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Tesi sul tema "Violin"
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1
Lischka, Rainer. "Violin-Samba: für 2 Violinen". Rainer Lischka, 2013. https://slub.qucosa.de/id/qucosa%3A23416.
Testo completo
2
Bruderer, Conrad David. "A study of twentieth-century violin and viola duos : including critical reviews and analyses of selected works /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839494.
Testo completoAbstract (sommario):
Thesis (Ph. D.--Music)--University of California, San Diego, 1998.Vita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.
3
Heras, i. Fortuny Lluís Maria. "El violó tenor en la música espanyola dels segles XVI al XIX". Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/671814.
Testo completoAbstract (sommario):
La present tesi, al voltant de l’existència del violó tenor i el seu paper en la música espanyola dels segles XVI al XIX, basa la recerca en dos àmbits principals: d’una banda, clarifica els aspectes etimològics del terme ‘violón’ tot determinant a quin instrument corresponia aquest terme en cada època i lloc. D’altra banda, aporta evidències que avalen l’existència, i ús, del violó tenor en la música espanyola d’aquest període.
La recerca sobre l’etimologia es basa en la consulta de documentació civil diversa: actes, diccionaris històrics, partitures, tractats, etc.. La recerca al voltant de violó tenor contempla diversos vessants: en primer lloc, inclou una base de dades d’aproximadament cinc-centes partitures (amb parts destacades de violó, en funcions diferents a les de l’acompanyament continu) procedents del buidat exhaustiu d’una trentena d’arxius espanyols. D’aquestes partitures s’analitzen detalladament setanta-sis obres que aporten dades objectives sobre clau, àmbit i nota mediana de la tessitura emprada, que són fonamentals per a determinar les característiques de l’instrument idoni per a interpretar cada una d’aquestes parts. En segon lloc, s’inclou una base de dades que cataloga violons espanyols dels segles XVII i XVIII, en la que es constata l’existència d’instruments amb característiques de violons tenors. Finalment, una darrera base de dades amb obres d’art hispàniques dels segles XVI al XVIII en les que hi ha representacions de violons que completen la informació sobre la diversitat organològica dels violons en aquella època. Aquesta recerca s’ha fet comparant els resultats obtinguts amb resultats d’estudis sobre casos similars en la música europea del mateix període. El resultat i la discussió de les dades obtingudes porten a concloure que el violó tenor, en les seves diverses versions, va tenir un espai propi, encara que minoritari, en la música espanyola entre els segles XVI i XIX.La presente tesis, acerca de la existencia del violón tenor y su papel en la música española de los siglos XVI al XIX, basa su investigación en dos áreas principales: en primer lugar, clarifica los aspectos etimológicos del término ‘violón’, determinando a qué instrumento correspondía este término en cada época y lugar. Por otro lado, aporta evidencias que avalan la existencia, y uso, del violón tenor en la música española de ese período. La investigación acerca de la etimología está basada en la consulta de documentación civil diversa: actas, diccionarios históricos, partituras, tratados, etc.. La investigación acerca del violón tenor contempla diversos aspectos: en primer lugar, incluye una base de datos de aproximadamente quinientas partituras (con partes destacadas de violón, en funciones distintas a las del acompañamiento continuo), provenientes del vaciado exhaustivo de una treintena de archivos españoles. De estas partituras se muestra un análisis detallado de setenta y seis obras que aportan datos objetivos sobre clave, ámbito y nota mediana de la tesitura empleada, que resultan fundamentales para determinar las características del instrumento ideal para interpretar cada una de esas partes. En segundo lugar, se incluye una base de datos que cataloga violones españoles de los siglos XVII y XVIII, en la que se constata la existencia de instrumentos con características de violones tenores. Finalmente, una última base de datos con obras de arte hispánicas de los siglos XVI al XVIII en las que se representan violones que completan la diversidad organológica de los violones de aquella época. Esta investigación se ha realizado comparando los resultados obtenidos con resultados de estudios sobre casos similares en la música europea del mismo período. El resultado y la discusión de los datos obtenidos llevan a la conclusión que el violón tenor, en sus distintas versiones, tuvo un espacio propio, aunque minoritario, en la música española entre los siglos XVI y XIX.
The present thesis, based on the existence of the tenor violin in the Spanish music between the 16th and 19th centuries, focuses the research on two main areas: on the one hand, it clarifies the etymological aspects of the term ‘violón’ by determining which instrument this term corresponded in each era and each place. On the other hand, it provides evidence to support the existence and use of the tenor violin in Spanish music in this period. The etymological research is based on the consultation of various civil documents: deeds, historical dictionaries, scores, treatises, etc. The research on the tenor violin examines several aspects: first, it includes a database of about five hundred scores (with prominent violón parts) from about thirty Spanish archives. Of these, seventy-six works are analyzed in detail to provide objective data on the keys, range and pitch median of the tessitura employed, which is fundamental for determining the characteristics of the ideal instrument for performance of each. Secondly, it includes a database cataloging Spanish stringed instruments from the 17th and 18th centuries, confirming the existence of instruments with the characteristics of tenor violins. Finally, it presents a final database of Hispanic artworks from the 16th to the 18th centuries in which the representation of stringed instruments completes the information on the organological diversity of stringed instruments at that time. This research was carried out by comparing the results with the results of other studies on similar cases in European music of the same period. The results and the subsequent discussion of the data lead to the conclusion that the tenor violin, in its various forms, had a place of its own, albeit a minority one, in Spanish music between the 16th and 19th centuries.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
4
Benjumea, Natalia Londoño. "Posicionamento na mão esquerda do violino : um estudo experimental com iniciantes". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/115660.
