Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [121]-122).

This thesis explores Lucien Capet's bowing technique and identifies connections to contemporary violin bowing practices. It includes a developed biography of Capet; a review of the Capet treatise; a historical analysis linking Capet's bowing technique back to his predecessor Baillot and forward to the present day; a detailed comparative analysis that determines Capet's pedagogical connections to Ivan Galamian and Simon Fischer; and an examination of the ramifications of the results including the the finding that Capet's technique is a viable and important component to developing refined contemporary bowing technique.

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Treatise (D.M.A.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-10-07T16:48:13Z No. of bitstreams: 1 arquivototal.pdf: 18219531 bytes, checksum: 0e90b5a1339f54b242beb9a61d7e6e1b (MD5) / Made available in DSpace on 2016-10-07T16:48:13Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 18219531 bytes, checksum: 0e90b5a1339f54b242beb9a61d7e6e1b (MD5) Previous issue date: 2015-03-30 / Various compositions and violin musical creations were developed with the tonal system and diatonic scale. And many musical contemporary works are like construction tools that favor the technical standard learning and giving considerable importance to scale studies. Currently, the execution of musical works is to get into music courses in schools, conservatories and universities. Considering this, the present study intended to make a descriptive, comparative and reflective analysis of the scale systems of violin from Carl Flesch (1926), Ivan Galamian (1985) and Simon Fischer (2012), checking their main characteristics, similarities and differences of approach and the design of teaching methodology. The above-mentioned authors´s works exercised and still influence on practice and on the technique of violinists generations. So the intention of the present work is, with the bibliographical, exploratory and descriptive research, to help the student with his contact to the scale systems, promoting an access to educational content and the study proposals. In order to facilitate the contact of student with the various types of technical approaches and points of view, we identify similarities and differences in relation with the left hand as fingerings, position changes, chromatic scales, double stops, "broken" thirds , arpeggios, tenths, octaves, articulations and the challenges of the right hand, on the subject of sound production, diversity of rhythms and of bowings. With this, we question the efficiency of exercises and the real motivations led these authors to write their systems. The differences of technical approaches, styles and teaching methodologies also contribute to the clarification and understanding of the changes that occurred in the period that each method was written. / Com a consolidação do sistema tonal e sua consequente formação escalar diatônica, diversas composições e criações musicais para o repertório do violino foram desenvolvidas. E muitas obras musicais da contemporaneidade são como ferramentas de construção que favorecem a aprendizagem técnica padrão e conferem ao estudo de escalas uma considerável importância. Na atualidade, frequentemente a execução de escalas é exigida em testes de admissão para cursos de música em escolas, conservatórios e universidades. Considerando o exposto, o presente estudo pretendeu fazer uma análise descritiva, comparativa e reflexiva entre os sistemas de escalas para o violino de Carl Flesch (1926), Ivan Galamian (1985) e Simon Fischer (2012), verificando suas principais características, semelhanças e diferenças na abordagem e na concepção da metodologia de ensino. Considerando que os trabalhos dos autores citados exerceram e, ainda, exercem influência na prática e técnica de várias gerações de violinistas, buscou-se com a pesquisa bibliográfica, exploratória e descritiva, auxiliar o estudante no seu contato com o sistema de escalas, promovendo um acesso ao conteúdo de ensino e às propostas de estudo. A fim de facilitar a aproximação do aluno com os diversos tipos de abordagens técnicas e dos pontos de vista, identificamos as semelhanças e diferenças em relação à mão esquerda, tais como dedilhados, mudanças deposição, escalas cromáticas, cordas duplas, terças “quebradas”, arpejos, décimas, oitavas, articulação e agilidade dos dedos, assim como os desafios da mão direita, no que diz respeito à produção sonora, diversidade de ritmos e de arcadas. Com isso, questionamos a eficiência dos exercícios e compreendemos as reais motivações que conduziram esses autoresa escreverem seus respectivos sistemas. As diferenças de abordagens técnicas, distintos estilos e metodologias de ensino também contribuem para o esclarecimento e entendimento das mudanças ocorridas no período em que foi escrito cada método.

Orientador: Emerson Luiz De Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T08:41:14Z (GMT). No. of bitstreams: 1 Kakizaki_ValterEiji_M.pdf: 7721830 bytes, checksum: 6364af8be28879188712d29b477bdcc2 (MD5) Previous issue date: 2014 / Resumo: Este trabalho tem por finalidade a compreensão e comparação dos pensamentos de dois dos mais importantes pedagogos do ensino de violino no século XX, Carl Flesch e Ivan Galamian, e averiguar suas influências nos dias de hoje em vídeos disponibilizados na internet. Inicialmente levantamos nos livros The Art of Violin Playing (Carl Flesch, 1923) e Principles of Violin Playing and Teaching (Ivan Galamian, 1962) as principais ideias desses autores sobre aspectos gerais, técnicos e interpretativos, fazendo uma comparação entre suas propostas pedagógicas. Em seguida analisamos os materiais pedagógicos postados na internet por professores de reconhecida competência, Todd Ehle e Kurt Sassmannshaus, observando os mesmos aspectos e parâmetros observados nos livros, verificando como as informações transmitidas por esses últimos se relacionam com as técnicas sugeridas por Carl Flesch e Ivan Galamian / Abstract: The purpose of this study is to understand and compare the thoughts of two of the most important violin pedagogues of the 20th Century, Carl Flesch and Ivan Galamian, and investigate their influences nowadays in videos available on the internet. Therefore, we summarized the main ideas presented by the two authors regarding general, technical and interpretative aspects in the books "The Art of Violin playing " (Carl Flesch, 1923) and "The Art of Violin Playing and Teaching" (Ivan Galamian, 1962), making a comparison between their pedagogical proposals. Then, we examined the pedagogical materials posted on the internet by professors of recognized competence, Todd Ehle e Kurt Sassmannshaus, observing the same aspects and parameters discussed in the two books, verifying how this more recent material relates to the techniques suggested by Carl Flesch and Ivan Galamian / Mestrado / Praticas Interpretativas / Mestre em Música

Ivan Galamian's formidable reputation as a violin teacher is internationally recognized. Many of the world's outstanding violinists studied with him at the Curtis Institute in Philadelphia or The Juilliard School in New York City, and their fame perpetuates his. At the same time, very little is known about Galamian's early years, his exact methods on the violin, his nature as a teacher, and the general question of how he accomplished such outstanding results with his students. This lack of awareness is the case in the United States, where many of his students are aging or deceased. Members of the youngest generation of violinists tend to have only a vague awareness of his writings and perhaps familiarity with his scale method - even if they are close to Galamian in the "family tree" of violinists. This lack of awareness appears to be even more the case in Europe, whose music schools and orchestras are less likely to contain Galamian students (though they certainly do). The goal, then, of this thesis is to shed much-needed light on the extraordinary life, thoughts, and teaching of Galamian. The reader should come away with an increased awareness of an important life in the history of the instrument, greater awareness of key technical points on the instrument, and an understanding of what made Galamian - and could make any aspiring teacher - great. There is also an attempt to provide balanced criticism of Galamian's method so that the reader may see what did not work in his teaching and so that our awareness of Galamian is not simply as a mythic figure but as a fully three-dimensional participant in the history of the violin.

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