Bibliografias temáticas / Music – Instruments – Violin

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Literatura científica selecionada sobre o tema "Music – Instruments – Violin"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Music – Instruments – Violin"

1

MacLeod, Rebecca B. "A Comparison of Aural and Visual Instrument Preferences of Third and Fifth-Grade Students." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 33–43. http://dx.doi.org/10.2307/40319328.

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Abstract Instrument preferences of third and fifth-grade students (N = 90) were investigated for eight instruments commonly found in orchestra and band: flute, clarinet, saxophone, violin, cello, trumpet, French horn, and trombone. Participants were divided into two groups and asked to identify their favorite and least favorite instrument from a list of the eight instruments. One class each of third and fifth-grade students, Group A, listened to aural examples of the instruments and rated preferences for each instrument. The other two classes, Group B, rated pictures of each instrument. Overall ratings placed the eight instruments in the following order of preference: violin, flute, cello, saxophone, clarinet, trumpet, trombone, and French horn. A significant interaction between grade, gender, and instruments indicated little difference between genders in instrument preference at the third-grade level, but in fifth-grade, females preferred flute, violin, and cello more than males. No significant difference was found between the two methods of testing.
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Sarjoko, Moh. "Subject of Main Instruments (Violin) Madya Level Course In Music Study Program, Faculty of Languages and Arts, Universitas Negeri Surabaya." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 6, no. 1 (2023): 44–56. http://dx.doi.org/10.26740/vt.v6n1.p44-56.

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Soprano violin is part of a stringed instrument. Today, the violin is one of the most popular musical instruments in the community. Many people learn this violin instrument in studios, music courses, schools and other educational institutions. Therefore, the need for the availability of this violin instrument is quite a lot. This also has an impact on the needs of teachers/tutors, the need for books/tools to support the ability to play the violin, and so on. Music Study Program, Faculty of Languages ​​and Arts, Universitas Negeri Surabaya is one of the educational institutions where many students choose the violin major specialization. This research is a class action research at the intermediate level elective principal instrument subject using the case study method through direct observation of the level of difficulty and suitability of the material, so that it can produce a book output. This book is a guide in learning the violin musical instrument which is equipped with techniques, scales, etudes, and repertoire for students of the Music Study Program, Faculty of Languages ​​and Arts, Universitas Negeri Surabaya who are taking the subject matter of violin at the intermediate level.
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Casazza, Marco, Fabrizio Barone, Elvio Bonisoli, et al. "A procedure for the characterization of a music instrument vibro-acoustic fingerprint: the case of a contemporary violin." Acta IMEKO 12, no. 3 (2023): 1–6. http://dx.doi.org/10.21014/actaimeko.v12i3.1445.

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Violins are wooden musical instruments, whose quality is mainly evaluated on the basis of their aesthetics, as well as depending on the historical relevance of their makers. However, their acoustic quality remains a key evaluation parameter for performers and listeners. The instrument perceived quality, in turn, depends on one side, on the player, the environmental conditions and on the listeners’ psychoacoustic factors. On the other side, the quality of a violin depends on its materials, constructive and set-up parameters, that impact on the vibro-acoustical characteristics of the instrument. This work investigates a procedure for the vibro-acoustic characterization of a violin, here called vibro-acoustic fingerprint, as an example of vibro-acoustical characterization of a wooden music instrument. The procedure was applied, as a case study, to an Italian contemporary violin, built on the basis of a Guarneri del Gesù model in the year 2011.
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Raymaekers, Wim. "Bridge shapes of the violin and other bowed instruments, 1400–1900: the origin and evolution of their design." Early Music 48, no. 2 (2020): 225–50. http://dx.doi.org/10.1093/em/caaa027.

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Abstract As one goes back in time, the number of extant bowed instruments decreases gradually, and this is particularly true for loose parts such as bridges, pegs and tailpieces. The current article traces the development of bridges of instruments of the violin family, based on a study of extant instruments and around 800 iconographic sources. This study reveals the origins of the various elements of bridges found on modern instruments of the violin family, and reconstructs the different stages of their evolution. Many elements of the modern violin bridge were already present, sometimes hidden, in bowed-instrument bridges of the 16th century. The extensive appendices and many line drawings offer today’s researchers, makers and restorers the possibility of providing historically informed bridges that are less fantasized than those hitherto often encountered on restorations or reconstructions of old instruments.
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De Fretes, Daniel, Roy Martin Simamora, Bona Rajabasa, and Refa Nada Violina. "Menelaah Pola Detache dalam Violin Sonata No 3 in F Major." PROMUSIKA 10, no. 2 (2022): 87–96. http://dx.doi.org/10.24821/promusika.v10i2.7906.