Testo completoAbstract (sommario):
A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros.The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.
5
Andersson, Oskar. "Liten till stor : Att byta från violin till viola". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79008.
Testo completoAbstract (sommario):
Efter att vid två olika tillfällen spelat på masterclasses för violinprofessor Ulf Wallin, rekommenderades jag ett huvudinstrumentbyte från violin till viola. Detta med tanke på de rygg- och nackproblem som jag brottats med under en längre period och som hindrat mig från att komma vidare i mitt violinspel. I detta arbete utforskar jag speltekniska skillnader mellan violin och viola. Jag har under åtta veckor systematiskt övat på skalor, etyder och repertoar. Jag har valt att dela upp processen i fyra olika moment: instrumentfattning, stråkteknik, intonation och altklav. Under processen redogör jag för hur jag arbetat med de olika momenten och med hjälp av mina lärare tagit mig an de utmaningar jag stött på. Jag har regelbundet fört loggbok och antecknat intressanta saker jag upptäckt under övningspassen. Jag har också spelat in videoklipp för att kunna följa min utveckling. Jag har analyserat denna process utifrån Gibsons affordance-begrepp, vilket har fått mig att inse varför jag har olika förutsättningar beroende på om jag spelar violin eller viola. Arbetet har resulterat i att jag uppnått en förbättrad teknik och musikaliskt uttryck. Jag redovisar det genom en inspelning jag gjort av ett solostycke med ljud och bild i en gotländsk kyrka.
6
Walton, Eliot Alexander Lawson. "Léon Souroujon: complete works for violin solo". Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28521.
Testo completoAbstract (sommario):
Leon Souroujon (1913–2007) was a well-known Bulgarian violinist and pedagogue, however, his
importance as a composer is yet to be recognised. One of the objectives of this dissertation is to
present Souroujon as a composer who has a unique style and whose contribution to the
unaccompanied solo violin genre is noteworthy. Another objective is to introduce and categorize
his collection of published and unpublished compositions and to create a new complete edition of
all his compositions. Adopting a qualitative approach, extensive research has been conducted in
order to comprehend the historical setting of Souroujon’s life and career. The study highlights
important compositions in the development of unaccompanied solo violin genre that extends from
the Baroque through to the 20th century and references the composers that influenced Souroujon.
Some related information about societal shifts in Europe (in particular about the Second World
War) that was linked to the historical development of the unaccompanied solo violin genre was
gathered from a rich source of academic literature, online archives, audio recordings, and a varied
bibliography. Leon Souroujon’s library of manuscripts reveals his compositional process and is
evidence of his being a self-realized composer with a cohesive oeuvre. The dissertation includes
the performance of three recitals in which Souroujon’s compositions are performed and
juxtaposed to other pieces, including the seminal works of Bach, Paganini and Ysaÿe.
Souroujon’s compositions display his own musical language, articulated both by his way of
composing and his preferences for certain musical textures and expressions stemming from his
influences: Sephardic Jewish folk music, Romantic Music, Classical Music, and violin playing
traditions. His compositions, the first complete edition of his work, certificates, diplomas,
documents, and photographs are catalogued in the appendices; LEON SOUROUJON: OBRAS COMPLETAS PARA VIOLINO SOLO
Resumo:
Leon Souroujon (1913–2007) foi um famoso violinista e pedagogo búlgaro; no entanto, a sua
importância como compositor está ainda por reconhecer. Um dos objectivos desta dissertação é
apresentar Souroujon como compositor com um estilo único, cuja contribuição para o género de
Violino Solo Sem Acompanhamento é digna de menção; é, igualmente, catalogar e dar a
conhecer a totalidade da sua colecção de obras, publicadas e por publicar, e criar uma nova
edição completa de todas as suas composições. Adoptando uma abordagem qualitativa, foi
conduzida uma extensa pesquisa por forma a compreender o contexto histórico da vida e carreira
de Leon Souroujon. O estudo evidencia importantes composições no desenvolvimento do género
de Violino Solo Sem Acompanhamento, que se estende da era barroca e através do séc. XX,
fazendo referência aos compositores que influenciaram Souroujon. A partir de uma vasta fonte de
literatura académica, arquivos on-line, gravações de áudio e bibliografia variada, foi possível
obter alguma informação sobre transformações sociais na Europa (em particular sobre a II Guerra
Mundial) relacionada com o desenvolvimento histórico deste género musical. A biblioteca de
obras manuscritas por Leon Souroujon permitiu a revelação do seu processo de criação, e prova
como ele foi um compositor auto-realizado com uma obra coesa. A dissertação inclui a
apresentação de três recitais em que as suas composições são executadas e justapostas a outras
peças, incluindo obras de referência de Bach, Paganini e Ysaÿe. As composições de Souroujon
exibem a sua própria linguagem musical, articulada tanto pela sua forma de compor como pela
sua preferência por certas texturas e expressões musicais que derivam das suas influências:
música folclórica judaica sefardita, música romântica, música clássica e música tradicional para
violino. As suas composições, a primeira edição completa das suas obras, certificados, diplomas,
documentos e fotografias estão catalogados nos apêndices.
7
Reinert, Gina. "Fantasia do Concerto para violino e orquestra de Octávio Meneleu Campos : uma proposta pedagógica". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12220.
