individuals from experiences that could be painful and threatening, turning into an obstacle to the human being capacity to relate to their sensations and emotions and, consequently, of feeling free, whole and in contact with the world around them. Going beyond the investigation about human psyche that, before the middle of last century, focused mainly on mind exploration, the Bioenergetics takes the patients, through exercises, to reunite with their body, acquiring a sense of well-being and inner peace. Based on this knowledge and understanding that the violin student starts his instrument learning having already some muscle tensions due to emotional matters and that these tensions could hinder their musical expressivity on the same way they can interrupt his spontaneity in life, this work presents, analyses and discusses the contributions of Bioenergetics exercises to the development of the technical-expressive capacity of violin students, based on the application of exercises of this field to violinists during their formation process and performance. In order to do so, initially, questionnaires were applied and interviews with the participants of this research were conducted, collecting information about their physical condition and, more specifically, about their muscle tensions. Having this information, Biogenetics exercises, both in their original format or specifically adapted to violin learners, were applied to these participants throughout several meetings. The results of these exercises have been verified through participant observation and constant reports from the participants containing their own perceptions and sensations throughout this work. An interview was conducted two months after the research, according to which it was possible to conclude that most of the participants became more aware of their own body, emotions and sensations, both on their daily life and in the act of performance. Having also been effective in raising awareness and reducing several of the muscle tensions in the participants, the Bioenergetics exercises gave these individuals a looser body that is connected to the instrument, besides a deeper body-mind integration in the act of performance. And that has naturally facilitated their technical and expressive capacity.
Tocar um instrumento é acionar mecanismos musculares, afetivos e mentais, estando eles intimamente relacionados. Na preparação de uma performance, portanto, espera-se do instrumentista não apenas o entendimento do significado do discurso musical, mas também a assimilação e aperfeiçoamento de padrões motores que irão se constituir na ação corporal necessária para a realização técnica deste discurso. Nesse processo, uma das metas do instrumentista é se conscientizar dos pontos de tensão em seu corpo que potencialmente lhe impedem uma execução técnica mais livre, buscando então meios para minimizá-los ou mesmo eliminá-los. Segundo a Análise Bioenergética, abordagem psicoterápica criada por Alexander Lowen em 1956, as tensões musculares são decorrentes de bloqueios emocionais, sendo criadas na maioria das vezes desde a própria infância e desenvolvidas ao longo da vida. Essas tensões funcionam como couraças , que servem para proteger o indivíduo de experiências que possam vir a ser dolorosas e ameaçadoras, tornando-se um obstáculo à capacidade do ser humano de se entregar às sensações e emoções e conseqüentemente de se sentir livre, inteiro e em contato com o mundo à sua volta. Ultrapassando as investigações sobre a psique humana que, antes de meados do século passado, concentravam-se principalmente nas explorações da mente, a Bioenergética leva o paciente, através de exercícios, a reencontrar-se com seu corpo, adquirindo então, uma sensação de bem-estar e paz interior. Baseado nesse conhecimento e entendendo que o aluno de violino inicia o aprendizado de seu instrumento tendo já presentes algumas tensões musculares advindas de questões emocionais e que tais tensões poderiam dificultar sua expressividade na música da mesma forma que impedem sua espontaneidade na vida, este trabalho apresenta, analisa e discute contribuições da Bioenergética para o desenvolvimento da capacidade técnico-expressiva dos estudantes de violino, tendo como base a aplicação de exercícios desse campo no processo de formação e performance do violinista. Para isso, foram, inicialmente, aplicados questionários e realizadas entrevistas com os participantes da pesquisa, coletando informações principalmente sobre seu estado físico, mais especificamente no que se referia às suas tensões musculares. De posse destas informações, foram aplicados nesses participantes, durante vários encontros, exercícios da Bioenergética, tanto em seu formato original, como adaptados às especificidades do aprendizado violinístico. Os resultados desses exercícios foram sendo verificados através de observação participante e de constantes relatórios dos próprios participantes contendo suas percepções e sensações ao longo do trabalho. Uma entrevista final foi realizada após dois meses de pesquisa, onde foi possível concluir que a grande maioria dos participantes se encontrava mais consciente de seu corpo e de suas sensações e emoções, tanto em seu cotidiano, como no ato da performance. Tendo também sido eficazes na conscientização e diminuição de várias das tensões musculares dos participantes, os exercícios da Bioenergética possibilitaram a esses indivíduos um corpo mais solto e conectado ao instrumento, além de uma maior integração corpo-mente no ato da performance. E isso, naturalmente, facilitou sua capacidade tanto técnica quanto expressiva.

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10

Mueller, Rodney Alan. "The development and pilot testing of a hypermedia program to supplement undergraduate string techniques class instruction in upper string vibrato". Full text available online (restricted access), 1997. http://images.lib.monash.edu.au/ts/theses/Mueller.pdf.

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11

Danijel, Nikolic. "Brahms F-moll sonat op. 120". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2474.

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Jag har valt att skriva om Brahms f-moll-sonat eftersom det är den sortens musik som berör mig mest inombords. Jag fastnade för musik för soloviola redan som liten. Detta verk är ett av de främsta och mest spelade verken för viola vilket gör att det blir en viktig del i violarepertoaren. Brahms levde mellan 1833 och 1897, förhållandena var annorlunda då jämfört med nu vilket medför att stycket lät annorlunda då mot vad det gör nu på moderna instrument och strängar. Jag har försökt efterforska hur nära man kan komma originaluppförandet och dåtidens klangideal och teknik. Detta verk skrevs först för klarinett men strax därefter gjorde Brahms en alternativ violaversion och jag har tittat på några skillnader mellan versionerna. Jag har också jämfört olika moderna utgåvor och provat att spela på sensträngar för att få en känsla av hur det egentligen kan ha känts och låtit med mer tidstroget material än moderna strängar.

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12

Campaniço, Ana Beatriz de Oliveira. "Relatório de estágio da prática de ensino supervisionado no Conservatório Regional de Évora - Eborae Mvsica: construção e aplicação de um instrumento observacional para a monitorização da qualidade da postura e posição do instrumento na etapa de formação inicial do violinista". Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28732.

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Na área da investigação observacional em contexto, debrucei-me sobre a postura do estudante de violino durante as aulas, com o propósito de detetar padrões de conduta postural associada à técnica do violino que possa ser corrigida e otimizada, através de trabalho específico, na etapa de formação. Para a recolha de dados, foi criada uma ferramenta de observação sistemática, a partir de formatos de campo, orientada para a codificação da informação sobre ações que refletem a postura do sujeito associada à técnica de posicionamento do instrumento, durante o ato musical. Registaram-se 6126 configurações de códigos ou eventos individuais, referentes a três alunos, sendo detetados treze padrões ocultos, pelo software THEME, que mereceram atenção, de acordo com o objeto do estudo. As análises permitiram-nos concluir: (i) existência de padrões posturais, persistentes no tempo, que podem afetar a performance musical; (ii) o recurso ao software como auxiliar didático de um programa de reforço técnico e físico; Abstract: Repport of the Supervised Teaching Practice at the Évora Regional Conservatory - Eborae Mvsica: Construction and application of an observational instrument for monitoring the quality of the instrument's posture and position in the initial violinist training stage. In the field of observational research in context, I looked at the posture of the violin student during the classes, to detect patterns in postural conduct associated with the violin technique that can be corrected and optimized through specific training work, during the formation stage. For data collection a systematic observation tool was created, based on field formats, to code information on actions that reflect the subject's posture associated with the technique of positioning the instrument during the musical act. 6126 code configurations were registered in the form of individual events, referring to three students, resulting in thirteen hidden patterns, by THEME software, which deserved special attention in accordance with the object of study. The analyses allowed us to conclude: (i) the existence of postural patterns, persistente over time, can affect musical performance; (ii) the use of the created software can become an excellente teaching aid, as it allows the identification of behaviors that require physical and technical corrections, through the fulfillment of a physical reinforcement program.

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13

Pyykönen, Krista. "A Handful of Considerations : Perspectives on Left-handedness in Violin Playing and Violin Pedagogy". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1913.