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Pembelajaran biola di perguruan tinggi merupakan suatu praktik eksploratif berkelanjutan yang melekat dengan upaya untuk mencapai produksi suara yang memadai secara utuh dan otonom. Diantara teknik produksi suara instrumen biola, terdapat salah satu pola gesekan yang sangat penting yaitu detache. Penelitian ini bertujuan untuk mengkaji karakteristik dan penempatan teknik detache pada Sonata No 3 in F Major dalam Mata Kuliah Studi Instrumen Biola II di Prodi Musik FSP ISI Yogyakarta. Terdapat pemaknaan yang berbeda dalam istilah detache secara praktikal, terkhusus praktik instrumen biola, dan secara teoretikal. Disamping itu, kelangkaan kajian repertoar musik biola merupakan fokus dari penelitian ini. Sonata No 3 in F Major adalah karya musik instrumental yang disusun oleh G. F. Handel, komposer era barok yang mahsyur di Britania Raya. Kajian ini menggunakan metode kualitatif dengan pendekatan analitik. Hasil penelitian menunjukkan penempatan pola detache pada Sonata No 3 in F Major, yaitu pada pengesek bagian tengah. Hasil penelitian diharapkan dapat menjadi acuan bagi pelajar instrumen biola, khususnya mahasiswa instrumen biola, guna mempelajari karya ini serta untuk dapat mengembangkan pada repertoar lainnya.AbstractStudying the Detache Pattern in Violin Sonata No 3 in F. Studying the violin in universities is a continuous exploratory practice that is inherent in efforts to achieve an adequate and autonomous sound production. Among the violin sound production techniques, there is one very important friction pattern, namely detache. This study aims to examine the characteristics and placement of the detache technique on Sonata No. 3 in F Major in the Study of Violin Instruments II at the Music Study Program, FSP ISI Yogyakarta. There are different meanings in the term detache practically, especially the practice of the violin instrument, and theoretically. In addition, the scarcity of the study of violin music repertoire is the focus of this research. Sonata No 3 in F Major is an instrumental piece of music composed by G. F. Handel, the renowned British Baroque composer. This study uses a qualitative method with an analytical approach. The results showed that the detachment pattern was placed on Sonata No. 3 in F Major, namely in the middle bow position. The results of the research are expected to be a reference for students of violin instruments, especially students of violin instruments, to study this work and to be able to develop it in other repertoires.Keywords: detache, violin; Violin Sonata No 3 in F Major; G. F. Handel
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Kajino, Ena. "A Lost Opportunity for Tradition: The Violin in Early Twentieth-Century Japanese Traditional Music." Nineteenth-Century Music Review 10, no. 2 (2013): 293–321. http://dx.doi.org/10.1017/s147940981300027x.

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Less than a century after the introduction of the violin to Japan, in the late nineteenth century, Japan offers the highest level of training on the instrument and has produced many internationally successful violinists. Although one can hardly imagine it from the current role of the violin in modern Japan, in the early twentieth century the instrument played a significant role, not in the development there of Western classical music, but in the survival of the indigenous Japanese music that we call today ‘traditional Japanese music’.With the flood of Western culture into Japan after the Meiji Restoration, of 1868, the Japanese government reconsidered whether their native music was worthy of Japan as a civilized country. In fact, except for court music, native Japanese music was held in low esteem by society and the government alike. The music of the shamisen was particularly problematic, due to the vulgar texts of shamisen songs and the low class status of shamisen consumers. Shakuhachi had until recently been restricted to Fuke monks, and was still establishing a new role in the musical culture. Thus, the whole world of ‘traditional Japanese music’ was entering a new age.It was during this period that many Japanese became acquainted with the violin, by playing it in ensemble with koto, shamisen and shakuhachi. Young Japanese professional musicians began to learn the violin. The principles of Western music they learned in this way gradually made their way into Japanese music. At one time, the ‘traditional Japanese music’ ensemble of violin with Japanese instruments seemed to have become firmly rooted in Japan as ‘home music’; but this has not turned out to be the case. As Japanese violinists have become increasingly dedicated to Western classical music, traditional Japanese music has once again become the exclusive use of native instruments.
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Schubert, Emery. "Which Nonvocal Musical Instrument Sounds Like the Human Voice? An Empirical Investigation." Empirical Studies of the Arts 37, no. 1 (2018): 92–103. http://dx.doi.org/10.1177/0276237418763657.

