Artigos de revistas: "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, n.º 179 (1 de janeiro de 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, n.º 1 (30 de junho de 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, Luca Dimauro, Simone Venturini, Marco Carlo Masoero e Louena Shtrepi. "A procedure for the characterization of a music instrument vibro-acoustic fingerprint: the case of a contemporary violin". Acta IMEKO 12, n.º 3 (4 de setembro de 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, n.º 2 (maio de 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 e Refa Nada Violina. "Menelaah Pola Detache dalam Violin Sonata No 3 in F Major". PROMUSIKA 10, n.º 2 (3 de dezembro de 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, n.º 2 (dezembro de 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, n.º 1 (28 de março de 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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8

Yang, Qi. "The Emergence and Application of Violin Virtuosity During the Romantic Period". Communications in Humanities Research 14, n.º 1 (20 de novembro de 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), n.º 9(140) (30 de setembro de 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, n.º 2 (28 de dezembro de 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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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, n.º 57 (10 de março de 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.

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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).

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Geringer, John M., Rebecca B. MacLeod e Justine K. Sasanfar. "In Tune or Out of Tune". Journal of Research in Music Education 63, n.º 1 (23 de março de 2015): 89–101. http://dx.doi.org/10.1177/0022429415572025.

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We studied music majors’ perception of intonation in accompanied solo performances of trumpet, violin, and voice. We were interested in whether listeners would judge pitch deviations of equal magnitude in the three solo performances as equivalent in intonation. Participants were 150 graduate and undergraduate music majors drawn from two large music schools and included 50 students representing each of the following areas of applied music study: voice, wind instruments, and string instruments. Listeners heard solo trumpet, violin, and soprano performances of Ave Maria (Bach/Gounod) accompanied by piano. Pitch performances of the soloists were altered in four sections of the excerpt and deviated in either the sharp or flat direction within a section by 0, 10, 20, and 30 cents relative to the accompaniment. Listeners judged pitch deviations in the flat direction as more out of tune for the trumpet than equivalent alterations of violin and voice, especially for magnitudes of 20 and 30 cents. In sharp direction changes, violin and trumpet were heard similarly and as more out of tune than the vocal soloist. Additionally, differences in pitch judgments were found between listener groups representing different areas of applied study.

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13

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, n.º 49 (15 de setembro de 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, n.º 49 (15 de setembro de 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

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15

Titarov, Mykhailo. "Clarinet Quintet and the Legacy of the Mannheim Chapel Composers". ARTISTIC CULTURE. TOPICAL ISSUES, n.º 19(1) (13 de junho de 2023): 181–85. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283147.

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The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace the first violin, so the genres of trio and quartet for clarinet and string instruments became the most popular. In the ensembles with a larger number of participants, the search for optimal performing compositions continued. One of them was a quintet for clarinet, two violins, viola, and cello. It required independence of all parts and did not allow the interchangeability of clarinet and violin. Individual works were written for this composition, one of them isin the pieces byC. Stamitz. It isindicated that the connection between composers and clarinetists appeared for the first time in the legacy of Mannheim school. A conclusion is made about the influence of chamber music with the participation of clarinet representatives of the Mannheim chapel on the genre and style priorities of W.A. Mozart, whose works include a clarinet quintet (1789).

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Akutsu, Taichi. "Constructing a “fast protocol” for middle school beginner violin classes in Japan". International Journal of Music Education 36, n.º 1 (3 de fevereiro de 2017): 96–107. http://dx.doi.org/10.1177/0255761417689918.

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This study aimed to investigate the process of constructing a “fast-protocol” for violin instruction. Since learning string instruments has not been common, and because there are limited hours for music in Japanese schools, the author, a violinist, collaborated with the general music teacher at a middle school in the Tokyo metropolitan area, and co-created the protocol which contains three lesson units as follows: (1) to play an open string on the violin; (2) to discriminate pitch by string crosses on the violin; (3) to discriminate pitch by using fingers on the violin. As for data collection, the study videotaped students’ learning, and maintained log notes. This study also collected students’ commentary focusing on perceived challenges after each class ( N = 120). Based on all gathered data, after completing the coding process, researcher and teacher co-constructed the narrative. Findings include critical examinations of readiness in violin teaching and learning, and variations on violin-specific challenges associated with enjoyment and satisfaction for beginners.

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Fiocco, Giacomo, Tommaso Rovetta, Claudia Invernizzi, Michela Albano, Marco Malagodi, Maurizio Licchelli, Alessandro Re et al. "A Micro-Tomographic Insight into the Coating Systems of Historical Bowed String Instruments". Coatings 9, n.º 2 (29 de janeiro de 2019): 81. http://dx.doi.org/10.3390/coatings9020081.

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Musical instruments are tools for playing music, but for some of them—made by the most important historical violin makers—the myths hide the physical artwork. Ancient violin-making Masters developed peculiar construction methods and defined aesthetic canons that are still recognizable in their musical instruments. Recently, the focus of scientific investigations has been set on the characterization of materials and methods used by the ancient violin makers by means of several scientific approaches. In this work, the merits of synchrotron radiation micro-computed tomography and optical coherence tomography (OCT) for the investigation of complex coatings systems on historical bowed string musical instruments are discussed. Five large fragments removed during past restorations from instruments produced by Jacobus Stainer, Gasparo da Salò, Giovanni Paolo Maggini, and Lorenzo Guadagnini have been considered for a non-invasive insight by tomographic techniques and the results are discussed considering previous micro-invasive investigations. The tomographic approach allows to highlight the micro-morphology of the coating systems and offers preliminary information on the methods that were employed by the ancient Masters to treat the wood and finish the musical instrument.

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Ridhwan, Urfan Saniylabdhawega, Rita Milyartini e Diah Latifah. "Study of The Violin Book for The Development of Beginner Level Violin Teaching Materials Based on National Song". Gondang: Jurnal Seni dan Budaya 7, n.º 1 (12 de junho de 2023): 104. http://dx.doi.org/10.24114/gondang.v7i1.45978.