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The topic of this study is left-handedness as a phenomenon in violin playing and classical violin pedagogy. The aim of the study is to investigate what kind of knowledge and approaches are crucial for taking left-handedness into account when teaching left-handed violinists in the normatively right-handed violin pedagogy. The body of knowledge arises from literature on hemispheric lateralization, left-handedness, attributes of violin playing, and earlier studies on hand-preference and musical performance, hemispheric adaptations to musical training, and children’s conceptions of left and right. A background-study was carried out on left-handedness in guitar playing. The study employs abductive reasoning, has an auto-ethnographic thread and draws on the hermeneutical epistemology. The theoretical framework rests on the cultural-psychological perspective on music education. The data was collected in two parts using qualitative ethnography-inspired methods. First qualitative thematic interview was used for gathering strategically sampled data from expert respondents on violin playing, pedagogy and violin-making. Secondly non-participant observation and follow-up interview was used for examining a beginner violin lesson. The findings of the study suggest that violin pedagogues need knowledge of the lateralization effects on violin playing and methodological understanding for pupils’ handedness and maturity of motor development. The data suggests that left-handedness is not a disadvantage in violin playing when provided with education that recognizes it. Reversed violin playing is considered as an alternative for strongly left-handed pupils. The data shows that violin education needs open discussion on left-handedness in terms of prejudices in orchestras, and raised awareness on the availability of left-handed instruments.

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Mangueira, Bruno Rosas. "Concepções estilísticas de Hélio Delmiro : violão e guitarra na música instrumental brasileira". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284634.

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Orientador: Marcos Siqueira Cavalcante
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No período compreendido entre o final da década de 1960 e estes primeiros anos do século XXI, configurou-se, na produção fonográfica brasileira, um gênero de música instrumental com características próprias, em que a cultura do país é permeada pela estética do jazz norte-americano, sendo esperado do músico executante um elevado nível de proficiência e domínio das técnicas de improvisação. O presente trabalho concentra-se na obra de um dos protagonistas desse cenário, o guitarrista e violonista Hélio Delmiro, buscando examinar alguns dos elementos de inventividade musical constituintes de seu estilo, o que, acredita-se, poderá vir a contribuir para uma sistematização da aplicabilidade de tais recursos nesse tipo de arte, com ênfase nos instrumentos de sua especialidade. Para tanto, partindo-se do material resultante da pesquisa de iniciação científica O estilo de improvisação de Hélio Delmiro, foi feita uma comparação contextualizada de aspectos formais e estruturais presentes em sua obra gravada, seja por meio de composições, improvisos ou (re)harmonizações, com procedimentos já sistematizados por estudiosos da música popular. Essa observação demonstrou que Delmiro sintetiza suas influências estilísticas de maneira peculiar e consistente, sendo um importante personagem no processo de consolidação da linguagem da ¿música instrumental brasileira¿, e assumindo uma posição referencial com relação ao papel do violão e da guitarra nesse contexto
Abstract: During the period of time between the late sixties and the first years of the 21st century, the Brazilian phonographic production witnessed the configuration of a genre of instrumental music that proved to have its own characteristics; while containing the Brazilian culture, it is nevertheless permeated by the aesthetics of American Jazz, creating an expectation towards the performing artists of an elevated level of proficiency and the mastering of Jazz improvisational techniques. The genre is called here the ¿Brazilian Contemporary Instrumental Music¿. This paper concentrates on the work of one of the most important protagonists of this genre, the guitarist Hélio Delmiro. We seek to examine some of the elements of Delmiro¿s musical creativity and style, hoping this work will contribute to create a systematization and develop means to its applicability, with an emphasis on Delmiro¿s specialty. In order to realize this research, we departed from the findings of a previous one, developed during our undergraduate years, called ¿Hélio Delmiro¿s Improvisational Style¿. This paper presents a contextualized comparison of structural and formal aspects of Delmiro¿s recorded work, which includes compositions, improvisations, and reharmonizations. Those aspects have been previously systematized by scholars interested in ¿popular music¿, we applied some of those to the study of Delmiro¿s music. The realization that Delmiro makes use of different sources of material to develop his music demonstrated that he synthesizes his stylistic influences in a personal and consistent way, thereby becoming a very important protagonist regarding the process of consolidation of the ¿language¿ of the Brazilian Contemporary Instrumental Music, taking a very important position as a reference on the role and importance of the guitar in that context
Mestrado
Mestre em Música

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15

Sanguineti, Alessandro. "The bass violin in Northern Italian repertoire in the second half of the seventeenth century". Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606722.

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16

Cummings, Paul Christopher. "The effects of instrument type, stimulus timbre, and harmonic context on tuning accuracy /". view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343201&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (D.M.A.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 155-160). Also available for download via the World Wide Web; free to University of Oregon users.

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17

Van, der Linde Annien. "The rise and development of electric bowed instrument groups in South Africa". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80216.

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Thesis (MMus)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This thesis explores the rise and development of electric bowed instrument groups in South Africa. The objective was to provide a history of the development of such groups in South Africa, as well as to compare the methods and musical products of these groups. Another aim was to explore the effects of the groups on the South African music industry and music education. An initial literature research on the history of electric bowed instruments and the phenomenon of classical crossover music as a genre provided the contextual information needed to understand the building blocks of this relatively young compartment of the music industry. Characteristics and marketing strategies of this genre are discussed as well as the impact of aesthetics and gender on classical crossover artists. A set of questionnaires was distributed amongst members of these groups, classical professional musicians in professional South African orchestras, members of electric bowed instrument groups in South Africa, tertiary music students and students at a music school, as well as audience members at an electric bowed instrument group concert. The questionnaires were taken to the Centre for Statistical Consultation at the Stellenbosch University Statistics Department and the processed results were applied to this study. The influence of such groups on South African music education as well as the South African music industry is then examined. The combination of electric bowed instrument and classical crossover music gave birth to the phenomenon of electric bowed instrument groups. In this thesis the “originality” of such artists was evaluated, as a distinct pattern or formula for forming and operating such groups has materialised. The South African electric bowed instrument groups attempt to incorporate a uniquely South African quality into their performances with varying levels of success. Members of such groups, as well as professional classical musicians in the country, believe that the existence and performances of these groups have had an impact on South African music education; however, this theory is proven incorrect in this thesis. Furthermore, it was found that electric bowed instrument groups could have a negative impact on classical music in South Africa, as their marketing directed at the public may unintentionally steer audiences away from classical music performances. The electric bowed instrument groups industry has shown enough growth to prove its sustainability in South Africa as well as internationally. It is a valuable additional occupation for bowed instrument players in South Africa, although it might have a detrimental impact on the South African classical music industry.
AFRIKAANSE OPSOMMING: In hierdie tesis word die ontstaan en ontwikkeling van elektriese strykinstrument groepe in Suid Afrika ondersoek. Die doel van die studie is om ŉ geskiedenis van sulke groepe te lewer, sowel as om die bestuur metodes en musiek van sulke groepe te vergelyk. Verder word die effekte van hierdie groepe in Suid Afrika op musiekopvoeding en die Suid Afrikaanse klassieke musiek bedryf ondersoek. ŉ Literatuur ondersoek van die geskiedenis van elektriese strykinstrumente en die fenomeen van klassieke “crossover” musiek as ŉ genre, het nodige agtergrond informasie ten opsigte van die boublokke van so ŉ relatiewe jong afdeling in die musiekbedryf verskaf. Kenmerke en bemarkingstrategieë van hierdie genre is bespreek, sowel as die klem van estetika en geslag op klassieke “crossover” musikante. ŉ Stel vraelyste is uitgedeel onder professionele klassieke musikante in Suid Afrika, lede van Suid-Afrikaanse elektriese strykinstrument groepe, tersiêre musiekstudente, studente by ŉ musiekskool sowel as ŉ gehoor by ŉ elektriese strykinstrument groep uitvoering. Die vraelyste was geneem na die Sentrum vir Statistieke Konsultasie aan die Universiteit van Stellenbosch, en die verwerkte resultate was toegepas op die studie. Die invloed van hierdie groepe op Suid Afrikaanse musiekopvoeding, sowel as die Suid Afrikaanse musiekbedryf word in hierdie studie bespreek. Die kombinasie van elektriese strykinstrumente en klassieke “crossover” musiek het gelei tot die ontstaan van elektriese strykinstrument groepe. In hierdie tesis word die uniekheid van sulke groepe bevraagteken, oordat ŉ patroon of formule vir die formasie en bestuur van sulke groepe te voorskyn gekom het. Die Suid Afrikaanse elektriese strykinstrument groepe wend ŉ poging aan om ŉ unieke Suid Afrikaanse persona aan hulle optredes te gee, met wisselende vlakke van sukses. Lede van hierdie groepe, sowel as professionele klassieke musikante in Suid Afrika glo dat die bestaan van elektriese strykinstrument groepe en hul uitvoerings ŉ invloed het op die Suid Afrikaanse musiekopvoedkunde. In die studie is hierdie hipotese egter onwaar bevind. Verder, is dit bevind dat elektriese strykinstrument groepe ŉ moontlike negatiewe effek op die Suid Afrikaanse klassieke musiek bedryf kan hê, aangesien hulle bemarking tot die publiek mag onopsetlik gehore weg stuur vanaf klassieke musiek uitvoerings. Die elektriese strykinstrument groep industrie toon genoeg ontwikkeling en groei in Suid Afrika en op internasionale vlak om hul toekoms in die musiekindustrie te bevestig. Sulke groepe is waardevolle addisionele werksgeleenthede vir strykers in Suid Afrika, alhoewel die fenomeen moontlike negatiewe impak op die Suid Afrikaanse klassieke musiekindustrie mag hê.