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Nonvocal musical instruments like the oboe, cello, and violin, have been described as resembling the human voice. However, much of the evidence is based on historical reports and hearsay. In this study, 174 participants rated instruments according to how much they sounded like the human voice. Analysis revealed that no nonvocal instrument was rated as being voicelike, with moderate mean ratings for the clarinet, oboe, violin, and cello. The violin was rated as statistically more voicelike than the trumpet. Voicelikeness was statistically higher for the instrument which the individual played or an instrument which the individual valued. Monophonic instruments such as the clarinet were also rated as overall more voicelike than those which typically could sound several parts at the same time such as the piano. Referring to an instrument as voicelike may be better thought of as a defacto for the instrument’s (and player’s) expressive capabilities.
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Yang, Qi. "The Emergence and Application of Violin Virtuosity During the Romantic Period." Communications in Humanities Research 14, no. 1 (2023): 70–79. http://dx.doi.org/10.54254/2753-7064/14/20230409.

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Musicians used virtuosity to showcase the pinnacle of human mastery over musical instruments, and the violin, known as the king of instruments, excels in terms of its range, tone, and flexibility. The combination of the violin and virtuosity allows for an infinite range of possibilities in musical expression. The virtuoso style emerged during the Romantic period, an era that celebrated the beauty of humanity and freedom, and it propelled violin artistry to unprecedented heights. This phenomenon was not a coincidence but the result of the interplay of musical style inheritance, advances in violin-making techniques, social change, and commercial development. The historical context imbued violin virtuosity with unique significance, determining the characteristics of virtuoso musical genres, composition styles, and performance contexts. This holds a special place in the history of Western music and violin development, profoundly influencing the philosophy of violin music performance. However, the ultimate goal of virtuosity is not just to perform fast and seamless notes flawlessly but to use technique as a means to showcase a unique style and evoke musical emotions. Violin students, when practicing and performing virtuosic music, should possess a certain understanding of virtuosity as an art form and endeavor to uncover the musical depth behind the technical prowess.
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Asaulyuk, I. "Formation of professionally significant qualities of future specialists of music specialties." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 9(140) (September 30, 2021): 13–17. http://dx.doi.org/10.31392/npu-nc.series15.2021.9(140).03.

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The article presents a general analysis of professionally significant qualities of future specialists of music specialties, specializations "piano", "orchestra string instruments (violin)".
 Materials and methods. The paper includes the analysis of professional scientific and methodological literature and sociological research methods, the method of expert evaluation and methods of mathematical statistics.
 Results of work. It is determined that the most significant professional physical quality for students majoring in "piano" is strength endurance (R = 1.42), less significant - hand motility (R = 2.17), coordination of movements of the shoulders and forearms (R = 2.67) and muscle strength of the shoulder girdle, arms (R = 4.00).
 For students majoring in "orchestra string instruments" (violin), physical qualities such as "strength of the muscles of the neck, shoulder girdle" are especially important. So, holding a musical instrument and playing it allows them to properly transfer a long load on the upper extremities and shoulder girdle.
 Conclusions. As a result of the research, the role and the place of professionally significant qualities of future specialists in music specialties, specializations "piano", "orchestra string instruments (violin)" necessary for further professional activity and the level of professionalism were analysed.
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Urniežius, Rytis. "Grieg and Violins." Musicological Annual 57, no. 2 (2021): 83–103. http://dx.doi.org/10.4312/mz.57.2.83-103.

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Violin was Edvard Grieg’s favourite orchestral instrument. This affinity expanded to other string family instruments and a string orchestra. The article aims to characterise Grieg’s two-movement cycles of miniatures for string orchestra, emphasizing the features of their orchestration. The analysis revealed that these cycles should be considered as original and creative orchestral compositions where the composer efficiently employs the possibilities of string instruments.
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Teses / dissertações sobre o assunto "Music – Instruments – Violin"

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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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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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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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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<br>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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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.<br><p>"Terje Vigen" by Ivar BøksleArrangement by Olav Eirik LølandViolin and vocal - Olav Eirik Løland</p><p></p><p>Konserten börjar efter två minuter.</p>
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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<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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<br>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<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música
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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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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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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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Made available in DSpace on 2015-05-14T12:52:28Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3367733 bytes, checksum: 6bf04a4853c4b58bb74f3893826aba70 (MD5) Previous issue date: 2011-08-08<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>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.<br>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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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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Livros sobre o assunto "Music – Instruments – Violin"

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Menuhin, Yehudi. Violin and viola. Kahn & Averill, 1991.