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The violin is proven to be able to build the positive character of a nation. Venezuela's experience with its program, El Sistema, where the violin instrument is learned by the wider community, has had a positive impact in terms of social and economic aspects, including a sense of empathy, cooperation, self-confidence and can help increase awareness of national identity. In Indonesia, the violin is known as a western classical musical instrument. This assumption is supported by the rise of violin course institutions that use eurocentric teaching materials. Learning from Venezuela's experience, an effort is needed to develop violin teaching materials that offer material related to Indonesian National songs, as an effort to build national character. As a first step, a review of beginner level violin books with high credibility will be carried out. The purpose of this study is to determine the characteristics of beginner level violin teaching materials. The research method used is analytical descriptive. This process is expected to produce the basics that need to be considered in the process of developing teaching materials, especially teaching materials for violin musical instruments. The researcher hopes to be able to inspire researchers who are developing music teaching materials through a content analysis process carried out by researchers to produce teaching materials with international standards.

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Mamatov, Gleb. "A Violin Symbolic in B. Poplavsky’s Poetry". Izvestia of Smolensk State University, n.º 2(58) (3 de julho de 2022): 34–45. http://dx.doi.org/10.35785/2072-9464-2022-58-2-34-45.

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The article is devoted to the research of violin symbolic in Boris Poplav- sky’s poetry. We consider connections of this image with musical philosophy of the poet of Russian Montparnasse, with the poetry of his predecessors (O. Man- delstam, A. Blok) and with constant literary cultural connotations, associated with the image of the violin. Symbolic of this musical instrument is multifaceted and difficult in Pop- lavsky’s literary work. This is due to the poet’s spiritual search. It has ambivalent meanings that is clear in his book of verses «Flags», when a violin appears as a carrier of magic and beauty dead in cold and horrible world, which doesn’t un- derstand beauty of the real art and rejects it («Dark Madonna»), and as «False Fiddlestick», which has dissonance music, connected with the theme of Death and eschatological motives («Rose of Death»). The violin also appears in poems dedicated to the poet’s important theme of art, music and the crowd, where it is associated with the theme of aggression and crime. The stringed instrument has become a predator causing pain and suf- fering in the world around it, which does not include music. Another development in the plot showing the struggle between art and reality is the disappearance of disastrous musical instruments that should create one magical sound. Their mis- sion is heroic, they must give the world the miracle of music, but the tragedy is that this reality cannot accept this magic

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Christy, Analis, e Abdul Rachman. "Form of Bundengan Traditional Music Arrangement by Sanggar Akustika in Wonosobo". Jurnal Seni Musik 12, n.º 1 (30 de junho de 2023): 1–11. http://dx.doi.org/10.15294/jsm.v12i1.67147.

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Bundengan is one of the traditional musical instruments in Indonesia that originates and developes in Wonosobo Regency, Central Java. The bundengan music group Akustika provides arrangements for bundengan music. This research aims to determine and provide a description of the form of bundengan music arrangement by the bundengan music group Akustika. The method used in this research was qualitative with a musicological approach. Data collection was carried out through observation, interviews, and documentation techniques. Data analysis was conducted through data reduction, data presentation, and conclusion drawing. The research results show that the musical arrangement of Bundengan in Sanggar Akustika, Wonosobo Regency, combines traditional Bundengan musical instruments with instruments such as cak, guitar, keyboard, violin, bass, and drums. The performed music genres include modern pop, campursari, dangdut, nostalgic songs, and regional songs in Indonesia. The basic tones used are C major and G major, with mixed arrangement styles. During the performance, each musical instrument utilizes a limited repetitive playing pattern until the completion of the song. All the instruments in the Bundengan music complement each other and form dynamic and harmonious musical patterns.

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Chan, May Pik Yu, e Jianjing Kuang. "Cue selection in the perception of pitch in music and speech". Journal of the Acoustical Society of America 151, n.º 4 (abril de 2022): A59. http://dx.doi.org/10.1121/10.0010653.

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Spectral shape affects pitch perception; sounds with more high energy harmonics sound higher than sounds with low energy in higher harmonics. Flatter spectral slope corresponds to "tenser" voices while steeper spectral slope correlates to "breathier" voices in speech. In string instruments, the spectral slope differentiates sul ponticello and sul tasto. Listeners were found to integrate spectral slope cues in pitch perception in speech; however, work on music focused on cross-instrument differences, glossing over cue integration within instruments with fixed-formant frequencies. Furthermore, spectral cues and F0 co-vary in human pitch production, but are largely independent in instrumental music. It remains unclear whether music processing is as integrative as speech processing. In this study, listeners were given either speech or violin stimuli with identical pitch contour pairs, and were asked to decide whether the second contour was higher or lower in pitch compared to the first. The spectral slope of each sound was manipulated to include all combinations of “breathier”/“ sul tasto” and “tenser”/“ sul ponticello” sounding pairs. Results show that listeners integrate spectral slope cues in pitch perception in speech and violin stimuli similarly, with similar categoricity and shift. Overall, listeners with higher musicality have more categorical responses but no differences in shift.

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Sutaryo, Haris Natanael, e Alexander Dewanta Candra Yogatama. "Bagatelle: Penciptaan Musik Dalam Format Duet Biola Dan Gitar". PROMUSIKA 8, n.º 1 (2 de abril de 2020): 36–41. http://dx.doi.org/10.24821/promusika.v1i1.3604.