Testo completoAbstract (sommario):
O presente trabalho teve como objetivo a realização de uma proposta pedagógica para a obra Fantasia de Concerto, do compositor brasileiro nascido em Belém do Pará, Meneleu Campos. A partir do conhecimento da obra em questão, foi realizada uma comparação com o chamado repertório tradicional violinístico, a fim de identificar os aspectos técnicos semelhantes e, a partir disso, formular uma proposta pedagógica. A comparação com o repertório tradicional, foi baseada no artigo “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). Para a realização da proposta pedagógica, utilizou-se, como referencial teórico o livro “Practice” (2004) de Simon Fischer, no qual o autor mostra soluções técnicas para passagens do repertório tradicional. Identificados os aspectos técnicos e violinísticos da Fantasia de Concerto, foi possível, baseado nas propostas de Fischer, desenvolver exercícios para a obra em estudo.This essay aimed at presenting a pedagogical proposal for the work Fantasia de Concerto by Meneleu Campos - a Brazilian composer, born in Bélem do Pará. A study of the work paved the way for a comparison with the standard violin repertoire, thus establishing common technical issues which in turn served as the starting point for the pedagogical proposal. The comparison with the standard repertoire was based on the article “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). The pedagogical proposal was based on the book “Practice” (2004) by Simon Fischer. This author offers suggestions on how to work and solve problems found in the standard violin repertoire. Therefore, once the technical difficulties of the Fantasia de Concerto were identified, exercises of a similar nature were devised.
8
Collins, Cheri D. "Connecting science and the musical arts in teaching tone quality integrating Helmholtz Motion and master violin teachers' pedagogies /". Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4544.
Testo completoAbstract (sommario):
Thesis (D.A.)--George Mason University, 2009.Vita: p. 157. Thesis director: James Gardner. Submitted in partial fulfillment of the requirements for the degree of Doctor of Arts in Community College Education. Title from PDF t.p. (viewed June 10, 2009). Includes bibliographical references (p. 145-156). Also issued in print.
9
Ovaska, Johanna. "Hypermobility and violin playing : How hypermobility affects my violin playing". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3293.
Testo completoAbstract (sommario):
In this thesis I have studied how hypermobile joints affect my violin playing and tried to to find solutions how to cope with hypermobility. The purpose is to find tools how to change my left-hand technique so that I can play Bach´s Fugue from Solo sonata in g minor in my master concert without pain in my 4th finger and without tension in my left-hand. The goal is to find a way to play with hypermobile joints so that my technique will serve the music in the best possible way. The biggest questions are: what hypermobility is, how can I cope with it, how to play more relaxed and how to develop a better support for my left-hand little finger, 4th finger. The thesis will first focus more on the theoretical side of hypermobility in order to get better understanding of what hypermobilty is and how it might affect a violinist. Then I will get more into the aspects of violin playing and my process. After this process I noticed that working with hypermobile joints is a lifelong process. In order to have a good left-hand technique while having hypermobile joints it is crucial to have good muscle control and awareness. The most important thing is to find the right tools that work for yourself while trying to cope with hypermobility.
10
Chernova, Elena. "Graduate Violin Recital". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2168.
Testo completoAbstract (sommario):
Sonata for Solo Violin in G-minor, J. S. Bach (1685-1750) Adagio Fuga Siciliana Presto
Sonata for Violin and Piano in G-major, L. Beethoven (1770-1827) Allegro assai Tempo di Menuetto Allegro vivace
Sonata for Violin and Piano in A-major, G. Faure (1845-1924) Allegro molto Andante Allegro vivo Allegro quasi presto
Jennifer Snyder, piano
11
Galvan-Herrera, Rafael. "Graduate violin recital". FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/3443.
Testo completoAbstract (sommario):
Sonata for Solo Violin Op. 27, No.2 ("Obsession") E. ugene Ysaye (1853-1931)
I. Prelude. Poco Vivace
IL Malinconia
IIL Danse des ombres
Concerto for Violin No. 2, Op.63 - Sergei Prokofiev (1891-1953)
I. Allegro moderato
II. Andante assai
Sonata No. 3 for Violin and Piano, Op. 45 - Edvard Grieg (1843-1945)
I. Allegro molto ed appassionato
II. Allegretto espressivo alla Romanza
IIL Allegro animato
Estrellita (Mexican song for violin and piano) .M. Manuel M. Ponce (1 882-1948)
Jascha Heifetz (1901-1987)
12
Reidlinger, Christopher R. "Review and analysis of violin vibrato pedagogy with beginning violin students". Full text available online (restricted access), 2000. http://images.lib.monash.edu.au/ts/theses/Reidlinger.pdf.
Testo completo
13
Weber, Matthew J. (Matthew Joseph). "An Investigation of Selected Muscle Potential Activity in Violin/Viola Vibrato". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278616/.