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2

Penesco, Anne. Les instruments du quatuor: Technique et interprétation. Flûte de Pan, 1986.

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3

Rīdī, Kamāl. Jawlah maʻa ʻālam al-kamān wa-al-fīyūlā. Wizārat al-Thaqāfah, al-Hayʼah al-ʻĀmmah li-Quṣūr al-Thaqāfah, 2019.

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4

1910-, Boyden David Dodge, ed. The New Grove Violin family. Macmillan London, 1989.

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5

G, Pauly Reinhard, ed. The Amadeus book of the violin: Construction, history, and music. Amadeus Press, 1998.

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6

Little, Jean. Music class. Sterling Pub., 2006.

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7

Linda, Johnston, ed. Il legno magico: Liuteria in musica con 15 strumenti di Roberto Regazzi = The magic of wood : from lutherie to music with 15 instruments by Roberto Regazzi ... Florenus, 2005.

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8

Meadows, Daisy. Victoria the violin fairy. Scholastic, 2010.

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9

Spilsbury, Richard. Should I learn to play the violin? Heinemann Library, 2006.

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10

1966-, Drees Stefan, and Kremer Gidon 1947-, eds. Lexikon der Violine: Baugeschichte, Spielpraxis, Komponisten und ihre Werke, Interpreten. Laaber-Verlag, 2004.

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Capítulos de livros sobre o assunto "Music – Instruments – Violin"

1

Mehl, Margaret. "8. Playing Modern." In Music and the Making of Modern Japan. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.08.

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Chapter 8, ‘Playing Modern: Blending Japanese and Western Music’, examines the widespread, albeit short-lived, fashion for performing Japanese music (chiefly koto and shamisen genres) on Western instruments, particularly the piano or organ and the violin; a practice known as wayō setchû (mixing Japanese and Western elements), wayō chōwa gaku (music harmonizing Japanese and Western elements), or wayō gassō (Japanese-Western ensemble playing). The propagators of the practice can be categorized loosely as ‘reformers’ and entrepreneurs.’ The former group consisted largely of graduates from the Tokyo Academy of Music. Their arguments about the importance of music reform were similar to those of the older Meiji elite, but in practice, their musical training resulted in their privileging Western music in the long run. More persistent was a grass-roots trend, promoted by enterprising musicians, often performers of indigenous music. They published sheet music in Western staff notation. This marked a departure from studying Japanese music in the traditional way of direct transmission from teacher to student, because it enabled independent study without a teacher. Wayō setchû, although frowned upon by the contemporary musical establishment in the capital, is regarded as having facilitated the assimilation of Western music. Another aspect, however, are the changing practices within traditional Japanese music. The practice suggests that the strict separation between Western and Japanese music (which from around 1900 began to be called hōgaku), was not a foregone conclusion, despite the privileging of Western music by the government.
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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Violin." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-28.

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Viola." In The Teaching of Instrumental Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-29.

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Powell, Bella. "Notions of virtuosity, female accomplishment, and the violin as forbidden instrument in early-mid nineteenth-century England." In The Routledge Handbook of Women's Work in Music. Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-24.

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Dodds, Phil. "The Cultural Production of Scalability: Music, Colonialism and the Moravian Missionary Project." In Music and the Cultural Production of Scale. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_5.