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Bagatelle berarti sebuah komposisi musik yang pendek untuk piano. Namun demikain, dalam perkembangannya komposisi bagatelle tidak terbatas hanya digubah untuk piano saja, melainkan juga sudah digubah untuk instrumen selain piano. Bentuknya komposisinya adalah AB atau ABA. Pemakaian bentuk ABA biasanya untuk mewakili dua mood yang kontras antara yang ritmis A dengan yang B. Dengan kembalinya ke A karya ini bersifat melingkar, membuatnya balans dan simetris. Ide dalam penciptaan musik bagatelle ini muncul terinspirasi dari ketertarikan penulis dalam menyaksikan Ujian kompentesi di auditorium musik Fakultas Seni Pertunjukan ISI Yogyakarta. Salah satu repertoar yang dibawakan Bagatelle untuk piano op. 3, op. 119 karya Beethoven. Menurut pengamatan penulis bentuk musik bagatelle dari segi komposisinya sangat menarik, terdapat kebebasan dalam mengungkapan ide-ide kreatif dan imajinatif komponisnya. Perancangan komposisi bagatelle ini intinya menuangkan ide penulis dalam memadukan dua karakter instrument musik Biola dan Gitar, dengan penekanan pada penggarapan ritme, melodi dan harmoni sehingga menjadi sebuah integritas. Hasil karya ini nantinya selain sebagai apresiasi musik di multimedia, juga sebagai salah satu materi mata kuliah komposisi 1 pada prodi penciptaan musik FSP ISI Yogyakarta.AbstractBagatelle: The Creation of Music in Violin and Guitar Duet Format. Bagatelle is a short musical composition for piano. However, nowadays Bagatelle wrote not only for piano but for other instruments. The musical form of Bagatelle, either binary or ternary form. In the binary form of Bagatelle usually represents two contrasting rhythmic features which called A and B. This composition is a rondo, and it makes balance and symmetry. The idea of this Bagatelle inspired by Beethoven’s Bagatelle for solo piano Op. 119, no. 3. Bagatelle is an interesting musical composition because there is a freedom to representing the creative idea and imagination form the composer. The essence of its musical composition is representing the composer’s idea about two different characters of musical instruments: Violin and Guitar with emphasized the integration in rhythm, melody, and harmony. This Bagatelle not only can be used as a music appreciation but also as a material for Composition subject in Prodi Penciptaan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta.Keywords: Bagatelle; violin and guitar; multimedia

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Kościukiewicz, Jakub. "Cello in the Baroque, part 1". Notes Muzyczny 1, n.º 9 (20 de junho de 2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.

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Talbot, Michael. "A Thematic Catalogue of the Instrumental Music of Martino Bitti (1655/6–1743)". Royal Musical Association Research Chronicle 46 (2015): 46–94. http://dx.doi.org/10.1080/14723808.2014.986256.

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Martino Bitti (1655/6–1743) was the leading violinist-composer working in Florence during a long period stretching from Corelli's first published works to the mature years of Vivaldi. Ironically, his nine sonatas for wind instruments are better known today than the 27 solo sonatas for his own instrument, the violin, which constitute a corpus of great technical accomplishment and musical expressiveness. Since the publication of a critical edition of Bitti's violin sonatas is currently in progress, the moment is right to present a thematic catalogue of his instrumental music, which forms the second part of the article. The first part comprises an updated biography of the composer (which for the first time proposes that Bitti briefly visited England) and a general evaluation of his highly distinctive musical style.

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Delzell, Judith K., e David A. Leppla. "Gender Association of Musical Instruments and Preferences of Fourth-Grade Students for Selected Instruments". Journal of Research in Music Education 40, n.º 2 (julho de 1992): 93–103. http://dx.doi.org/10.2307/3345559.

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The purpose of this study was fourfold: (a) to measure possible changes in gender association of musical instruments from earlier research, (b) to estimate current preferences of fourth-grade students for selected instruments, (c) to gain an understanding of reasons expressed by students for preferring certain instruments and not others, and (d) to compare students' perceptions of their peers' preferences to the actual choices their peers made. Findings indicate the magnitude of gender associations has lessened; however, such associations are still noticeably present. Instrument positions on the masculine-feminine continuum remain relatively stable. The majority of the fourth-grade subjects preferred drums, saxophone, or flute, followed in descending order by clarinet, trumpet, violin, trombone, and cello. “Quality of sound” was a primary reason cited for wanting to play an instrument; “too difficult to play” was a primary reason for not wanting to play an instrument. Children's perceptions of their peers' preferences bore a moderate relationship to what their peers actually chose, with girls more accurate in predicting preferences of boys than vice versa.

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Song, Wenyi, Zeyu Huang e Andrew B. Horner. "A comparative analysis of Violin and Erhu: Examining the differences and similarities through statistical analysis of multiple musical excerpts". Journal of the Acoustical Society of America 154, n.º 4_supplement (1 de outubro de 2023): A186. http://dx.doi.org/10.1121/10.0023214.

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Recent work has compared the different emotional characteristics between the violin and erhu on the Butterfly Lovers Concerto. In this study, we investigate whether the previous studies’ results hold generally in Chinese and Western classical music. Building upon previous research, we hypothesize that the violin conveys more positive emotions, while the erhu is perceived as sadder. We also expect the violin to be better at conveying high-arousal excerpts. To test these hypotheses, 46 subjects were presented with 14 excerpts, with each excerpt represented by at least four different performances of both instruments. For each performance, subjects were asked 4 binary questions: whether it was happy, sad, agitated, and calm. Results show that the erhu is consistently perceived as sadder than the violin, while the violin is perceived as happier, calmer, and more agitated when significant differences appear. Linear regression analysis suggests that instrument is a more significant factor in the emotional perception of low-arousal excerpts than high-arousal ones. Additionally, performance was a less important factor than instrument on affect perception, and made more of a difference on low-arousal than high arousal excerpts. Meaning, there was more variation between different performances of the same except on low-arousal excerpts than high-arousal excerpts.

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Berger, Robert W. "The Devil, the Violin, and Paganini: The Myth of the Violin as Satan’s Instrument". Religion and the Arts 16, n.º 4 (2012): 305–27. http://dx.doi.org/10.1163/156852912x651045.

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Abstract Stringed instruments are included in Psalm 150 among those appropriate for music-making in praise of the Lord. For that reason, angels frequently appear in medieval and Renaissance art playing bowed and plucked instruments. The later association of the violin and the Devil is therefore a departure from the religious tradition. This paper traces the appearance of this notion in eastern European folklore, Shakespeare and his contemporaries, reactions to instrumental virtuosity in the Baroque period, Tartini’s dream, and the career of Paganini, in whom the myth reached its apogee.