Testo completoAbstract (sommario):
The purpose was to investigate muscle potential during the vibrato motion for successful, healthy violin/viola performers. Electromyography was used to analyze parameters of muscle potentials during performance of a standardized exercise. These parameters were (a) evidence of potentials, (b) patterns of potentials, and (c) timing relationships (24 muscles). This study also sought to replicate and expand performance data from previous studies. Procedures from three pilot studies were used to standardize collection of EMG data. Synchronized video recordings were used to determine vibrato speed and conduct motion analysis. EMG data processing prior to analysis included power spectrum analysis and rectification, low-pass filtering, and smoothing data. Motion analysis findings (£D) were 1.09 for the elbow joints and 3.25 for the wrist joints. which was an indication of range of motion, suggested much greater activity in muscles controlling wrist movement than those moving the elbow. The degree of muscle potential and control were generally related to distance from the vibrating hand. Forearm muscle groups (8) demonstrated the greatest evidence of potential (76.5%) and were 18.1% non-periodic. Muscles of the upper arm (7) were off 59.4% and 57.0% non-periodic. Upper arm muscles had greater individual differences. Muscles of the chest and back (9) were collectively inactive (89.1%) and non-periodic (73.3%). With timing relationships, the forearm muscles demonstrated consistent firing patterns. Inconsistent firing patterns were evident in the upper arm, and to a greater degree in the chest and back muscles. Based on evaluations of performer motion and muscle potentials, it was strongly implied that there are (a) distinct roles for various muscles during vibrato (control vs. stabilization/support), (b) significant differences in potential between variables of rest, playing position, and performing, (c) significant differences in potential between some fingers, and (d) no significant differences between violinists and violists. The vibrato motion appeared to be controlled primarily by forearm muscles.
14
Alcorn-Oppedahl, Allison A. (Allison Ann). "A Study of Style and Influence in the Early Schools of Violin Making Circa 1540 to Circa 1800". Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501217/.
Testo completoAbstract (sommario):
Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authentication, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tradition of the craft rather than on the individual maker.
15
Erodi, Gyongy Iren. "The sixteenth century basse de violon fact or fiction?, identification of the bass violin (1535-1635) /". Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12121.
Testo completo
16
O'Brien, Dean Thomas. "The fingerpattern trainer : a multi-media software application for Macintosh computers designed to teach fingerpatterns on the violin /". Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3019474.
Testo completo
17
Käbisch, Renate. "Musik für Violine und Klavier". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-22968.
Testo completo
18
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.
Testo completoAbstract (sommario):
Orientador: Esdras Rodrigues SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T00:34:41Z (GMT). No. of bitstreams: 1 Santos_JulianoBuosidos_M.pdf: 5944297 bytes, checksum: 6493cd8b9254b752c233881a86712f71 (MD5) Previous issue date: 2014
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
19
Rebello, Ana Isabel Ferreira. "Semelhanças e disparidades no ensino e na execução da viola e do violino". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-14032013-091755/.
Testo completoAbstract (sommario):
A viola e o violino são instrumentos aparentemente semelhantes, tanto em seu formato físico quanto na maneira de tocar. Entretanto, apesar dessas semelhanças, são dois instrumentos distintos no que concerne à produção de som, o que acarreta em disparidades paradoxalmente sutis na execução de ambos os instrumentos. A técnica e método de ensino específicos da viola vieram a ser aprimorados somente no início do século XX, como conseqüência da valorização do instrumento. Com esse trabalho pretende-se ampliar o conhecimento dessas diferenças para que haja maior conscientização dos professores e instrumentistas ao ministrar aulas tanto de violino quanto de viola.The viola and the violin are similar instruments, in shape as much as in its way of playing. However, besides all those similarities, they are two distinct instruments in what are related to the sound production, and it results in subtle differences in playing both instruments. The specific viola technique and teaching method was improved just at the beginning of the 20th century, as consequence of the instrument valorization. With this work, we intend to increase the knowledge of those differences to increase the teachers and players knowledge to give violin and viola classes.
20
Billing, Sally. "Bacewicz : the violin concertos". Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.
Testo completoAbstract (sommario):
This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devoted to a contextual analysis of Bacewicz's series of seven violin concertos and the study concludes with a consideration of a number of factors affecting Bacewicz's career and subsequent reception, addressing issues such as Polish cultural policy, the status of women composers, and her juggling of a number of professional and domestic roles. Appendices provide comprehensive listings of both her catalogue of works and recordings. Most importantly, however, the study uncovers the merit and originality of a number of works which exhibit a creative approach to string writing and a highly imaginative use of timbre. Such research should provide the invitation to others for further investigation into a catalogue containing over two hundred works.
21
Fernandes, Andreia Filipa Vaz. "Relatório de prática de ensino supervisionada na Escola de Música Conservatório Regional de Évora. "Método de iniciação ao violino prestigiando a música de tradição oral do Alentejo"". Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23960.
Testo completoAbstract (sommario):
O presente relatório insere-se no âmbito da unidade curricular da prática de ensino supervisionada do Mestrado em ensino da Música da Universidade de Évora, relativo ao ano letivo de 2016/2017. O estágio teve como instituição acolhedora o Conservatório Regional de Évora - Eborae Música (CREV).
Após uma contextualização do Conservatório Regional de Évora e uma apresentação dos alunos seguidos no estágio, segue uma descrição do desempenho de cada uma das alunas e, no final, uma análise crítica da atividade docente.
Na segunda secção é apresentada uma investigação exploratória, que tem como objetivo averiguar se as crianças que frequentam a iniciação em violino têm contacto com as melodias de carácter oral tradicional do Alentejo. Foram escolhidas para os questionários melodias que são do conhecimento geral da população da região, de seguida é feita uma seleção das melodias pelos alunos. A etapa seguinte tem como meta a adaptação das peças para o nível dos alunos que frequentam o regime iniciação em violino; Abstract: Repport Of The Supervised Teaching Practice at Escola De Música Conservatório Regional De Évora. Violin Iniciation Method Emphacizing on Alentejo`s Traditional Music
This report is part of the Supervised Teaching Practice course unit, from the Master of Arts in Music Teaching at the University of Évora, regarding the academic year 2016/2017. The internship was hosted by the Conservatório Regional de Évora – Eborae Mvsica (CREV).