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Gao, Beixi. "The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984169/.

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Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project will focus on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time will be included in this document. I will analyze these works, including a comparison between the works of Westhoff and those of other composers during his time, to prove that Westhoff's solo works establish multiple stops as a central factor of German violin playing of the time, and, thus, to promote Westhoff's works as a complement to the extant repertoire of unaccompanied violin music written in the Baroque era before Johann Sebastian Bach's solo violin works and Georg Philipp Telemann's twelve fantasias for violin solo. Furthermore, this project will help one to better understand the use and function of multiple stops in the German violin repertoire in the seventeenth century.

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19

Deyoe, Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg. "A simultaneity of conflicting modes of expression". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453674.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.

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Björklin, Maja. "”Musikteori är viktigt, men i första hand är jag ju fiollärare” : En fenomenologisk intervjustudie om fiollärares förhållningssätt till musikteori i undervisningen". Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67549.

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Syftet med studien är att beskriva tre fiollärares förhållningssätt till musikteori i undervisningen. Detta görs med forskningsfrågorna: Hur definierar fiollärarna begreppet musikteori? Vilka musikteoretiska element erfar fiollärarna att de integrerar i undervisningen?Hur erfar lärarna att de arbetar med musikteori i fiolundervisningen?och Vilka svårigheter förknippar lärarna med fenomenet musikteori i fiolundervisning? Studiens kunskapsteoretiska utgångspunkt är interpretativism och den vetenskapsfilosofiska utgångspunkten fenomenologi. För att uppnå syfte och svara på frågeställningar har semistrukturerade intervjuer gjorts med tre fiollärare. I resultatet beskrivs deras förhållningssätt till musikteori i undervisningen kategoriserade i fyra teman: Fiollärarnas definition av begreppet musikteori, Att arbeta med musikteori i fiolundervisning, Val av musikteoretiskt lektionsinnehåll och Svårigheter med musikteori i fiolundervisningen. I resultatet framkommer många skillnader och olikheter i de intervjuade lärarnas utsagor, men alla berör ämnet notläsning och betonar vikten av att koppla musikteoriundervisning till spel på fiolen. I studiens avslutande kapitel diskuteras resultatet i förhållande till tidigare litteratur och forskning samt till studiens vetenskapsfilosofiska perspektiv fenomenologi.
The purpose of the present study is to describe three violin teachers approach to music theory in teaching. The study has three research questions: How does the violin teachers define the term music theory? What kind of music theory elements do violin teachers experience that they integrate into their teaching? In what way do the teachers experience that they work with music theory in violin education?and What are the music teachers experiences of the phenomenon music theory in violin education?The theoretical foundation of the study is interpretativism and the philosophical perspective is phenomenology. Semi-structured interviews were conducted with the three violin teachers. In the result, their approach to music theory in violin teaching is categorized into four themes: The violin teachers definitions of music theory, To work with music theory in violin teaching, choice of music theoretical lesson contentand Difficulties with integrating music theory in violin teaching. The results reveals that there is differences between the teachers' approaches. However, all the teachers reported that they emphasize note acquisition and the importance of combining music theory with playing the violin. Finally, the results are discussed in relation to previous literature and research, as well as to phenomenological perspectives.

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Leverenz, William C. "The Viennese Violone: The Development, Blossoming, and Decline of a Musical Instrument in 18th Century Vienna". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1523636570147918.

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22

Lim, Ahrhim. "The Romances for Violin and Piano by Robert and Clara Schumann: A Comparison and Contextualization". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1543579293352703.

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23

Pereira, Guilherme de Carvalho. "Técnicas de realização de acordes na viola /". São Paulo, 2018. http://hdl.handle.net/11449/155839.

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Orientador: Ricardo Lobo Kubala
Banca: Luiz Britto Passos Amato
Banca: Emerson Luiz de Biaggi
Resumo: O presente trabalho tem por objetivo aprofundar o conhecimento acerca da realização de acordes na viola a partir da concepção dos principais autores da literatura da viola e do violino dos séculos XIX e XX. Aspectos da escrita empregada para indicar a sobreposição de notas para esses instrumentos trouxeram a necessidade de reflexão sobre sua realização por parte do instrumentista. Devido ao formato curvo do cavalete e ao fato de a crina do arco ser plana, a execução de acordes demanda o uso de técnica específica, sendo necessário o uso de estudos e exercícios para seu desenvolvimento. Trata-se de assunto fundamental para o desenvolvimento do instrumentista, entretanto, observa-se escassez de material pedagógico disponível que aborde a técnica de acordes. Foi realizado um levantamento no intuito de quantificar e classificar a ocorrência de emprego de acordes em métodos, livros de exercícios, estudos e caprichos, nos quais foram encontradas propostas de estudo, realização e interpretação de acordes. Observou-se que as orientações relacionadas à execução de acordes diferem marcantemente entre os autores consultados, apontando para uma riqueza de possibilidades de realização desse aspecto da técnica de arco que fornece variedade de meios para atender às vastas demandas estilísticas com que se deparam violistas e violinistas enquanto intérpretes.
Abstract: This research aims to deepen the knowledge about chord playing on Viola, based on the conceptions of the main Viola and Violin authors of the 19th and 20th centuries. Some aspects related to the writing of overlapping notes to those instruments brought the need of reflection about their execution by players. Due to the curved form of the bridge and to the fact that the hair of the bow is flat, the execution of chords demands the usage of a specific technique and consequently the use of studies and exercises for its development. Despite it is a fundamental matter for the instrumentalist's development, it may be observed a scarcity of teaching material available that addresses the chord playing technique. A research with the purpose of quantifying and classifying the occurrence of chord usage in methods, practicing books, etudes and caprices was done, and varied proposals of studying, performance and interpretation of chords were found in those methods. It was observed that the orientation related to the execution of chords differs markedly among consulted authors, displaying a richness of performing possibilities of such bowing technique aspect that provides a variety of means to attend to the wide stylistic demands which Viola and Violin players encounter as performers.
Mestre

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Paiva, Guilherme Orelli 1987. "Análise modal vibroacústica da caixa de ressonância de uma viola caipira". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/263227.

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Orientador: José Maria Campos dos Santos
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica
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Resumo: Atualmente, um importante aspecto da pesquisa em acústica musical consiste em relacionar propriedades físicas mensuráveis de um instrumento musical e a avaliação subjetiva de sua qualidade sonora ou tonal. Tem sido necessário, portanto, o desenvolvimento de métodos analíticos e numéricos para previsão do comportamento vibroacústico do instrumento, possibilitando a determinação de parâmetros objetivos que possam ser usados para controlar a sua qualidade tonal. Dessa forma, o presente trabalho realiza análises modais acústica, estrutural e vibroacústica (acoplamento entre fluido e estrutura), calculadas pelo método de elementos finitos (MEF), com o objetivo de determinar o comportamento dinâmico da caixa de ressonância da viola em termos de frequências naturais e as correspondentes formas dos modos. Primeiramente, é apresentado um modelo simplificado, que despreza as estruturas internas de reforço, mas adota as dimensões principais de uma viola real. Depois o mesmo modelo foi expandido, sendo acrescentados os reforços internos, porém com dimensões ainda aproximadas. Por fim, o terceiro modelo foi elaborado em relação às dimensões de uma viola real e seus respectivos reforços internos. Com isso, também foram realizados procedimentos experimentais a fim de verificar as capacidades e limitações do método computacional empregado. Finalmente, os resultados obtidos pelos métodos numéricos e experimentais são comparados e discutidos
Abstract: An important aspect of musical acoustics research is to identify the relationship of measurable physical properties of a musical instrument with the subjective evaluation of their sound quality or tone. Therefore, for musical instruments including resonance box, it is important to develop analytical or numerical methods to predict accurately its vibroacoustic behavior. These methods will enable the determination of key parameters that can be used to control the tone and sound quality. This work uses theoretical modal analysis with finite element method (FEM) to determine the dynamic behavior of a Brazilian guitar resonance box in terms of natural frequency and mode shapes. At first, is presented a simplified model that neglects the internal structures of reinforcement (struts, ribs, brackets, etc.), but adopts the main dimensions of a real Brazilian guitar. Then the same model was expanded with the addition of the internal reinforcements, but with approximate dimensions yet. Finally, the third model was designed regarding the dimensions of a real Brazilian guitar and their internal reinforcements. Experimental procedures were also performed to verify the capabilities and limitations of the computational method employed. The results obtained by numerical and experimental methods are compared and discussed
Mestrado
Mecanica dos Sólidos e Projeto Mecanico
Mestre em Engenharia Mecânica