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PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)". Bulletin of the Lviv University. Series of Arts Studies 280, n.º 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.

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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed in folklore, collaborated with well-known Hutsul virtuosos-performers on the flute traditional instruments – Vasyl Popadiuk (1940–1991), Mykhaylo Tymofiiv (1944), violinist Petro Terpeliuk (1941–2012), cymbalist Vasyl Myroniuk. He gained performance experience while serving together with them Huzul wedding ceremonies in a manner aimed at folk authentication and adopted traditional huzul folklore repertoire using oral method. At the time of obtaining higher education at the Kyiv Institute of Culture (specialty of folk bandmaster), S. Orel already had a two-year record of the soloist and bandmaster of the Hutsul song-and-dance ensemble of the Ivano-Frankivsk Philharmonia, as well as the experience of Kolomyia musical bands director. Musician’s move to the village of Deliatyn, Nadvirna district of Ivano-Frankivsk region in 1977 became fateful major shift, where he, having taken a position of the musical school director, founded together with his wife – singer Liubov Orel (Bilinkevych) the Arkan orchestra. Having rallied first nine participants he created his music piece – musical adaptation of Arkan Hutsul dance. Subsequently, the entire band’s repertory was developing of personal orchestrations and musician’s own works. The general features of his orchestral style include the improvisatory enriched themes of the violin-solo part, main texture load on the string group (violin solo, three parts of violin, viola, cello, contrabass), fipple flute and cymbal second parts, accordeon’s chordal and harmonic functions, tambourine rhythmic patterns, which highlight melody features. A year later, the orchestra gained “folk” title and represented Hutsul region in contests and festivals taking winner awards. Today, about 3,000 S. Orel’s note developments are known, including his own vocal and instrumental works, numerous orchestrations of Ukrainian and multi-ethnic folklore, interpretation of famous composer miniatures, church choral works, author’s music for children’s performances and theatrical productions, genre music pieces for violins and cymbals with orchestra. The phenomenon of the violin-interpreter had an impact on a style of play of presently municipal Arkan folk music orchestra founded by Serhiy Orel, which represents in complex the creative achievements of its artistic director across different scenes of Ukraine and worldwide.

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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, n.º 56 (10 de julho de 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.

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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.

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Geringer, John M., Rebecca B. MacLeod e Michael L. Allen. "Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors". Journal of Research in Music Education 57, n.º 4 (4 de novembro de 2009): 351–63. http://dx.doi.org/10.1177/0022429409350510.

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The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music majors without string performance experience ( n = 36). Both groups of music major listeners perceived the pitch of vibrato tones very near the mean frequency of the vibrato for cello and violin tones. Although means were similar, string players exhibited significantly less deviation in tuning judgments than non-string players for both violin and cello tones. Results appear consistent with earlier perceptual research as well as performance research indicating that string performers vibrate both above and below the intended pitch.

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Zhang, Vincent. "Synthesizing Human Characteristics based on String Instruments". Highlights in Science, Engineering and Technology 39 (1 de abril de 2023): 286–91. http://dx.doi.org/10.54097/hset.v39i.6541.

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As music technology continues to evolve, new software enables us to digitally produce audio. Although plenty of progresses have been made in music genres (e.g., EDM or hip hop), many string instruments have yet to be thoroughly synthesized. Instruments, such as the cello, require incorporating human characteristics to evoke emotion. On this basis, Nyquist and Audacity are utilized in this paper to analyze and create the synthesized pitch of the cello. Some may argue that computers are incapable of human characteristics in music, but the results of this study clarify the feasibilities at some extent. Based on both visualizing and listening, the output creates a similar sound hardly indistinguishable from a human. It presents the possibility of expanding onto other string instruments including the violin, viola, etc. Instead of the necessity for an entire orchestra, anyone can have their own symphony at their fingertips. From movies, video games, or any form of entertainment, the advancements in this field of research could revolutionize the music industry. These results shed light on guiding further exploration of synthesizing human characteristics in context of string instruments.

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Zou, Liangjun. "Emotion Recognition of Violin Playing Based on Big Data Analysis Technologies". Journal of Environmental and Public Health 2022 (15 de setembro de 2022): 1–9. http://dx.doi.org/10.1155/2022/8583924.

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The rapid development of Internet technology has promoted the vigorous development of the multimedia. As one of the most classic instruments, the violin has been fully developed in its creation, education, and performance. In the face of more and more violin performances, the effective organization and retrieval of these musical works is an urgent problem to be solved, while it is common to classify and organize music based on the emotional properties of the performance. Deep learning is a model based on feature hierarchy and unsupervised feature learning, which has strong learning ability and adaptability. Based on the recurrent neural network (RNN) method, long short-term memory (LSTM) is one of the classic models of deep learning that can effectively learn the characteristics of time series data and achieve effective predictions. Therefore, based on the classical Hevner emotion classification model, this paper proposes an emotion recognition method for dynamic violin performances based on LSTM, which selects acoustic features and classifies the audio acoustic signals contained in the violin performances. In order to verify the effectiveness of this method, this paper carries out data labeled, feature selection, and model test on the actual violin music data by turn. The results show that the proposed method can greatly reduce the training time and improve the prediction accuracy, which reached 83%, higher than the existing methods. Meanwhile, the accuracy and iteration times of violin playing music of different emotional categories are also counted. Moreover, the method is robust to the genre, timbre, and noise changes, and the emotion recognition effect is superior.

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BIONDI, FABIO. "EDITORIAL". Eighteenth Century Music 15, n.º 1 (março de 2018): 5–8. http://dx.doi.org/10.1017/s1478570617000367.