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AbstractAnalysis of the work of the music historian, composer, editor and Moravian missionary administrator Christian Ignatius Latrobe (1756–1836) enables a better understanding of the role of music in colonial expansion in the first half of the nineteenth century. In London, Latrobe received and circulated accounts of the missions’ supposed success in training disciplined and ‘sweet’ choirs of Christian singers from among formerly ‘heathen’ ‘barbarians’, and these accounts were taken to demonstrate the scalability of the ‘civilisation’ project of European colonialism, which suited both antislavery campaigners and colonial state officials. Latrobe sent standardised Christian hymn books, in English and German but also translated into indigenous languages, to mission stations around the world, from Suriname to Jamaica to Labrador to Greenland to Siberia to South Africa. He also sent musical instruments to accompany the hymn-singing, favouring the organ both aesthetically and for its ability to function in different climates. He also circulated specific instructions for training organists, with firm recommendations for a simple accompaniment style and learning hymns by heart. At the different stations, the policy increasingly became to train local members of the congregation according to Latrobe’s advice, so that the instrument, the canon of tunes and the performance conventions were exported uniformly from Europe, embodied in the organ and the organist. Crucially, this uniform and standardised imposition of music—although always resisted and never fully achieved—required the remaking of the cultural landscapes on which they were to be imposed, including through the violent outlawing of existing musical practices and styles. As such, key periods in the history of large-scale musical colonisation can be better understood when framed in terms of the cultural production of scalability, following Anna Tsing, with empirical attention to the efforts involved in musical scale-building projects that make claims about music’s universal qualities and that seek to propagate a standardised, common music around the world.
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Goasdoué, R., and B. Bril. "The Role of Instrument Properties in Music Performance: Variations in Sound and Movements Induced by Baroque-Violin Playing." In Studies in Perception and Action VIII. Psychology Press, 2023. http://dx.doi.org/10.4324/9781003417972-43.

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Boyden, David D. "Violin Music in the Sixteenth Century." In The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161837.003.0008.

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Abstract Much of the specific information about the origin and development of the violin, related in the first two chapters, raises provocative and tantalizing questions. What kind of music was composed for the violin during the first century of its existence? Who played it, how was it performed, and under what conditions? Was the music written for the early violin of three strings different from that for the four-stringed violin after 155o-or, for that matter, from music for the viols? Was the violin used to accompany voices in such prevailing forms as the masses, motets, chansons, and madrigals? To what extent did the violins usurp the place and role of their ancestor instruments?
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Campbell, Murray, and Clive Greated. "Bowed and plucked stringed instruments." In The Musician’s Guide to Acoustics. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198165057.003.0007.

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Abstract In this chapter we shall study the bowed and plucked members of the chordophone family. By far the most important group in this section is the violin family, so this will be considered first in some detail. The violin family originated in Italy during the Renaissance (1400–1600) alongside another similar group of instruments known as the viols. The violins did not evolve from the viols, but rather the two groups emerged from similar sources, the violins coming about a century later. In the early years the great composers wrote prolifically for both groups of instruments and there was keen rivalry between them. Gradually the violins, with their more powerful sound, found increasing favour amongst composers and virtuoso performers until eventually they reigned supreme for symphonic music.
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Dilworth, John. "Violin Making in England in the Age of Purcell." In Performing the Music of Henry Purcell. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164425.003.0004.

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Abstract Although there is much documentary evidence of the long history of the violin in England, there are very few actual surviving examples of violins made in this country during the lifetime of Henry Purcell and before such as would enable us to know precisely what form of instrument he knew and composed for. Throughout Europe, styles and techniques of violin making, which profoundly affect the sound of the instrument, were diverse, and it was not until the middle of the eighteenth century that makers generally settled on one favoured pattern, that of the Tyrolean maker Jacob Stainer (born c.1617, died 1683). What few English violins of the seventeenth century we do have illustrate well this diversity of work, and give some evidence of the variety of contexts in which they were used. Most significantly, the short years of Purcell’s life, as both composer and keeper of the instruments in the Chapel Royal, mark a certain rise in the status of the violin-maker and his work, a rise which challenged the position of the viol-maker, an apparently discrete occupation in England during the seventeenth century but already an anachronism in Italy, which saw the most important developments in violin making.
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Boyden, David D. "The Advent of the true Violin and its Development to 1600." In The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161837.003.0007.

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Abstract The true violin came into being about the middle of the sixteenth century, when a fourth string was added to the early three-stringed violin, viola, and cello ( the cello may already have had four strings). The change to the four-stringed instrument must have taken place by 1556, since Jambe de Fer, in his Epitome musical of that year, specifically mentions these fretless instruments with four strings. He distinguishes the violin family clearly from the viols, mentions their respective social functions, and gives their tunings, the soprano member (dessus) being tuned like the violin today: g d’ a’ e”. There is no doubt he is describing the true violin.
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Trabalhos de conferências sobre o assunto "Music – Instruments – Violin"

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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Trocinel, Daniela. "Compositional incursions into the didactic repertoire and music for children by the composer Alexandr Mulear." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.12.