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Visi, Federico. "Methods and technologies for the analysis and interactive use of body movements in instrumental music performance". Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8805.

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A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and creative use of music-related body movements in instrumental music performance. The complexity of this subject required an interdisciplinary approach, which includes the review of multiple theoretical accounts, quantitative and qualitative analysis of data collected in motion capture laboratories, the development and implementation of technologies for the interpretation and interactive use of motion data, and the creation of short musical pieces that actively employ the movement of the performers as an expressive musical feature. The theoretical framework is informed by embodied and enactive accounts of music cognition as well as by systematic studies of music-related movement and expressive music performance. The assumption that the movements of a musician are part of a shared knowledge is empirically explored through an experiment aimed at analysing the motion capture data of a violinist performing a selection of short musical excerpts. A group of subjects with no prior experience playing the violin is then asked to mime a performance following the audio excerpts recorded by the violinist. Motion data is recorded, analysed, and compared with the expert’s data. This is done both quantitatively through data analysis xii as well as qualitatively by relating the motion data to other high-level features and structures of the musical excerpts. Solutions to issues regarding capturing and storing movement data and its use in real-time scenarios are proposed. For the interactive use of motion-sensing technologies in music performance, various wearable sensors have been employed, along with different approaches for mapping control data to sound synthesis and signal processing parameters. In particular, novel approaches for the extraction of meaningful features from raw sensor data and the use of machine learning techniques for mapping movement to live electronics are described. To complete the framework, an essential element of this research project is the com- position and performance of études that explore the creative use of body movement in instrumental music from a Practice-as-Research perspective. This works as a test bed for the proposed concepts and techniques. Mapping concepts and technologies are challenged in a scenario constrained by the use of musical instruments, and different mapping ap- proaches are implemented and compared. In addition, techniques for notating movement in the score, and the impact of interactive motion sensor systems in instrumental music practice from the performer’s perspective are discussed. Finally, the chapter concluding the part of the thesis dedicated to practical implementations describes a novel method for mapping movement data to sound synthesis. This technique is based on the analysis of multimodal motion data collected from multiple subjects and its design draws from the theoretical, analytical, and practical works described throughout the dissertation. Overall, the parts and the diverse approaches that constitute this thesis work in synergy, contributing to the ongoing discourses on the study of musical gestures and the design of interactive music systems from multiple angles.

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Santos, Boia Pedro Jose. "The viola in the 21st century : sound, instrument technologies, playing techniques and performance". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15893.

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This thesis develops an ecological perspective devoted to the question of what, if anything, it means to speak of music ‘itself’. As such it seeks to enrich and further develop music-centred perspectives in the sociology of music. To this end, the thesis uses and develops a sociology of mediations designed to specify empirically the constituents of localized, emergent and performed configurations of “music” within the ‘classical’ music world. An ethnographically informed and practice-driven case study of viola and viola playing is used as a means to gain insight into the avant-garde of viola playing today and to follow the ways in which different protagonists constitute viola aesthetics. Considering the viola’s identity historically, in terms of both reproduction and change (specifically, the instrument’s shift from a marginal status to a position nearer the centre within ‘classical’ music), the study addresses instrument materiality and technologies, sound playing techniques, as well as, more globally, viola identities in relation to the instrument’s sonic features, repertoire, psycho-cultural and affective associations and meaning making in interpretation and performance. It is also shown how musicians deal with and ‘erase’ ‘limitations’ formerly attributed to the viola and make the instrument ‘work’ (through technological calibration in collaboration with instrument-makers as well as playing techniques) and thus correspond the requirements of contemporary music performance. Aiming to be a useful resource for violists, this thesis traces change but also identifies potential constraints produced by the past history of the viola upon the ways the instrument is seen, used and explored. The data for this study was collected through audio/video-recorded interviews with eight widely recognized highly-skilled violists, video-recorded performance and observations of viola lessons, and documentary analysis. This thesis highlights the importance of intermediate mediations that, situated in-between score and performance, affect how music comes to sound when played. It also outlines a grounded theory of the affordances of couplings made between players and instruments, so as to develop a performative idiom that considers representations, discourses and social construction, but also materiality, bodies and minds, internalization processes, practices. The thesis concludes by suggesting that a ‘strong’ cultural and musical sociology requires a relational and transdiciplinary approach and that this approach in turn helps to articulate an eclectic and hybrid sociology of imbrications, one that challenges intra-disciplinary divides.

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Peppers, Emily. "The introduction of the viol into sixteenth-century France : perspectives on the cultural integration of musical instruments". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/17977.

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This dissertation investigates the introduction and development of a musical instrument, the viola da gamba (viol), in sixteenth-century France by articulating the wider cultural consequences of introducing new musical instruments from one culture to another. The research examines cultural exchange with foreign courts, the effects of patronage, social perceptions and changing attitudes during the introduction of the viol into France. Using the viol as a focal point to explore Renaissance material culture, this thesis is an interdisciplinary study into music, art, language and terminology, foreign connections and cultural interaction. Each chapter focuses on a different aspect of the viol’s introduction, development and establishment into sixteenth-century France. Rare archival sources, visual media and printed books never before connected to the viol have been identified and analysed to construct a detailed framework of the social, artistic and musical culture within which the viol was used. The five chapters explore professional viol use in the royal court and regional areas, artistic representations of the viol, triumphal entries and festivals, the changing role of viol players from professional to amateur and the viol in sixteenth-century instrument making. The appendices include a catalogue of images depicting the viol in French visual media, identifying allegorical and religious associations, making foreign connections, exploring methods of artistic creation and analysing physical depictions.

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Romão, Paulo César Veríssimo [UNESP]. "A guitarra clássico-romântica: história dos métodos de um instrumento". Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/90234.