After a presentation of the CREV and the students followed during the internship, follows a description of each student's performance. We finish this first part with a critical analysis of the intern's activity.
In the second part, we present an exploratory research, with the purpose of examining the violin-teaching situation of Alentejo to ascertain if students are in contact with melodies of the oral traditional nature of this region. For this survey we chose well-known melodies. Afterwards the students select the melodies, which will then be adapted to the students' levels.
22
Kolodiuk, André Fernandes. "Práticas pedagógicas de Eric Rosenblith : um estudo da metodologia em suas master-classes de violino". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149082.
Testo completoAbstract (sommario):
Em 2005, o pedagogo e violinista Eric Rosenblith foi convidado por seu ex-aluno Fredi Gerling para dar uma série de Master-classes em Porto Alegre, Brasil. Na ocasião, Rosenblith deu um total de 36 aulas de violino para 26 participantes. Todas as aulas foram filmadas gerando um total de 22 horas de vídeo. Aproveitando o potencial pedagógico do material, escolhi cinco aulas específicas para estudar em profundidade a metodologia do professor, aplicando metodologias de análises de aulas gravadas em vídeo utilizadas por pesquisadores como Robert Duke e Elaine Colprit. Dessa forma, o principal objetivo da presente pesquisa é analisar as práticas pedagógicas de Rosenblith com o intuito de contribuir com o campo da pesquisa relacionada ao ensino de instrumentos musicais no contexto de Master-class, a partir da análise dos padrões de comportamentos do professor e da análise do conteúdo de suas falas.In 2005, violin pedagogue Eric Rosenblith was invited by former student Fredi Gerling to give a series of master classes in Porto Alegre, Brazil. In that occasion, Rosenblith gave a total of 36 violin lessons to 26 participants. All lessons were filmed and generated a total of 22 hours of video. Exploring the educational potential of the material, I have chosen five classes to do an in depth study of the teacher's methodology, applying analyzes methodologies for videotaped classes used by researchers like Robert Duke and Elaine Colprit. Thereby, the main goal of the present research is to analyze Rosenblith’s pedagogical practices, contributing to the research field related to teaching of musical instruments in the Master class context, using analysis of teacher behavior patterns and analysis of the content of teacher verbalization.
23
Lee, Ka-won. "An investigation of left-hand vibrato technique on the violin". Full text available online (restricted access), 1999. http://images.lib.monash.edu.au/ts/theses/Lee.pdf.
Testo completo
24
Chen, Kuo-Hua. "Effects of different performers and newly made violins on musicians' and non-musicians' perceptions of recorded violin performances /". view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055677.
Testo completoAbstract (sommario):
Thesis (D.M.A.)--University of Oregon, 2002.Reproduction fo typescript. Includes vita and abstract. Includes bibliographical references (leaves 114-120). Also available for download via the World Wide Web; free to University of Oregon users.
25
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.
Testo completoAbstract (sommario):
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.
26
Yang, Semi C. "Violin etudes a pedagogical guide /". Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1146083212.
Testo completoAbstract (sommario):
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed Nov. 28, 2006). Includes abstract. Keywords: violin etude. Includes bibliographical references.
27
Hsieh, Shih-Yun. "Neoclassic violin sonatas, 1922-1977". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3176.
Testo completo
28
Topper, Matson Alan Chapo Eliot. "Correcting the right hand bow position for the student violinist and violist". Diss., 2002. http://etd.lib.fsu.edu/theses/available/etd-06262003-171248/.
Testo completoAbstract (sommario):
Treatise (DMA)--Florida State University, 2003.Advisor: Eliot Chapo, Florida State University, School of Music. Title and description from treatise home page (viewed 11-19-03). Document formatted into pages; contains 119 pages. Includes biographical sketch. Includes bibliographical references.
29
"Violin Virtuoso: A game for violin education". Thesis, 2012. http://hdl.handle.net/1911/70262.
Testo completoAbstract (sommario):
This study develops a way to use the technology of video games to help teach people the violin. The unique characteristics of this research are to create a visual representation for music for violinists, to utilize pedagogy for violin education within a video game, and to use the Fast Fourier Transform to process input from an actual acoustic instrument and use the data to track user progress. Music games like JamGuru [9], Rocksmith [19], LittleBigStar [13], and Rock Band [18] have made strides in these areas of research; however, most of these technologies have not been applied to the violin. Expected results are that students' progress rate will increase as a result of playing the game. The input processing used in this research could be applied to areas where sound recognition is important. Furthermore, the concept of an adaptable game can be applied to other academic subjects.
30
黃思怡. "A Study Of The Class Violin Instructions －Xudouqin Violin Teaching ＆ Wong’s Violin Teaching System". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/74012723043839775581.