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The revival of early music performed on original instruments has resurrected the role of the violinist-conductor ‘maestro dei concerti’, one historical designation among many describing a conductor equipped with an instrument rather than a baton. Prior to this revival, one rarely saw an orchestra led without a baton, particularly if the orchestra was sizeable. Exceptions included a few historically minded ensembles – here I'd like to mention I Musici of Rome for the baroque repertory and, for a case involving a large symphonic orchestra, the Vienna Philharmonic's 1996 New Year's Eve Concert, at which Lorin Maazel directed one of the popular Strauss encores from the violin. Yet the idea of having a violinist conduct a romantic symphony, let alone a nineteenth-century opera, seems hardly conceivable today. Such a lost practice, though common in the past, would be bound to baffle modern audiences.

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Suroso, Panji, Danny Ivanno Ritonga, Wiflihani Wiflihani, Mukhlis Mukhlis e Tri Tri. "The Repertoire of Traditional Malay Ensemble as a Source of Violin Practice Learning Material". Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, n.º 4 (31 de outubro de 2020): 1750–58. http://dx.doi.org/10.33258/birle.v3i4.1334.

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This study aims to examine in depth how the process of applying the Malay traditional music ensemble reportoar as a teaching material in practical learning to play violin instruments in unimed music education study programs in the odd semester 2020-2021.Based on the monitoring carried out by the lecturer team in the learning process to play the violin that has occurred so far, the practice of playing the violin is still being carried out with teaching material playing western classical music and playing popular music styles. This study was conducted using a qualitative approach, namely following the opinions of Miles and Huberman (1984), namely (1) data collection, which was carried out through interviews, document digest observation, recording and recording; (2) data reduction, which is done by summarizing, selecting the main things, focusing on the important things, looking for themes and patterns and removing unnecessary ones; (3) data display (data presentation), which is done by showing the data and presenting it in the form of narrative text and charts; (4) conclusion drawing / verification which is carried out by drawing conclusions and verifying the research findings. In this study, the findings suggest that: 1) The learning process carried out in learning the violin in this study is to apply the tiered learning method, starting from the preparatory level learning, basic learning, middle level learning, and advanced learning. 2). The introduction of the main principle in recognizing cengkok and grenek in violin playing is in the form of the jump tone technique. For example, a violin melody can be played 7 notes or 8 notes in one beat, but the melody interval steps vary between second, terts, quart, quint and so on. However, in a grenek melody, the intervals played are only in the form of a second up or a second down.

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ISAC, Iuliana, Vlad ISAC e Ignac FILIP. "The Sound of the Stradivari Violin – between Tradition and Modernism". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20 de janeiro de 2021): 149–54. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.16.

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The Stradivari violin had classical instrument manufacturing reach its peak and is also a landmark for consecrated creators and performers. Reproducing the unique sound has been a challenge for luthiers all around the world. At the same time preserving the sound quality and implicitly the instruments themselves remains a difficult task especially for the Museum in Cremona which has undertaken the responsibility of keeping a history page intact. An important step in this direction was taken in 2017, with the international project of the electronic library for the original sound of the Vesuvius violin, one of Antonio Stradivari’s gems. The technical team who successfully completed the project redefined high-quality sampling from a new perspective. Due to it, instrumental music composers can refine their creative discourse inspired by authentic, brilliant sonic material.

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Chareyre, Philippe. "«Maudite musique, instruments profanes qui nous font offenser Dieu». Une plaidoirie contre un maître baladin à Nîmes en 1605". Albineana, Cahiers d'Aubigné 33, n.º 1 (2021): 273–321. http://dx.doi.org/10.3406/albin.2021.1683.

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The plea of the third consul of Nîmes, accused in 1605 of breaking a violin, is an opportunity for the lawyer Anne Rulman to discuss the place of music and dance in a Protestant city. Relying on the theory of music, he justifies the ability of the elites, through their humanist education impregnated with neo-Stoicism, to distinguish between “divine” and “accursed” music, and thus their desire to free themselves from an ecclesiastical discipline intended to maintain order among the population.

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Fang, Jinwen. "Theory and practice of applying the principle of continuity of pre-university and university levels of violin teaching in China". Педагогика и просвещение, n.º 2 (fevereiro de 2024): 57–65. http://dx.doi.org/10.7256/2454-0676.2024.2.70675.

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This article examines the issue of violin education in the People's Republic of China from the point of view of theory and practice. A historical excursion is conducted and a retrospective of the formation of professional university violin education in China is given. The educational process in the leading conservatories of China is studied on the example of programs, as well as the activities of teachers and professors. The author comes to the conclusion that due to the application of the principle of continuity of pre-university and university levels of violin playing in China, Chinese violin art by the turn of the XX-XXI centuries not only reached the world level, but became one of the brightest, independent and deeply original areas of the world violin art. The article uses theoretical methods of research: analysis, synthesis, classification of the results obtained, as well as the method of generalization. The violin is one of the most popular European musical instruments in China, so many people want to master this instrument. There are so many applicants that there are not enough educational institutions for them, which operate only on the territory of large cities. In this regard, private music education is widespread in China. In parallel with the formation of the performing arts, the technique of playing the violin has received multilateral development and scientific justification. The development of Russian and European teaching systems has become the basis of the Chinese methodological system adapted for China and taking into account the individual characteristics of students. Thanks to the application of the principle of continuity of pre-university and university levels of violin playing in China, Chinese violin art by the turn of the XX-XXI centuries not only reached the world level, but became one of the brightest, independent and deeply original areas of world violin art.

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Lermontovа, E. "Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, n.º 52 (3 de outubro de 2019): 145–59. http://dx.doi.org/10.34064/khnum1-52.10.