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Composer A. Mulear is among the notable personalities who actively participated in the development, and completion of the local musical didactic fund with compositions of various genres and forms, from small and simple to extensive works. The instructive works for piano, violin, and voice are among the most well-known and performed by students. The author subtly feels the universe of children and knows in detail the possibilities of learning instruments at the primary stages of study. Thus, significantly contributing to the amplification and expansion of the children's musical-spiritual world, he managed to familiarize them with an entire diversity of local musical literature, by embodying the popular images and genres in his didactic compositions.
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Roman, Iulia. "Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.

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The composer Dumitru Capoianu is part of the romanian composers who have given valuable works to contemporary music. His creation includes theater music, film music, symphonic music, vocal-symphonic music, choral music, chamber music. Habanera for violin and piano is the work that belongs to the genre of instrumental miniature, a composition in which the elements of jazz café concert blend harmoniously with passages of virtuosity.
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Talambuta, Radu. "Folkloric elements in creations for violin of Romanian filiation signed by composers from the Republic of Moldova in the 1950s-1960s." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.23.

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Moldovan music composition abounds in names and creations that demonstrate a thorough attitude and an ever-increasing interest of the composers in Moldovan folklore. During the years 1950-1960, composers such as Stefan Neaga, Eugen Coca, Alexei Stârcea, Leonid Gurov, Gheorghe Neaga, David Ghershfeld, Solomon Lobel, Valerii Poleacov and others signed representative works, in the scores of which the violin occupies a leading place. This finding is to be argued in what follows by briefly presenting several samples from different genres of instrumental music that prove the connection of the violin to the folkloric field.
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Talambuta, Radu, and Diana Bunea. "Aspects of interpreting the themes of folklore inspiration in the Concerto for violin and orchestra by Valerii Poleacov." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.18.

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The concerto for violin and orchestra by V. Poleacov has a special value both within the composer's creation and for the national musical culture, representing an example of the approach to the concerto genre in Moldovan composition, through the synthesis of the classical concerto model with elements characteristic of instrumental folk music. The author appeals to the stylization of the Moldovan melos, expressed in its rhythmic and intonational themes and formulas. In this context, the article deals with the issue of the interpretation of diverse themes, which can be highlighted through technical and artistic violinistic means focused on the knowledge of both folk music and folk violin performance traditions. This perspective, in the opinion of the author, could be the basis of a new interpretive vision of this concerto.
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Silva, Eduardo Santos, Giordano Ribeiro Eulalio Cabral, and Rodrigo Mendes de Carvalho Pereira. "A preliminary study of Augmented Musical Instruments for Study (AMIS) using research through design." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19438.

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The emergence of Digital Musical Instruments (DMIs) in the computer music field has been providing new means of interaction with music performances. Particularly, with the advancements in the Internet of Things (IoT) area, there has been an increase in augmented musical instruments containing LEDs within their own bodies to support music learning. These instruments can help musicians by having the capabilities to display musical notes, chords and scales. This research uses research through design to present a preliminary study of some of the challenges related to the design of these instruments and attempts to provide some insights associated with their usability and development, particularly related to the development of an augmented acoustic guitar, the VioLED, developed alongside the company Daccord Music. The system provides three modes of operation: song mode, solo/improvising mode and animation mode. The preliminary results present challenges and obstacles pertinent to usability and development of these instruments identified in different iterations of design. These challenges are associated with areas such hardware-software co-design, usability, latency/jitter, energy consumption, etc.
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Casazza, Marco, Fabrizio Barone, Elvio Bonisoli, et al. "Wooden music instrument vibro-acoustic fingerprint: the case of a contemporary violin." In 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2022.039.

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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
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Kristiandri, Dhani, Vivi Ervina Dewi, and Moh Sarjoko. "The Development of Main Stringed Instrument Module (Violin) for Beginner Level in the Music Study Program." In International Joint Conference on Arts and Humanities (IJCAH 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201201.170.

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Plescan, Irina. "Compositional peculiarities of The trio for clarinet, French horn and piano by Oleg Negruta." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.11.

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Oleg Negruta is a Moldovan composer, the author of a large number of chamber- instrumental compositions. Among them there are two piano trios: the first is the Trio for clarinet, French horn and piano, reflecting the tendency towards non-traditional ensembles, that prevailed in Moldovan music in the 1980-90s, and in 2004 the composer created a trio for the classical composition — violin, cello, piano.This article is dedicated to the Trio for clarinet, French horn and piano written in 1993. The author’s purpose was to identify the interpretation peculiarities of this work’s composition. Within the a two-part cycle based on tempo and figurative contrast, O. Negruta created an individualized structure that synthesizes the classical and folklore principles of composition.
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