Testo completoAbstract (sommario):
碩士國立台北師範學院
國民教育研究所
91
A Study Of The Class Violin Instructions －Xudouqin Violin Teaching ＆ Wong’s Violin Teaching System Abstract The United Kingdom and the United States had gradually developed the Class Violin Instruction for their social needs in the 19th century ; The Suzuki Method applied group class to proceed chorus practice and to improve learning motives ; Mainland China has been developing the Class Violin Instruction for years , and organizations drumbeating the Class Violin Instruction are burgeoning in Taiwan for several years . In my study , I try , through literature review and content analysis , to focus on the Xudouqin Violin Teaching and the Wong’s Violin Teaching System , to map out these indispensable factors for the Class Violin Instruction , and to offer practical helps for those interested in this field . This thesis is divided into six parts , the first chapter is the introduction and it aims to depict the motives and goals of this study , research field , literature review and research design; the second chapter reveals the history of violin instruction ; the third chapter tries to introduce some prestigious methods for the Class Violin Instruction , such as the Suzuki Method and the Rolland Method ; the fourth and fifth chapters intend to analyze the Xudouqin Method and the Wong’s Violin Teaching System via variables , such as the origins and features of teaching methods , teaching beliefs , techniques for class instruction . the sixth chapter plans to bring about the necessary elements for the Class Violin Instruction by comparing the following components -- - - teaching beliefs , basic techniques for teaching methods of the analyses of teaching materials , and hopes to unveil the relation between the Class Violin Instruction and social cultures . According to the final results in this study , and combining theories on “group motivation” and “classroom management”, I try to purpose my suggestions for those who are engaged in Violin Teaching and Class Violin Instruction . Keywords: Class Violin Instruction, Violin Instruction, Xudouqin Violin Teaching , Wong’s Violin Teaching System
31
MacLeod, Rebecca Bowman Geringer John M. "Influences of dynamic level and pitch height on the vibrato rates and widths of violin and viola players". Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05082006-134732/.
Testo completoAbstract (sommario):
Dissertation (PhD) Florida State University, 2006.Advisor: John Geringer, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 138 pages. Includes biographical sketch. Includes bibliographical references.
32
Borer, Philippe. "Aspects of European influences on violin playing and teaching in Australia". Thesis, 1988. https://eprints.utas.edu.au/18865/1/whole_BorerPhilippe1989_thesis.pdf.
Testo completoAbstract (sommario):
Australia has not only a highly interesting - and surprisingly rich - violinistic past, but has recently succeeded in gaining an enviable position in the field of instrumental pedagogy and performance. Australian artists and musicians play an important part in cultural life, both in their own country and on the international scene.
The present dissertation, which has involved a wide-ranging investigation from private sources as well as teaching and performing organisations, aims at defining the essential factors which have contributed to the formation and development of what may be called the Australian school of violin playing and teaching. Starting from a general and historical standpoint, the research moves towards more specific aspects including concrete data derived from personal experience. Chapter I investigates the historical background of violin playing and defines the sources from which the overseas schools have evolved. From the formation of the early schools of Corelli and Tartini in Italy, this research brings to light the remarkable continuity of the violinistic tradition down to the present time. Teacher-pupil genealogical studies demonstrate the possibility of tracing unbroken lines leading from Corelli and Tartini through Viotti and his disciples, to the present-day Australian violinists. Chapter II constitutes an attempt at a systematic comparative study of the great European schools of violin playing and of their Australian ramifications. The procedure adopted consists of a detailed examination of individual schools, first by presenting an outline of their history, key representatives, methodology and other characteristics. This is followed by the identification of the links gradually appearing in Australia and finally established at the present time.
Finally, Chapters III and IV focus on two noted Australian violinists and
pedagogues and investigate the varying as well as the common
background of their early instrumental training. This study offers the
possibility of considering different elements in the European tradition which are reflected in their highly individualized approach to playing and teaching. One can find here some of their many original ideas and striking pedagogical concepts.
33
Smirnov, Anton. "Graduate Recital, Violin". 2012. http://digital.library.duq.edu/u?/etd,154189.
Testo completoAbstract (sommario):
The program consisted of musically and technically challenging pieces. Ballade, Sonata No. 3 Op. 27 By Eugene Ysaye is a very demanding and intense work where the tension is growing throughout the piece into a furious culmination. Sonata in A major for piano and violin by Cesar Franck is a romantic melancholic work that was composed as a wedding gift for Eugene Ysaye���s wedding. It prompts feelings of tenderness and nostalgia in 1st and 4th movement. The energetic and vigorous fantasia-like 3d movement follows the energetic and vigorous 2d movement. Strauss sonata for violin and piano is a very challenging piece that demands a very sensible and sensitive ensemble between the piano and the violin.Mary Pappert School of Music;
Music Performance
MM
Recital
34
Shroyer, Caitlin. "Graduate Recital, Violin". 2012. http://digital.library.duq.edu/u?/etd,154206.
Testo completoAbstract (sommario):
Sonata in C Major for Violin
<br>J.S. Bach
<br>Bach began composing his six sonatas and partitas for solo violin while in Weimar, but completed the set during his time as Kapellmeister in K��then. Although completed in 1720, during a time in which the solo violin repertoire was actively growing, these works were not published until 1802 and did not gain recognition until Josef Joachim began performing them. Today the six sonatas and partitas are an essential part of the violin repertoire and have served as an example for later polyphonic compositions for solo violin.
The Sonata in C Major is the penultimate piece in Bach���s set of sonatas and partitas. It is the first of the set written in a major key, although the key area and tonality are very ambiguous in the first movement, Adagio. The Fuga is the longest and most complex movement, illustrating many contrapuntal techniques, such as stretto, inversion, and double counterpoint. The four movements of the Sonata in C Major follow the typical slow-fast-slow-fast pattern of the sonata da chiesa form.