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Background. In recent years, there has been an undiminished interest of scientists to the problem of transcription. In particular, a number of dissertation research is devoted to this question (M. Borisenko, B. Borodin, N. Ivanchej, M. Parshin, T. Smirnova). However, the editing of violin music for four-string domra in terms of the interpretation of the author’s first text did not become the subject of a special study. It should be noted the identity of the building violin and four-string domra. The violin and domra have unique sound images, which also determines the specificity of the artistic translation, its meaning and result. Objectives. The purpose of the study is to comprehend the phenomenon of editing violin works for four-string domra as an artistic interpretation of the author’s first text (in connection with the sound creation will of the performer). Methods. In connection with the communicative specifics of the violin music editions for the four-stringed domra, the methodological basis of the proposed research was the concept of J. Lotman, according to which the interpretation of the text is possible thanks to the translation mechanism. In accordance with the specifics of the musicians artistic practice, the methodological basis of the study was the concept of K. A. Martinsen about the sound-making will of the performer, which also manifests itself in the creation of editions of violin works for four-string domra and then their performing interpretation. The proposed article is devoted to the specifics of the manifestation of the sound-making will in the process of translating into the language of another instrument (from the violin original to the timbrearticulation re-toning of a domrist). Results. K. A. Martinsen holds the idea that the pianists technique must be inextricably linked with his artistic ideals, that is, the sound-making will. In the case of revisions of the repertoire of the violin for four-string domra, one can also speak about the sound-making will, which manifests itself not only in the artistic concept of interpreting the first text, but also the will to timbre, which is connected with the work on sound quality and its coloring. The strong-willed start is clearly manifested when timbre-articulation re-intoning in the editorial offices of violin music for four-string domra. The will to intonate a musical text is associated with the timbre-articulation features of the instruments. In connection with the interpretation of the musical text, intonation is relevant (concept by T. Verkina), that is, generated by the individual interpretation of the performer, the study of the composers text and he understanding of the sound images of the work. The sound will manifests itself through the sound extraction and sound science, which are inextricably linked with the specifics of articulation. In connection with the acoustic characteristics, the difference in the articulation apparatus is different, the timbre color of the sound of each of the instruments – the violin and the domra – is different. Hence the difference in the volitional regulation of intonation – the performing will to sound, timbre, sound, continual deployment of musical thought. The color of the work that acquires a new timbre-articulatory interpretation also changes. Due to the specifics of the domra sounding, a priori intermittent discrete sound is inherent, however, a separate sound due to the will of the performing musician to sound science is extended into the sounding continual melody. There is no doubt that domra is a singing instrument. The piano is a keyboard- stringed percussion instrument, which in the hands of the pianist-musician also becomes melodious. The predecessors of the piano – the harpsichord, the clavichord – the sound could be extended with the help of a trill. Performers on domra this task achieve with the help tremolo as one of the most common methods of playing the instrument. Tremolo on domra can be likened to treble vibrato. For the dombrist, the will to sound is consistent with the desire to extend each individual sound extracted by a pinch, and to include it in the melodic line. A violinist connects sounds with the help of a bow, in connection with which his instrument differs from a domra in articulation, a way of sound and sound. The nature of the violin contributes to greater continuity of intonation, while the domrist achieves a similar result, contrary to the nature of the instrument. When creating editions of violin works for four-string domra, one should speak about the memory of the first text (the violin original and its performance versions). After all, for the creator and performer of the editors of violin compositions for four-string domra, the first text acts as a source of sound images, ideas about the specifics of its timbre field and articulation, artistic expressiveness of strokes, which determines the specifics of communicative processes in this form of artistic practice. At the same time, the translation of the text is required, which requires the domrist-interpreter to connect editorial thinking and sound creation will. Conclusions. So, addressing the classics of the violin repertoire, the dоmrists are guided by the violin original in its graphic and sound projections. The domrists sound-making will is initiated by the desire to re-enter the original violin version, which is inextricably linked with the instruments nature – the conditions of sound formation, the specifics of its timbre and articulation, and the performing intonation. The main provisions of the publication can be used for further study of the revisions of violin works for four-string domra as an artistic phenomenon in the relationship of the three components: the text of the work – the nature of the instrument – the performer’s interpretation.

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Reymore, Lindsey, Jason Noble, Charalampos Saitis, Caroline Traube e Zachary Wallmark. "Timbre Semantic Associations Vary Both Between and Within Instruments". Music Perception 40, n.º 3 (1 de fevereiro de 2023): 253–74. http://dx.doi.org/10.1525/mp.2023.40.3.253.

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The main objective of this study is to understand how timbre semantic associations—for example, a sound’s timbre perceived as bright, rough, or hollow—vary with register and pitch height across instruments. In this experiment, 540 online participants rated single, sustained notes from eight Western orchestral instruments (flute, oboe, bass clarinet, trumpet, trombone, violin, cello, and vibraphone) across three registers (low, medium, and high) on 20 semantic scales derived from Reymore and Huron (2020). The 24 two-second stimuli, equalized in loudness, were produced using the Vienna Symphonic Library. Exploratory modeling examined relationships between mean ratings of each semantic dimension and instrument, register, and participant musician identity (“musician” vs. “nonmusician”). For most semantic descriptors, both register and instrument were significant predictors, though the amount of variance explained differed (marginal R2). Terms that had the strongest positive relationships with register include shrill/harsh/noisy, sparkling/brilliant/bright, ringing/long decay, and percussive. Terms with the strongest negative relationships with register include deep/thick/heavy, raspy/grainy/gravelly, hollow, and woody. Post hoc modeling using only pitch height and only register to predict mean semantic rating suggests that pitch height may explain more variance than does register. Results help clarify the influence of both instrument and relative register (and pitch height) on common timbre semantic associations.

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Xing, Xin. "TAN DUN'S VIOLIN CONCERTO "THE LOVE" AS A REFLECTION OF STYLISTIC DIVERSITY OF MODERN COMPOSITION". Arts education and science 1, n.º 3 (2020): 61–74. http://dx.doi.org/10.36871/hon.202003008.