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Universidade Estadual Paulista (UNESP)
Esta dissertação tem como foco a Guitarra Clássico-Romântica, antecessora direta do violão moderno. Procuramos verificar, através de uma pesquisa de cunho bibliográfico, o processo de surgimento e as progressivas transformações pelas quais passou este instrumento. Para tanto, valemo-nos da metodologia de pesquisa histórica proposta pela historiografia francesa, em particular, a História das Mentalidades. Iniciamos este trabalho com um levantamento das questões significativas para os indivíduos europeus no período entre a Revolução Francesa e a primeira grande guerra. Mais especificamente, a primeira parte deste trabalho visa a compreensão das fronteiras entre o público e o privado, e do processo de formação do indivíduo como ator social. A segunda parte da pesquisa é dedicada aos processos de confecção da Guitarra Clássico-Romântica, às personagens envolvidas com este instrumento, e, fundamentalmente, aos Métodos escritos para ele. Através da avaliação dos Métodos, procuramos compreender as idéias que permeavam a composição e a execução para Guitarra no século XIX. A terceira parte tem caráter reflexivo, e avalia o ocaso da produção de Métodos a partir do século XX, o advento da “técnica estendida”, bem como se propõe a refletir sobre a etimologia dos termos “técnica”, “escola” e “tradição”. Esta pesquisa justifica-se pela necessidade de constituição histórica do instrumento mais numerosamente encontrado nas Américas, bem como pela possibilidade de compreensão dos mecanismos sociais através dos quais um instrumento, um instrumentista ou um Método perdura, tornando-se parte da História. Não obstante, esta pesquisa estende-se ao âmbito da musicologia histórica, uma vez que, para o concerto de defesa, executaremos peças do repertório novecentista com uma réplica da Guitarra Clássico-Romântica
This dissertation has the Classic Romantic Guitar as a theme. This instrument is the immediate antecedent of the modern guitar. Our aim is to verify, through a bibliographic research, the process of birth and transformations suffered by this instrument. Therefore, we adopted a methodological background from the French historiography, called History of Mentalities. The present research starts gathering the most meaningful questions for a nineteenth century persona, more precisely in the period between the French Revolution and the First World War. Thus, the first part of this essay seeks to comprehend questions like the frontiers between the public and the private aspects of live, and the perception of an individual as a social actor. In the next moment, we quest to unravel the procedures of construction of the Classic Romantic Guitar, as well as identify the people involved, and most closely, the Methods written for this instrument. Through the evaluation of these Methods, we look for understanding on the ideas that guided the composition and the guitar performance during the nineties. The final part of the essay is more reflexive, and analyses the desertion of the publications of Methods from the twentieth century, the creation of the “extended technique”, and reflects about the terms “school”, “technique” and “tradition”. This research is justified by the necessity of a historical establishment for the most frequently found instrument in all Americas, and by the possibility to comprehend the means through which an instrument, a performer or a Method resists to time, and become part of History. Finally, this research extends itself to the field of historical musicology, since the last concert presented as part of this Masters will be performed on a replica of a classical-romantic guitar

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Faria, Cindy Folly. "Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento". Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tede/3216.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The present work intends to investigate the contributions that the universe of vocal performance, especially in its interpretive and expressive aspects, can offer to the activity of the stringed instrument player, more specifically to the violist, therefore approximating again two practices that were closely related in other historical periods. Up to certain part of the romantic period, we can notice a strong relation between instrumental interpretation and lyrical singing, and between the former and other practical elements related to music and to singing, such as rhetoric and oratory. Through centuries, music was treated as a discourse, and expressiveness, or the way in which notes were “pronounced”, was sought after and explored in a significant manner. Therefore, through a bibliographical research, the first part of this paper presents the close relation through history between performance on instruments and voice, and between viola and singing. Thus, it is noticed that the voice which is manipulated in singing and oratory has many expressive elements to be considered and even imitated. Then, one considers the specific context of the viola and its path since its beginnings until today, also in regard to the influence of the singing. The second part is formed by the analysis of some musical interpretation principles that highlight the expressiveness from vocal model, which are extracted from treatises used today as guide to singing performance. To these instructions are added some approaches to singing made by some string methods’ and treatise’s authors through history, all conformable and pertinent to the viola interpretation. And in order to demonstrate the use of these principles, interpretative suggestions are made for excerpts from the viola repertoire from different styles and periods.
Este trabalho se propõe a investigar as contribuições que o universo da performance vocal, notadamente seus aspectos interpretativos e expressivos, podem oferecer à atuação do instrumentista de cordas, especificamente ao violista, reaproximando assim duas práticas que estiveram bastante próximas em outros períodos da história. Até parte do período romântico, percebe-se uma relação muito intensa entre interpretação instrumental e canto lírico, e entre aquela e outros elementos práticos ligados à música e ao canto, como retórica e oratória. Durante séculos, a música era tratada como um discurso e a expressividade, ou a maneira como eram “pronunciadas” as notas, era buscada e explorada de maneira significativa. Dessa forma, através de pesquisa bibliográfica, a primeira parte deste trabalho apresenta a proximidade interpretativa que houve pela história entre instrumentos e canto, e viola e canto. Assim, é percebido que a voz manipulada no canto e na oratória possui muitos elementos de expressividade a serem observados e até mesmo imitados. Considera-se, em seguida, o contexto específico da viola e o caminho desenvolvido por ela desde seus primórdios até hoje, também de acordo com a influência do canto. A segunda parte é composta da análise de alguns princípios musicais interpretativos que evidenciam a expressividade a partir do modelo vocal, extraídos dos tratados utilizados atualmente como guia para a performance do canto. A essas instruções também são agregadas aproximações com o canto que alguns autores de métodos e tratados de cordas já fizeram ao longo das épocas, todas compatíveis e pertinentes à interpretação na viola. E para que a aplicação destes princípios possa ser demonstrada, são apresentadas sugestões interpretativas para trechos do repertório da viola de diferentes estilos e períodos.

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Donoso, Pablo Pérez. "Utilização de imagens mentais na prática diária de estudantes do bacharelado em violão da UFPB". Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/7492.

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Music education has undergone a number of changes in recent centuries. These changes do not happen in isolation but interact and are interdependent events with another knowledge areas. Dominant paradigm in musical instrument teaching, since the establishment of music education model appeared at eighteenth century conservatorie, has roots in Newtonian-Cartesian thinking. Nowadays can be observed a change of mindset from almost all areas, is the rise of new paradigms fleeing from fragmentation, mechanization and mind-body dissolution that the old paradigm suggests, these new paradigms are heading to a holistic and integrative vision. The aim of this study was to observe and analyze imagery utilization in guitar student's daily practice, as it considered them a key component in these emerging paradigms. Data were gathered with three UFPB bachelor's guitar students. Were observed the student's study routines, data analysis gave the understanding of the current state of the relationship and interactions between knowledge of the cognitive sciences and the musical instrument teaching / learning process in our context today.
A educação musical vem sofrendo uma série de mudanças nos últimos séculos. Essas mudanças não acontecem de forma isolada mas interagem e são interdependentes aos acontecimentos de outras áreas do conhecimento. O paradigma dominante no ensino de instrumento, desde a implantação do modelo de ensino de música surgido nos conservatórios do século XVIII, tem raízes no pensamento newtoniano-cartesiano. Na atualidade é possível observar uma mudança na forma de pensar de praticamente todas as áreas, é o surgimento de novos paradigmas que fogem da fragmentação e mecanização, da separação entre mente e corpo que sugere o paradigma antigo e se encaminham a uma visão holística e integradora. O objetivo desta pesquisa foi de observar e analisar a utilização de imagens mentais na prática diária de estudantes de violão, por considerá-las um componente fundamental desses paradigmas emergentes. Foram colhidos dados com três estudantes de violão do bacharelado em música da UFPB. Observaram-se as rotinas de estudo dos alunos e, a partir da análise dos dados, foi possível compreender o estado atual das relações e interações existentes entre o conhecimento das ciências cognitivas e o ensino/aprendizagem de instrumento no nosso contexto na atualidade.

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Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus". Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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32

Couteiro, Clidney de Amorim. "O violão de 8 cordas como instrumento acompanhador do canto popular brasileiro". Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tede/5500.

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The purpose of this research is the elaboration of four arranges for the 8-strings guitar, aiming the demonstration and exploration of the potentialities of this instrument in the accompaniment of popular singing. In order to compose this article transcriptions of the songs “Consolação” by Baden Powell and Vinicius de Moraes (1913-1980) and “Capitu” by Luiz Tatit were used, which provided the base for the creation of the four arranges. Besides that, the forms of utilization of the 7-strings guitar in “choro” and “samba” were investigated, as well as the use of the bass beat in MPB, among other musical constructions typical of the guitar role in the tradition of MPB as a way of subsidize the proposed arranges.
Esta pesquisa tem como proposta a elaboração de quatro arranjos para o violão de 8 cordas, objetivando demonstrar e explorar as potencialidades desse instrumento no acompanhamento do canto popular. Para a realização deste artigo foram utilizadas transcrições das canções “Consolação” de Baden Powell e Vinicius de Moraes (1913-1980) e “Capitu” de Luiz Tatit (1951), que forneceram a base para a criação dos quatro arranjos. Além disso, foram investigadas as formas de utilização do violão de 7 cordas no choro e no samba, bem como o uso das “levadas” do contrabaixo na MPB, entre outras construções musicais típicas do papel do violão na tradição da MPB como forma de subsidiar os arranjos propostos. !!

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Pereira, Vinícius Muniz. "Entre o sertão e a sala de concerto : um estudo da obra de Renato Andrade". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284399.