<br>Graceful Ghost Rag
<br>William Bolcom
<br>William Bolcom, American composer and pianist, wrote Graceful Ghost Rag, in 1970. Although his earliest compositions followed serial technique, this piece follows his mission to embrace a variety of musical styles, in an effort to break boundaries between popular music styles and high art music styles. This philosophy began to influence his compositions in the 1960���s. Throughout his career, Bolcom has composed pieces across many genres, including operas, concerti, symphonies, string quartets, sonatas, rags, cabaret songs, and musical theater works.
Bolcom is also an avid performer. He has recorded twenty albums in collaboration with his wife, mezzo-soprano Joan Morris. The couple���s most often performed and recorded works include showtunes, parlour, and popular songs from the late nineteenth and early twentieth centuries.
<br>Sonata No. 9 for Violin and Piano in A Major, Op. 47, ���Kreutzer���
<br>Ludwig van Beethoven
<br>Although Beethoven���s ninth violin sonata is named after the great violinist of the time, Rodolphe Kreutzer, it is rumored that Kreutzer never played it, claiming that it was too difficult to understand and to play. Beethoven originally dedicated the sonata to George Bridgetower, another prominent violinist at the time, who performed the premiere with Beethoven at the piano. The 8:00am premiere was a success, despite the fact that Bridgetower was sight-reading the piece. However, shortly after the premiere, Beethoven became angry with Bridgetower and rededicated the sonata to Kreutzer when Bridgetower made a disparaging remark about a woman whom Beethoven was fond of. Today, the ���Kreutzer��� sonata is one of the most loved and demanding pieces of the violin and piano repertoire.
<br>The ���Kreutzer��� sonata was composed in the period after Beethoven���s Heilegenstadt Testament. In 1800, Beethoven had begun to loose his hearing. Despite a trip to Heilegenstadt to rest in an attempt to reverse or stop his hearing loss, it was now certain that he would suffer permanent and complete hearing loss. In a letter to his brothers, he contemplated suicide but ultimately decided against it, citing the reason for his change of heart as his need to express himself in music. This document was found after his death and is now known as the Heilegenstadt Testament. It is not only an important document used to understand the life of Beethoven but also a chapter in the beginning of the idea of music as self expression, ushering in the Romantic Era.
<br>The third movement of the ���Kreutzer��� was originally composed for another sonata, but Beethoven felt that it was too brilliant in sound and style; therefore, he saved it for a later composition. Because the three movements are so different in character, it may seem that the third movement was simply added to the end of the first two, but after closer study, it is apparent that the rhythmic motive of the Presto inspired the first two movements. The ���up-down��� feeling of the rhythm in the Presto can be felt in all movements, even in the violin chords at the beginning of the piece, which are to be played essentially as two double-stops.Mary Pappert School of Music
Music Performance
MM;
Recital;
35
Gerling, Ingrid. "Graduate Recital, Violin". 2012. http://digital.library.duq.edu/u?/etd,154277.
Testo completoAbstract (sommario):
This recital���s program consists of Romantic works, which are part of the standard repertoire for violin. The Carmen Fantasy composed by Pablo de Sarasate is one of the most popular showpieces for the violin. The Violin Sonata by Ottorino Respighi is not as well known as other violin sonatas, but is gradually gaining more exposure. The Saint-Saens Sonata No. 1 is a very energetic and virtuosic work that showcases Saint-Saens brilliant compositional talents. These three pieces came together in this recital to produce and challenging and exciting program, which was both entertaining to the audience, and an excellent learning experience for the performers.Mary Pappert School of Music;
Music Performance
MM;
Recital;
36
Huang, Wan-Chen, e 黃婉甄. "The Poetry of a Violin: A Pedagogical Film on Violin Making". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/a5zt5z.
Testo completoAbstract (sommario):
碩士國立臺南藝術大學
民族音樂學研究所
104
The skill of Taiwanese violin making industry at the early stage was not invested by foreigners nor any technicians being employed as instructors. At the beginning of Taiwan recovery violin making was mostly self-exploring and imitating works, the physical appearance was similar as modern violins but the essential realizing was still lack. For decades the new generation have studied the professional violin making and maintaining skill in the overseas violin making school or studio, levelling up Taiwanese violin making sector. However, no professional violin making school in Taiwan, the skill is still mainly taught by the apprenticeship or at an individual studio. In 2003, Professor Kuo-Hua Chen established the first violin making studio at the department of ethnic music, graduate school at National Tainan Art University. There is a hardship for passing on to the violin making skill in Taiwan. In addition to the record by words and pictures, the passing on to handicraft knowledge has its own uncertainty. The common teaching is mouth to mouth, and done by working. This projected film will be shot with a variety of angles violin making and constructed a system of pedagogical material for students’ reference and for on-line teaching provided that the internet system in good condition. Students would use it as teaching text and practice repeatedly with a comparative standard flowing chart, so violin making will be passed on systematically.
37
Ren-Ho, Huang, e 黃仁和. "A Comparison Study on the Construction of Techniques in Violin Teaching Materials --“Shinozaki Violin School” and “Suzuki Violin School”". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/54212154777377802442.