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The article analyzes "The Love" Violin Concerto (2009) by the famous Chinese and American composer Tan Dun in contextual, composing and linguistic aspects. Based on the statements of his contemporaries, the author considers the composer's musical and aesthetic views that determine the originality of his style, organically combining avant-garde techniques with elements of traditional Chinese music. Tan Dun's Violin Concerto exists in three versions with different titles ("Out of Peking Opera" 1987, "The Love" 2009, "Rhapsody and Fantasy" 2018), representing different artistic concepts with a new viewpoint on the same intonational material. Three movements of the Concerto "The Love" reflect the evolution of feelings at different stages of human life. The composer manages to combine the idea of "national" (a tendency going back to the version of the Concerto "Out of Peking Opera" 1987) with a philosophical understanding of the category of love. The paper discusses the originality of the dramaturgy of "The Love" Violin Concerto, which assumes the third part as the main center (based on the development of thematic material of the first and second movements), the consolidation of parts of the attacca cycle and the rondality of the musical form. The most important peculiarity of the composition is the mixture of elements belonging to different cultural and temporal layers of music. The stylistic diversity of Tan Dun's Concerto is reflected in the following details: the composer's introduction of a stylized tune from the Beijing Opera erhuang, speech intonations resembling recitatives of Chinese dramas, borrowings from his own film music (the second movement), the use of methods typical for traditional Chinese music, yaoban and sanban, the timbre of oriental percussion instruments in a classical symphony orchestra, as well as dodecaphone techniques, aleatorics and Hip-hop rhythms. Special attention in the article is paid to interpretation of expressive possibilities of solo violin: methods of classical-romantic technique are synthesized with traditions of performance on Chinese stringed instruments.

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Murcahyanto, Hary. "Aransemen Lagu Lembaga Kita Dalam Ansambel Campuran". PROMUSIKA 8, n.º 1 (3 de abril de 2020): 30–35. http://dx.doi.org/10.24821/promusika.v1i1.4196.

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Lagu Lembaga Kita karya TGKH. Muhammad Zainuddin Abdul Majid sebelumnya berbentuk musik kasidah kemudian diaransemen dalam musik electon. Lagu Lembaga Kita memiliki bentuk musik dan pola akor yang sederhana, tetapi cukup dikenal dan popular dikalangan masyarakat khusunya kalangan masyarakat Nahdlatul Wathan. Seiring perkembangan zaman dan sudah beberapa tahun belum ada bentuk aransemen yang baru, maka peneliti bertujuan untuk mengaransemen lagu tersebut dengan mendeskripsikan bentuk, struktur dan pola aransemen lagu Lembaga Kita dalam ansambel campuran. Jenis penelitian ini menggunakan metode deskriftif kualitatif, sedangkan tekhnik pengumpulan data dilakukan dengan tekhnik triangulasi data yaitu observasi wawancara, dan pengumpulan data dengan dokumen. Data yang didapat kemudian dikaji dan diaransemen atau digubah kedalam bentuk ansambel campuran. Dari hasil penelitian yang dilakukan maka dapat ditarik kesimpulan sebagai berikut: Lagu Lembaga Kita termasuk ke dalam struktur homophony, dilihat dari tekstur musiknya dan dilihat dari struktur aransemennya. Terdapat 88 birama pada lagu Lembaga Kita secara keseluruhan oleh beberapa instrument biola 1, biola 2, biola3, piano, bass, guitar elektrik, guitar klasik, drum dan paduan suara dan dimainkan dalam tangga nada E minor atau tangga nada 1# yang berarti G mayor.AbstractArrangement of Lembaga Kita Songs in Mixed Ensembles. Lembaga Kita song creat by TGKH. Muhammad Zainuddin Abdul Majid was previously in the form of Kasidah music then arranged in electone music. Lembaga Kita song has a simple form of music and chord pattern, but it is well known and popular among the people, especially the Nahdlatul Wathan people. Along with the times and there have been no new arrangements for several years, the researchers aim to arrange the song by describing the shape, structure and pattern of the arrangements of the Lembaga Kita song in a mixed ensemble. This type of research uses qualitative descriptive methods, while data collection techniques are carried out with data triangulation techniques, namely interview observation, and data collection with documents. The data obtained is then reviewed and arranged or changed into a mixed ensemble. From the results of the research conducted it can be concluded as follows: Lembaga Kita song is included in the structure of homophony, seen from the texture of the music and viewed from the structure of the arrangement. There are 88 bars on the Lembaga Kita song as a whole by several violin instruments 1, violin 2, violin 3, piano, bass, electric guitar, classical guitar, drums and choir and played on the E minor scale which means G majorKeywords: arrangement; Lembaga Kita Song; mixed ensemble

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Taş, Fırat. "Challenges and Solutions in Developing Right Hand Techniques in Amateur Violin Education". Shanlax International Journal of Education 11, S1-Oct (1 de outubro de 2023): 39–46. http://dx.doi.org/10.34293/education.v11is1-oct.6518.

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Amateur music education, which individuals pursue with a hobbyist spirit based on their own desires and interests, can be defined as music education received for personal enjoyment. In Turkey, it is observed that individuals engaged in amateur music education mostly focus on instrumental training, with the violin being one of the most preferred instruments. In the process of violin education, which holds significant importance in both professional and amateur instrumental training, the identification and resolution of issues related to the right hand is crucial for a healthy progression of the education process. This study, which aims to examine various right-hand problems encountered by amateur violin students and to offer solutions, uses a mixed-methods approach that collects and analyzes data from both qualitative and quantitative sources. The related literature was examined in the qualitative portion of the research to identify the right hand-based challenges faced in amateur violin education and to expose the current state of the problem. The quantitative data utilized in the study were gathered by the researcher’s examination of the participants’ video recordings (n=10)in which they perform assigned musical exercises that require different bowing techniques. The six relevant items of the “String Performance Rating Scale” developed by Zdzinski and Barnes (2002) were used in the evaluation of the participants’ video recordings. Based on the obtained data, solution proposals were developed for resolving the issues related to the right-hand technique.

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Patil, Sanjay Sitaram. "Use of Physical Concepts in Musical Instruments and their Use in Cinema". VEETHIKA-An International Interdisciplinary Research Journal 6, n.º 4 (27 de novembro de 2020): 1–4. http://dx.doi.org/10.48001/veethika.2020.06.04.001.

