1,755,377 research outputs found
Ronald Patterson, Violin; Wayne Crouse, Viola
No full textPassacaglia for Violin and Viola, George Frideric Handel (1685-1759) -- Duo for Violin and Viola, K.423, Wolfgang Amadeus Mozart (1756-1791) -- Three Madrigals for Violin and Viola, Bohuslav Martinů (1890-1959) -- Seranade in D Major, Op. 25, Ludwig van Beethoven (1770-1827
Efficiency of movement in violin bowing
No full textWord processed copy.Includes bibliographical references (leaves 72-75).This dissertation presents a study and critical analysis of violin bowing technique. The works of some of the great twentieth century violin pedagogues were studied and their ideas on efficiency of movement, posture and balance in violin playing are highlighted. Motion analyses comparing linear and non-linear bowing styles were conducted using digital motion-tracking techniques
Master's Recital: Yung-Hwi Tuan, violin
No full textThis recital is given in partial fulfillment of the requirements for the Master of Music degreeMr. Tuan is a student of Eudice Shapiro and Raphael FliegelSonata in A, op. 100, Johannes Brahms (1833-1897) -- Sonata in A Minor for Solo Violin, Johann Sebastian Bach (1685-1750) -- Suite pour Violin et Piano (d'aprés des thèmes, fragments et morceaux de Giambatista Pergolesi), Igor Stravinsky (1882-1971
Junior Recital: Steven McMillan, violin
No full textMr. McMillan is a student of Ronald Patterson.Sonata in B-flat Major, K. 454, Mozart -- Sonata in A, Op. 100, Brahms -- Elegy for Violin and Percussion, John Carbon -- Poeme for violin and piano, Op. 25, Chausso
Investigating Performer Uniqueness: The Case of Jascha Heifetz
No full textThis thesis is based on the conviction that the greatest musical performers of history can and should be granted the same level of academic scrutiny and study as is so often received by the greatest composers. Composers had the early advantage of producing durable manuscripts, while performers prior to the age of recording were unable to leave more than impressions in the minds of those who heard them. With the recent successes of numerous investigations into performance and recordings, including the CHARM and CMPCP projects, such studies are becoming ever more viable and significant.
The thesis focuses on the violinist Jascha Heifetz (1901-1987) and primarily his performances of the Bach solo violin works (BWV 1001-1006). While there have been studies of individual pieces, of particular performers, and of multiple recordings of the same piece, a study focussing on specific repertoire played by a specific performer is something that has been somewhat overlooked in the literature. The thesis draws on numerous methods to distil what is distinctive and unique about Heifetz. This includes an examination of what and how the performer played, why the performer played that way, and how that way of playing compares to other performers. The study concludes with a discussion of Heifetz’s unique performer profile in the context of violin performance history.
Focussing on one of the most famous and successful performing musicians of the twentieth century along with some of the most frequently played pieces, this case study will suggest research methods and approaches transferable to related studies. The thesis draws on original interviews with former Heifetz students, friends, and colleagues, and on over thirteen months of archival research in the Jascha Heifetz Collection held by the Library of Congress. This array of previously untapped material aided the analytical and empirical investigations into Heifetz’s uniqueness
Advanced Recital: Yung-Hwi Tuan, violin
No full textThis recital is given in partial fulfillment of the requirements for the Master of Music degreeMr. Tuan is a student of Eudice Shapiro and Raphael FliegelRomanze in G Major, Op. 40, Ludwig van Beethoven (1770-1827) -- Sonatensatz, Op. posth. Scherzo, Johannes Brahms (1833-1897) -- Partitia in E Major for solo violin, Johann Sebastian Bach (1685-1750) -- Concerto No. 3 for violin and piano, Wolfgang Amadeus Mozart (1756-1791) -- Legend ; Polonaise de Concert, No. 1, Op. 4, Henry Wieniawsky (1835-1880) -- Encore
Ali Forough, violin; Carolyn McCracken-Forough, piano
No full textSonata in G Minor, Op. Posth. ("Devil's Trail"), Giuseppe Tartini (1692-1770) -- Sonata for Piano and Violin in E-flat, Op. 12, No. 3, Ludwig van Beethoven (1770-1827) -- Rhapsody No. 2, Béla Bartók (1881-1945) -- Sonata for Violin and Piano in G Minor, No. 3, Claude Debussy (1862-1918) -- Berceuse, Op. 16, Gabriel Fauré (1845-1924) -- Tzigane ("Rapsodie de Concert"), Maurice Ravel (1875-1937) -- Encore : La fille aux cheveux de lin, Claude Debussy (1862-1918
Violin and piano sonata recital
No full textSonata in G major for violin and piano, BWV 1019, Johann Sebastian Bach (1685-1750) -- Sonata no. 1 in D minor, op. 75, Camille Saint-Saëns (1835-1921) -- Sonata no. 3 in D minor, op. 108, Johannes Brahms (1833-1897
The physiological learning process underlying the development of left-hand technique in violinsts
No full textIncludes bibliographical references (leaves 44-46).In violin pedagogy, the left hand has often been referred to as the artisan and the right hand the artist of the violinist. This general approach to the playing of the violin sheds light on the importance that must be placed on the development of a sound left-hand technique from an early stage. This research was inspired by the ideas of one of the leading string pedagogues of today, Prof. Jack de Wet, whose successful synthesis of the science and art of music making is reflected in his teachings. In this dissertation the relevance of physiological aspects, such as sensorimotor development, is discussed in light of their influence on the basic development of technical aspects of the left hand in violinists. This study endeavours to highlight the role and importance of physiological aspects in the development and transition of the violinist from a """"machine for playing the violin"""" to that of a """"machine for making music""""
Regular expressions as violin bowing patterns
No full textString players spend a significant amount of practice time creating and learning bowings. These may be indicated in the music using up-bow and down-bow symbols, but those traditional notations do not capture the complex bowing patterns that are latent within the music. Regular expressions, a mathematical notation for a simple class of formal languages, can describe precisely the bowing patterns that commonly arise in string music. A software tool based on regular expressions enables performers to search for passages that can be handled with similar bowings, and to edit them consistently. A computer-based music editor incorporating bowing patterns has been implemented, using Lilypond to typeset the music. Our approach has been evaluated by using the editor to study ten movements from six violin sonatas by W. A. Mozart. Our experience shows that the editor is successful at finding passages and inserting bowings; that relatively complex patterns occur a number of times; and that the bowings can be inserted automatically and consistently
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