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Orientador: José Roberto Zan
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Em meados da década de 1970, o compositor e instrumentista mineiro Renato Andrade lança seu primeiro disco solo intitulado A fantástica viola de Renato Andrade. No repertório, composições instrumentais interpretadas com muito virtuosismo na viola caipira. Esse é o início de uma produção precursora dentro da música sertaneja e que acabou por criar um novo segmento desse gênero. Resultado das transformações formais e estéticas da música popular brasileira a partir dos anos 70, a obra de Renato Andrade reflete o surgimento de fronteiras tênues entre a esfera popular e erudita, na qual compositores e instrumentistas vão buscar nas "tradições" populares elementos destinados a dar "autenticidade" e "legitimidade" às suas produções, ao mesmo tempo adotam procedimentos da música erudita para dar corpo e organicidade a suas músicas. Esta dissertação buscou investigar a obra do compositor e violeiro Renato Andrade. Para isso, partiu dos dados biográficos do artista, do levantamento de sua produção fonográfica e a partir desses dados procurou compreender as estratégias criativas de Renato Andrade, a maneira com qual o músico organiza o material musical na viola caipira e a consolidação daquilo que identificamos como sendo o seu idioma composicional. Num segundo momento, o foco deste trabalho foi compreender o performer Renato Andrade, sua atuação nos palcos e a construção do que identificamos como o personagem Renato Andrade
Abstract: In the 1970's, the composer and performer from Minas Gerais Renato Andrade releases his first record playing solo. It was called A fantástica viola de Renato Andrade. The album was made of instrumental compositions for viola caipira (Brazilian Ten String Guitar), an instrument that he played with a great virtuosity. This was the beginning of a one of a kind production in Brazil that ended up creating a new segment in the field of a genre known as "Música Caipira". As a result of the Brazilian's Popular Music formal and aesthetic transformations, ever since the seventies, Renato Andrade's work reflects the emergence of fine lines between the popular and the classical. In order to compose their plays, composers and musicians searched for Brazilian popular traditions so they could give to them "authenticity" and "legitimacy". At the same time, they adopt classic procedures to make the plays coherent and dense. This dissertation has the intent to explore Renato Andrade's work. It aims to expose the musical elements used in his compositions and his musical influences and tendencies and also, the construction of a specific style of the author, either through his music or through his ten string Brazilian guitar execution. To do that, we researched his biography and his music production in order to understand his creative procedures, his way to organize the musical materials in the Ten String Guitar and, finally, the consolidation of what we call his compositional language. On a second moment, we describe Renato Andrade as a performer: his performance on stage, and the construction of the "character" Renato Andrade
Mestrado
Fundamentos Teoricos
Mestre em Música

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Oddie, Jonathan J. "Counterpoint, 'fuge', and 'air' in the instrumental music of Orlando Gibbons". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:eae0a0b5-9cf2-41af-bca0-eb8db9cfcb40.

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This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.

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Nordkvist, Vega. "Examensarbete Fiol, Examenskonsert Vega Nordkvist & Stilanalys: Blank Anders polskespel". Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2773.

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Ranna, Luís Cláudio Cabral da Silveira. "Transcrições para canto e violão de sete canções de Dinorá de Carvalho: processos composicionais e idiomatismo técnico-instrumental". Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7804.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research proposes the realization of seven transcriptions for voice and guitar of songs by the nationalist composer Dinora de Carvalho (1895-1980). The chosen works are part of various compositional tendencies of the works for voice and piano, resulting from the composer's 46 years of training for this formation, each with its influence. We began our procedure by reflecting on the concerns expressed by transcription scholars, to base the characteristics and limits that were adopted in our intervention. For the technical-instrumental adaptation to the guitar we chose the notes on the transcription by Daniel Wolff and Pedro Rodrigues, allied to the works developed around the thematic language, proposed by Scarduelli and Fernandes. To complement the arguments used, the concepts of Intentio Operis and Overinterpretation proposed by Umberto Eco were used during the text, as well as in the general conception we promote about the work. Flávio Carvalho's master's dissertation runs through the work as essential material for consultation.
A presente pesquisa propõe a realização de sete transcrições para Canto e Violão de Canções da compositora nacionalista Dinorá de Carvalho (1895-1980). As obras escolhidas fazem parte de variadas tendências composicionais das canções para Canto e Piano, resultado de 46 anos de metiê da compositora para essa formação, cada qual com sua influência. Iniciamos nosso procedimento realizando uma reflexão acerca de inquietações manifestadas por estudiosos em transcrição, com o intuito de embasarmos as características e limites que foram adotados em nossa intervenção. Para a adaptação técnico-instrumental ao violão adotamos os apontamentos sobre transcrição de Daniel Wolff e Pedro Rodrigues, aliados aos trabalhos desenvolvidos em torno da temática idiomatismo, propostos por Scarduelli e Fernandes. Para complementação das argumentações utilizadas, os conceitos de Intentio Operis e Superinterpretação propostos por Umberto Eco foram utilizados no decorrer do texto, assim como na concepção geral que promovemos sobre a obra. A dissertação de mestrado de Flávio Carvalho perpassa por todo o trabalho como material essencial de consulta.

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O'Neill, Alice Ann Mary. "Parent as home teacher of Suzuki cello, violin, and piano students: observation and analysis of Suzuki method practice cessions". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1070376603.

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Prando, Flavia Rejane. "Othon Salleiro: um barrios brasileiro? Análise da linguagem instrumental do compositor-violonista. (1910 - 1999)". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05072009-234601/.

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Este trabalho tem como objeto a obra do violonista Othon Salleiro (1910-1999). O objetivo desta pesquisa é analisar, recuperar e contextualizar a produção do compositor carioca dentro do panorama do violão popular brasileiro. Através da apreciação de sua obra, da transcrição das gravações disponíveis e da análise comparativa dos violonistas compositores do mesmo período, procuramos traçar a identidade composicional e instrumental de Othon Salleiro. Lembramos que se trata de uma produção exclusivamente para violão solo. Além da catalogação das obras encontradas, a confecção das partituras foi a nossa contribuição para recuperar e divulgar a obra deste importante compositor do cenário do violão popular brasileiro.
This study focuses on the work of guitarist Othon Salleiro (1910- 1999). The purpose of this study is to analyze, recover and provide context for the work produced by the composer from Rio de Janeiro within the scenario of Brazilian popular guitar music. By examining his work, transcribing available recordings and doing a comparative analysis of composer guitarists of the same period we tried to outline the composing and instrumental identity of Othon Salleiro. We remind you that his work is exclusively for solo guitar. In addition to cataloguing the music found, making sheet music was our contribution to recover and make known the work of this important Brazilian popular guitar composer.

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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.

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Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.

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Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

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Nogueira, Gisela Gomes Pupo. "A viola con anima: uma construção simbólica". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-15052009-140811/.

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As pesquisas históricas sobre as violas brasileiras foram delimitadas pelas referências textuais e iconográficas ao instrumento musical e à sua utilização na produção musical, particularmente da segunda metade do século XVIII ao início do XIX, com pequena citação de César das Neves em s eu Cancioneiro de Músicas Populares, cujo primeiro volume é datado de 1893. Usualmente confundida com alaúdes, cistros e violões, a literatura histórica deixa lacunas sobre a descrição do instrumento. Fato é que, não raro, os violeiros brasileiros de hoje ignoram se tratar de uma guitarra barroca. A primeira parte desta pesquisa investiga, através de fontes primárias e secundárias, a utilização da viola no Brasil desde os tempos de Anchieta, consagrando-se como o instrumento de cordas dedilhadas mais antigo ainda em uso na produção cultural do país, bem como sua classificação como instrumento da família das guitarras; trata da construção simbólica de uma viola rural, com forte ênfase no preconceito àqueles que a tocam e da sua ascensão e declínio a partir das investidas de Cornélio Pires na indústria fonográfica. Analisada através dos códigos da escrita em Tablaturas e Alfabeto Musical, a Musicologia Histórica é utilizada como ferramenta para pesquisar a linguagem elitista do instrumento à época colonial e, ao mesmo tempo, popular no Reino de Portugal, visto que não há qualquer documentação musical brasileira que legitime sua utilização no Brasil daquele período. Com base nas publicações portuguesas da produção musical brasileira, é possível reconstituir modinhas e lundus nesse instrumento, como relatado por inúmeros viajantes, a partir de um mapeamento dos recursos idiomáticos utilizados na Europa Ocidental e, particularmente, em Portugal, expondo a riqueza de linguagem, enquanto instrumento das elites, e seu empobrecimento, a partir do vínculo com o universo rural, que marcou até mesmo sua denominação mais popular utilizada atualmente na mídia em geral viola caipira ou sertaneja.
The historical researches on the Brazilian violas were limited by textual and iconographical references to the musical instrument and its musical production, particularly from the second half of the 17th century to the beginnings of the 18th, except from a small reference found in Cancioneiro de Músicas Populares by Cesar das Neves, published first in 1893. Usually confused with lutes, citterns e classical guitars, the historical Brazilian literature shows gaps on the description of the musical instrument. In fact, the violeiros (Brazilian baroque guitarists) often do not acknowledge the instrument as abaroque guitar. The first part of the present work seeks the musical production on the viola in Brazil since Pe. Anchieta arrival, through primary and secondary sources, being considered the earliest plucked string instrument brought to Brazil which remains in use until now, as well as its classification in the plucked stringed instrument families; also, treats its history from the symbolic view of a peasants instrument, emphasizing the prejudice to its performers, as well as its ascension and decline after Cornelio Pires investment son the record industry. The Historical Musicology analyzed from the specific notation in Tablatures and Alfabeto Musical, is here used as a tool to investigate the language from the artistic music written for this kind of guitar during the Portuguese colonization, and in the same time, its popular production in Portugal, since there is no musical manuscripts from Brazil to demonstrate its use here in that period. Based on Portuguese editions of Brazilian music, its possible to recreate modinhas and lundus on the violas, as told by several travelers who described details of our culture, showing the richness of the artistic language, when used as a musical instrument of the dominant classes, and its decline to a poor language, while getting the vinculum to the peasant working classes, marking its most popular denomination on the general medias - viola caipira or sertaneja.