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Cinema without music is now a days beyond imagination. Whatever musical instruments used in the making of Cinema are based on Physical Concepts. One of the concepts is frequency. Frequency is nothing but the number of vibrations per second. Different frequencies forms melodious compositions. There are many musical instruments like Pan flute, Sitar, Violin, Harmonium etc are all Physical Concepts dependent musical instruments. How Physical Concepts play important role in the making of such musical instruments is presented in this paper. Unwanted continuous disturbance due to vibrations in air is noise and composition disturbance of different frequencies called sound. Music is sound with a discrete structure. Noise is sound with a continuous structure. Music is composed of sounds with a fundamental frequency and overtones. Noise is composed of sounds with frequencies that range continuously in value from as low as you can hear to as high as you can hear — not necessarily at equal intensity

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Tejada, Jesús, e María Ángeles Fernández-Villar. "Design and Validation of Software for the Training and Automatic Evaluation of Music Intonation on Non-Fixed Pitch Instruments for Novice Students". Education Sciences 13, n.º 9 (23 de agosto de 2023): 860. http://dx.doi.org/10.3390/educsci13090860.

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Music education, whether professional or amateur, includes learning musical instruments. Intonation is a critical factor in their training. The main objective of this research work is the design and validation of online educational software for the real-time training and evaluation of intonation in non-fixed pitch musical instruments, such as fretted string instruments (violin, viola, and cello) and brass instruments (trumpet, horn, and trombone). This software is intended to create a practice artefact for novice music students. A design sciences research methodology is adopted to achieve a product tested for functionality and usability. Novice students carry out the validation phase through a study consisting of previous practice with the software and the administration of a questionnaire with open-ended items grouped in technical-didactic, emotional, and overall dimensions, plus two additional questions. The results show evidence that the software was well received, confirming previous studies on the design and validation of educational music education software.

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Thorn, Seth Dominicus. "Flows of Inhomogeneous Matter: Improvising an augmented violin". Organised Sound 26, n.º 1 (abril de 2021): 65–77. http://dx.doi.org/10.1017/s1355771821000066.

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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.

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Askenfelt, Anders, e Erik V. Jansson. "On Vibration Sensation and Finger Touch in Stringed Instrument Playing". Music Perception 9, n.º 3 (1992): 311–49. http://dx.doi.org/10.2307/40285555.

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The vibration levels in four traditional stringed instruments during playing have been investigated, including the double bass, violin, guitar, and the piano. The vibration levels, which were measured at several positions and at different dynamic levels, were evaluated with respect to reported thresholds for detection of vibrotactile stimuli. The results show that the vibration levels are well above threshold for almost all positions on the instruments in normal playing. It is concluded that the perceived vibrations may be of some assistance with regard to intonation in ensemble playing, in particular for the bass instruments. The finger forces exerted when playing the bowed strings, as well as the touch forces in piano playing were studied briefly. It was concluded that the kinesthetic forces perceived in playing may assist the timing in performance.

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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, n.º 56 (10 de julho de 2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.

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Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.

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Budhiono, Sofia Shieldy, e I. Dewa Made Bayu Atmaja Darmawan. "Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method". JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, n.º 3 (25 de janeiro de 2020): 347. http://dx.doi.org/10.24843/jlk.2020.v08.i03.p18.

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Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a library for audio processing. The purpose of making this system is to facilitate the identification of pitch from a solo instrument music. This Application Feature itself besides being able to show the results of pitch transcription can also display the Onset Graph, Signal Graph play the results of the synthesis transcribed audio sounds. Testing in this study uses audio sourced from 4 single instruments, there are flute, piano, violin and acoustic guitar. The test results show that the implementation of the autocorrelation method in the solo instrument tone transcription application has an accuracy of 92.85%.

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Sciaroni, Rose A., Heather L. Beers, Brenda L. Brenner e Robert J. Wilson. "String Music Education Research: A Content Analysis of Peer-Reviewed Journals From 1990–2021". Bulletin of the Council for Research in Music Education, n.º 235 (1 de janeiro de 2023): 61–79. http://dx.doi.org/10.5406/21627223.235.04.

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Abstract The purpose of this study was to identify trends in string research published in peer-reviewed music education research journals between 1990 and 2021. String education research was defined as scholarly articles in which the purpose of the article pertained specifically to string education and/or at least 33% of the participants played bowed stringed instruments. Peer-reviewed journals were determined based on Hamann and Lucas's (1998) list of top-tier journals, Farmer and Kloss's (2022) quasi-replication of that study, a 2006 list compiled by a music education researcher, and an informal survey of music education faculty at a large midwestern university. The resulting list included the Journal of Research in Music Education, Psychology of Music, Bulletin of the Council for Research in Music Education, Music Education Research, International Journal of Music Education, Research Studies in Music Education, Philosophy of Music Education Review, Journal of Historical Research in Music Education, and String Research Journal.For each journal issue, the researchers counted the total number of scholarly articles (N = 4,727) and the total number of string education research articles (n = 276). String education articles represented less than 6% of the total scholarly articles, or less than 5% without the String Research Journal. The method, instruments, participants, and topic of each string article were also recorded. Descriptive research methods were used most frequently, strings and violin were the most frequent instrument categories studied, university students were the most studied participant population, and musical training and skills was the most frequently investigated topic.

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Mottershead, Tim. "Manchester, Bridgewater Hall: Concertos by Hakola and Broström". Tempo 67, n.º 265 (julho de 2013): 75–77. http://dx.doi.org/10.1017/s0040298213000508.

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Given that the BBC Philharmonic had taken the courageous step to perform not one but two substantial premières on 1 February, one might have expected enticing potboilers to make up the rest of the menu. However, the remainder of the programme was devoted to Stravinsky's Petrushka (admittedly his most colourful ballet) along with his austere Symphonies of Wind Instruments. The concert was given a novel twist in that the first half (Symphonies of Wind Instruments and Hakola Violin Concerto) was directed by visiting guest conductor Håkan Hardenberger with John Storgårds as soloist; whilst in the second half (Broström Trumpet Concerto and Petrushka) Storgårds donned his more familiar guise as Principal Guest Conductor, with Hardenberger in his better-known role as trumpet soloist.

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