Testo completoAbstract (sommario):
碩士國立臺北教育大學
音樂學系碩士班
97
The purpose of this study aims to explore the construction of techniques in Violin Teaching Materials. In the formal study, analyses and comparison of “Shinozaki Violin School” and “Suzuki Violin School” are deeply made and values of them are also described. This study was conducted by content analysis to analyze each musical composition in qualitative way. The research instrument is ‘List of violin technical classification’, which was made and designed by the researcher. Results of the study are described separately in the following five sections. Chapter one is comprised of five sections, demonstrating research motivation, purposes, questions, study scope and limitations and research procedure. In Chapter two, Literature Review, four sections are presented, including ‘Main discussion of Literature from different periods on basic techniques of Violin Instruction’, ‘biography and teaching belief of Shinozaki’, ‘biography and teaching belief of Suzuki’, and ‘Basic techniques of Suzuki Violin Teaching Pedagogy’. Chapter three is methodology. Chapter four mentions the teaching implication of ‘Index of violin technical classification’, which is designed based on the analyses, induction and comparison from two Violin Teaching Materials “Shinozaki Violin School” and “Suzuki Violin School”. In Chapter five, conclusion and suggestions are stated based on content mentioned above.
38
Lin, Christabel. "Artist diploma recital (violin)". Thesis, 2014. http://hdl.handle.net/2152/24596.
Testo completo
39
Yuen, Maureen. "Are U.S. Violin Majors Ready? An Exploratory Study of Violin Professors’ Perceptions". Thesis, 2021. https://doi.org/10.7916/d8-37tw-b555.
Testo completoAbstract (sommario):
This dissertation explores the perceived readiness of potential violin majors (PVMs) in the United States for university-level violin study. The purpose of this study was to explore violin professors’ expectations of PVMs in the United States, their perceptions of how these expectations are being met, and how PVMs can be prepared to meet these expectations. A lack of research into how PVMs in the United States are being prepared for the rigors of university-level violin study warranted investigation to define violin professors’ expectations and their perceptions of the preparedness of PVMs.
A descriptive instrumental exploratory study was conducted using qualitative and descriptive statistical data with 121 participants (n = 121). The participants were tenure-track and tenured violin professors in the United States who have taught for at least three years at universities accredited by the National Association of Schools of Music (NASM) and whose teaching loads consist of a minimum of 75% applied violin lessons. Participants were asked to define their ideal expectations of PVMs, their perceptions of how these expectations have been met, and advice they have for the adults who help prepare PVMs. Data were collected online through a Qualtrics survey and Zoom video interviews.
The findings indicated that violin professors generally agreed upon their expectations of PVMs, which include having a solid technical foundation, performing repertoire that is aligned with their technical development, and being open-minded. Violin professors perceived that less than 50% of PVMs have a solid technical foundation and less than 50% perform developmentally appropriate repertoire, though most PVMs were perceived to demonstrate an openness to learning. Most violin professors accept PVMs into their studios whom they perceive to be unready for university-level study, usually due to administrative pressure.
To meet violin professors’ expectations, they suggest that PVMs work with private violin teachers outside of the K-12 music classroom. Private violin teachers should hold PVMs to a high performing standard, be familiar with violin professors’ expectations, and have the subject matter knowledge and pedagogical content knowledge necessary to develop a solid technical foundation and assign level-appropriate repertoire. Other influential adults include K-12 music teachers, although learning outcomes for K-12 music classes differ significantly from violin professors’ expectations.
Overall, this study demonstrated a clear disconnect between violin professors’ expectations and how PVMs are being prepared to meet them. The data showed that participants made the following assumptions: (a) PVMs take private lessons and are already “apprentices” working with a “master,” (b) audition websites present adequate information for PVMs, and (c) private teachers have the subject matter knowledge to prepare PVMs to meet technical expectations and perform with high standards. There appears to be an overall lack of communication and collaboration not just from violin professors, but also from private teachers and K-12 classroom music teachers.
Recommendations for practice and implementation are offered to the three identified populations that interact with PVMs: violin professors, private teachers, and K-12 classroom music teachers.
40
McCullough, Colleen. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/11546.
Testo completoAbstract (sommario):
Prelude, fugue and variation in B minor, op.18 / Cesar Franck -- Violin sonata no.32 in B flat major, K.454 / Wolfgang Amadeus Mozart -- Sonata no.1 in G major, op.78 / Johannes Brahms -- Tango (por una cabeza) / Carlos Gardeltext
41
Nam, Soo Jin. "Master's thesis recital (violin)". 2010. http://hdl.handle.net/2152/11565.
Testo completo
42
Sabouri, Pasha. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/11584.
Testo completoAbstract (sommario):
Sonata for piano and violin in A major KV 305 / Wolfgang Amadeus Mozart -- Sonata no.3 for violin and piano in D minor, op.8 / Johannes Brahms -- Sonata no.1 for violin and piano in D minor, op.75 / Camille Saint-Saenstext
43
Shapiro, Rachel. "Master's thesis recital (violin)". 2010. http://hdl.handle.net/2152/11592.
Testo completo
44
Tavani, Nicholas. "Master's thesis recital (violin)". 2010. http://hdl.handle.net/2152/11621.
Testo completo
45
Tsai, Stacy Heng-Chen. "Master's thesis recital (violin)". 2010. http://hdl.handle.net/2152/11622.
Testo completo
46
Bae, Hyunhee. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/15744.
Testo completo
47
Chung, Inyoung. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/15796.
Testo completo
48
Koo, Yunkyong. "Doctoral thesis recital (violin)". 2010. http://hdl.handle.net/2152/15889.
Testo completo
49
Brankovic, Marina. "Master's thesis recital (violin)". 2011. http://hdl.handle.net/2152/16107.
Testo completo
50
Canney, Megan. "Master's thesis recital (violin)". 2011. http://hdl.handle.net/2152/16116.
Testo completo