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Svensson, Frida. "Personlighet + Utseende = Instrumentval? : Finns det en föreställning om hur en person som spelar ett visst instrument ser ut och vilken personlighet denna person har?" Thesis, Karlstad University, Division for Ingesund College of Music, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4844.

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I mitt examensarbete har jag valt att undersöka de tankar som finns kring vem som spelar vilket instrument. Vilka ord, som har med utseende respektive personlighet att göra, förknippar studerande vid en svensk musikhögskola samt en svensk folkhögskola med de utvalda instrumentalisterna; -klassisk tubaist, fiolspelande folkmusiker, klassisk tvärflöjtist, afrosångaren, afrotrummisen, klassisk pianist? Vilket kön, vilket utseende och vilken personlighet tänker de sig att respektive instrumentalist har? Genom en enkätundersökning har jag försökt ta reda på detta. Jag delade ut enkäter till studerande vid en svensk musikhögskola samt till musikstuderande vid en svensk folkhögskola. Av 201 utdelade enkäter fick jag in 49 svar. Jag tycker mig se tydliga skillnader kring vilka ord som förekommer till de olika instrumentalistgrupperna. Respondenternas uppfattning om vilket kön instrumentalisterna har är i de flesta fall väldigt överensstämmande

In my degree project I have chosen to examine the thoughts that exist around who plays which instrument. What kind of words –related to looks and personality - do students at a Swedish university of music associate with the following instrumentalists: classical tuba player, folk music violinist, classical flutist, afro singer, afro drummer, classical pianist? Which gender, looks and personality do they think the respective instrumentalist have? Through a survey, I have attempted to answer this. I handed out the surveys to students at a Swedish university of music, and to music students at a Swedish folk high school. From a total of 201 surveys, 49 responded. I think there are clear differences concerning which words relate to the different instrumentalists. The respondents’ opinion regarding the gender of the instrumentalists are generally in accordance.

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43

Kreutz, Thiago de Campos. "A música para violão solo de Edino Krieger: um estudo do idiomatismo técnico-instrumental e processos composicionais". Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3095.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This thesis is about the five solo-guitar works composed by brazilian composer Edino Krieger: Prelúdio, Ritmata, Romanceiro, Passacalha para Fred Schneiter and Alternâncias. As these works present notorious functionality and effect on the instrument, we seek to understand how the composer uses the idiossyncratic caracteristics of the guitar in writing for this instrument. Thus, we discuss the relationship involving the composer, the refered works and the instrument. The work itself is divided in three parts. In the first we present biographical data, compositional caracteristics, works and the relationship between the composer and the classical guitar. In the second the compositional process used in the works is discussed, as well as their recurrence in the presented compositions. For this analysis the used methods were the analytical precepts proposed by John White (1976). In the third part we discuss the use and application of “idiomatism” as and applicable term in the field of music studies. To evidentiate the use of idiomatic elements of the guitar in the works of Edino Krieger, the method used was that proposed by Fábio Scarduelli (2007) – two distinct aspects of idiomatism: “implicit” and “explicit”.
Este trabalho aborda as cinco obras escritas para violão solo pelo compositor brasileiro Edino Krieger: Prelúdio, Ritmata, Romanceiro, Passacalha para Fred Schneiter e Alternâncias. Uma vez que estas apresentam notória funcionalidade e efeito no instrumento, buscamos compreender como o compositor se apropria das características do violão em sua escrita particular. Assim, abordamos a relação entre compositor, obras e instrumento. O trabalho está divido em três partes. Na primeira apresentamos dados biográficos e características composicionais de Edino Krieger, além de estabelecermos a relação entre o compositor e o instrumento. No segundo buscamos evidenciar processos composicionais utilizados nas obras, bem como recorrências entre estes. Para tal fim, utilizamos como fundamento teórico, os preceitos analíticos propostos por John White (1976). Na terceira parte realizamos uma discussão a respeito da utilização e aplicação do termo idiomatismo no campo da música. Para evidenciar a utilização dos procedimentos idiomáticos do violão na obra de Edino Krieger, utilizamos a divisão em idiomatismo implícito e explícito proposta por Fábio Scarduelli (2007).

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44

Teixeira, Alexandre Carlos da Silva. "Matemática na música a escala cromática e as progressões geométricas". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4727.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This paper presents a proposal for relationship studies between mathematics and music, a relationship that has been established since the dawn of humanity, and could be seen more clearly from the studies developed by Pythagoras. We approach the evolution of music in the historical context and introduce the basics of music theory, essential to establishing relationships with mathematics. Our e orts were focused on instruments with strings, by which present a relationship between a musical scale, called Chromatic and geometric progressions; also we present a relationship between musical intervals and right triangles. We present a mathematical relationship between music and colors, through their respective frequencies of sound and light. Also we address the present mathematics in the construction of some instruments with strings, via Golden Proportion, and nished the work presented some proposals for activities that can be worked in the classroom, aimed at high school students.
Este trabalho traz uma proposta de estudos da relação existente entre a Matemática e a Música, relação esta que foi estabelecida desde os primórdios da humanidade, e pôde ser observada de forma mais clara a partir dos estudos desenvolvidos por Pitágoras. Abordamos a evolução da Música no contexto histórico e introduzimos as noções básicas de teoria musical, essencial ao estabelecimento de relações com a Matemática. Nossos esforços foram focados nos instrumentos com cordas, pelos quais apresentamos uma relação entre uma escala musical, denominada Cromática, e as progressões geométricas; também apresentamos uma relação entre intervalos musicais e os triângulos retângulos. Apresentamos uma relação matemática entre a Música e as cores, por meio de suas respectivas frequências de som e luz. Também abordamos a matemática presente na construção de alguns instrumentos com cordas, via Proporção Áurea, e nalizamos o trabalho apresentando algumas propostas de atividades que podem ser trabalhadas em sala de aula, voltadas para alunos do Ensino Médio.

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45

"When Chinese Sounds Meet Western Instruments, Yü Ko: Ensemble for Violin, Winds, Piano and Percussion by Chou Wen-Chung". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63093.

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abstract: ABSTRACT As a composer, Chou Wen-Chung (1923-2019) was a learner and inheritor of Chinese traditional music culture and was committed to carrying it forward. As a native of China who had his primary musical training in the West, Chou Wen-Chung was one of the first Chinese composers to make his mark on Western music. He successfully combined Western elements and Chinese tradition in his music. Chou Wen-Chung was one of the few prominent East Asian composers known in the Western musical world, and his music therefore has had a strong influence on other Chinese composers. In order to understand more clearly his music, I analyzed his chamber work: Yü Ko. This piece was composed in 1965 for 9 instruments: Violin, Alto Flute, English Horn, Bass Clarinet, 2 Trombones, 2 Percussion and Piano. Inspired by the ancient Chinese musical instrument the Qin (also called guqin, or “ancient qin”), which is a plucked seven-string instrument, Chou Wen-Chung composed Yü Ko. Literally meaning “fisherman’s song,” this work was composed originally for the Qin, based on a melody composed by Mao Min-Zhong who was a very noted scholar and Qin player of the late Southern Song dynasty (C.E.1127-1276). This paper provides Chou Wen-Chung’s biography, compositional styles and developments. It lists and explains the most common Chinese traditional cultural elements which he used in his compositions. In particular, it introduces the Qin in detail from the external structure, performance techniques, sound characteristics, the tablature notation, and compositional methods. This document also includes a detailed analysis of Yü Ko in terms of the orchestration, pitch, tonal material, structure and tempo, dynamic and musical materials, and explains Chou Wen-Chung’s imitation of the Qin as well as the influence of Western music shown in this piece.
Dissertation/Thesis
Doctoral Dissertation Music 2020

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46

Meira, Nuno Alexandre Silva. "Reflexão e análise sobre uma especificidade da didática do instrumento violino". Master's thesis, 2015. http://hdl.handle.net/10400.14/19373.

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Na presente dissertação pretendemos analisar e refletir sobre a utilização da peça anatómica queixeira, na perspetiva do utilizador músico/instrumentista e de pedagogia, e sobretudo, de didática. Esta componente do violino é posicionada no corpo do próprio instrumento, e tem por principal função servir de apoio ao queixo do músico, daí o seu nome. Para uma utilização mais ergonómica, de ajustabilidade tanto na relação com o utilizador como em função do violino, tivemos ainda em consideração a prevenção do desconforto e dos eventuais problemas físicos decorrentes da prática do violino e tentamos aferir da importância que tem como potenciador de uma melhor qualidade e excelência do ensino do instrumento violino. Pelas suas características específicas, o violino exige de cada instrumentista e intérprete capacidades físicas que, por vezes, se tornam difíceis de encontrar. Uma das características mais importante está relacionada com a forma como o instrumento violino é posicionado e seguro, entre o ombro e o queixo. A força que tanto o pescoço, quanto o queixo são chamados a exercer durante um ensaio, as horas de treino ou uma atuação, pode ser originária de um desconforto extremo, que tem repercussão na qualidade da música tocada e, principalmente, na saúde do violinista. Sendo que este desconforto deve começar a ser evitado desde idade precoce, direcionamos a nossa atenção investigativa para uma escola de música e levamos a cabo um estudo de caso de cariz qualitativo, que contou com a aplicação da técnica de inquérito de uma entrevista a professores de violino da escola profissional ARTAVE, visando aferir da percepção da importância do uso da queixeira, e como escolher a queixeira junto destes profissionais da educação musical.
In the present dissertation we intend to analyze and reflect on the use of the anatomical piece chinrest, in the perspective of the user musician / instrumentalist and especially on a didactically vision. This violin component is positioned in the body of the instrument itself, and its main function is to serve to support the musician's chin, hence its name. For more ergonomic use and adjustability both in relation to the user as a function of the violin, we had into account the prevention of discomfort and possible physical problems resulting from violin practice and we tried to assess the importance of a booster for better quality and excellence in violin teaching tool. Due to its specific characteristics, the violin requires from the instrumentalist and performer physical capabilities that sometimes become difficult to find. One of the most important features is related to the way the violin instrument is positioned and held, between the shoulder and chin. The strength that both the neck and the chin are to perform during a rehearsal, the hours of training or an act itself, can be of an extreme discomfort, which has repercussions on the quality of music played and, especially, in the health of the violinist. This discomfort should begin to be avoided from an early age, so, in that matter; we direct our investigative attention to a music school and carried out a case study of qualitative nature, which included the application of the investigative technique with the application of an interview to the violin teachers of the vocational school ARTAVE. We did so in order to gauge the perception of the importance of using the chinrest, and how to choose the best one.

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47

"Instrumental Vibrato: An Annotated Bibliography of Historical Writings Before 1940". Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14581.

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abstract: The use of instrumental vibrato in certain periods of classical music performances has become a highly debated and often fiery topic. The scholars of yesterday had only a few sources with which to gain a better understanding of the definition, mechanics, employment, and prevalent attitudes of those coming before them. This project aims to develop the foundation to a better understanding of instrumental vibrato by compiling primary source material written before 1940 and secondary source material relevant to that period into an annotated bibliography. The source materials in this study were mainly comprised of treatises, tutors, method books, newspaper articles, and dictionaries. The instruments covered in this study included the violin family and relatives (viols, etc...), woodwinds (including recorder), members of the brass family, organ, other keyboard instruments, guitar/banjo/lute, theremin, and prototype/niche instruments (such as player pianos). This project investigated 309 historical documents, finding 258 contained writings about instrumental vibrato. Of those, 157 were presented as bibliographic annotations. The author found no consensus at any time in the history of Western art music between 1550-1940 that vibrato is wholly acceptable or wholly unacceptable.
Dissertation/Thesis
D.M.A. Music 2012

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"A portfolio of four original music compositions". 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160

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49

"A portfolio of music compositions". 2005. http://library.cuhk.edu.hk/record=b5892650.

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Remembrance -- Suite -- Symphonic prelude.
Ng Wah-hei.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2005.
Abstracts in English and Chinese.
Abstract --- p.i
Table of Contents --- p.ii
Acknowledgements --- p.iii
Chapter 1. --- Remembrance for Orchestra --- p.1
Chapter 2. --- "Suite for Flute, Clarinet, Cello, and Percussion" --- p.58
Chapter 3. --- Symphonic Prelude for Orchestra --- p.100

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50

Davis, D. Edward. "Nowhere Landscape, for Clarinets, Trombones, Percussion, Violins, and Electronics and “The Map and the Territory: Documenting David Dunn’s Sky Drift”". Diss., 2016. http://hdl.handle.net/10161/12134.

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1. nowhere landscape, for clarinets, trombones, percussion, violins, and electronics

nowhere landscape is an eighty-minute work for nine performers, composed of acoustic and electronic sounds. Its fifteen movements invoke a variety of listening strategies, using slow change, stasis, layering, coincidence, and silence to draw attention to the sonic effects of the environment—inside the concert hall as well as the world outside of it. The work incorporates a unique stage set-up: the audience sits in close proximity to the instruments, facing in one of four different directions, while the musicians play from a number of constantly-shifting locations, including in front of, next to, and behind the audience.

Much of nowhere landscape’s material is derived from a collection of field recordings

made by the composer during a road trip from Springfield, MA to Douglas, WY along US- 20, a cross-country route made effectively obsolete by the completion of I-90 in the mid- 20th century. In an homage to artist Ed Ruscha’s 1963 book Twentysix Gasoline Stations, the composer made twenty-six recordings at gas stations along US-20. Many of the movements of nowhere landscape examine the musical potential of these captured soundscapes: familiar and anonymous, yet filled with poignancy and poetic possibility.

2. “The Map and the Territory: Documenting David Dunn’s Sky Drift”

In 1977, David Dunn recruited twenty-six musicians to play his work Sky Drift in the

Anza-Borrego Desert in Southern California. This outdoor performance was documented with photos and recorded with four stationary microphones to tape. A year later, Dunn presented the work in New York City as a “performance/documentation,” playing back the audio recording and projecting slides. In this paper I examine the consequences of this kind of act: what does it mean for a recording of an outdoor work to be shared at an indoor concert event? Can such a complex and interactive experience be successfully flattened into some kind of re-playable documentation? What can a recording capture and what must it exclude?

This paper engages with these questions as they relate to David Dunn’s Sky Drift and to similar works by Karlheinz Stockhausen and John Luther Adams. These case-studies demonstrate different solutions to the difficulty of documenting outdoor performances. Because this music is often heard from a variety of equally-valid perspectives—and because any single microphone only captures sound from one of these perspectives—the physical set-up of these kind of pieces complicate what it means to even “hear the music” at all. To this end, I discuss issues around the “work itself” and “aura” as well as “transparency” and “liveness” in recorded sound, bringing in thoughts and ideas from Walter Benjamin, Howard Becker, Joshua Glasgow, and others. In addition, the artist Robert Irwin and the composer Barry Truax have written about the conceptual distinctions between “the work” and “not- the-work”; these distinctions are complicated by documentation and recording. Without the context, the being-there, the music is stripped of much of its ability to communicate meaning.

Dissertation

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Tesi sul tema "Music – Instruments – Violin"

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