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Analysis and comparative review of Principles of violin playing and teaching by Ivan Galamian /Curtis, Michelle, January 1996 (has links)
Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [121]-122).
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Lucien Capet: comparisons and connections to contemporary violin bowing techniqueJohnson, Kelley Marie 01 May 2010 (has links)
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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Violin Scale Books From Late Nineteenth-Century to the Present – Focusing on Sevcik, Flesch, Galamian, and SassmannshausKim, Heejung 03 October 2006 (has links)
No description available.
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Interpreting J.S. Bach's solo violin sonata and partitas through Leopold Mozart, Joachim/Moser, and GalamianOh, Hea-seung. January 2005 (has links)
Treatise (D.M.A.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.
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Análise comparativa entre os sistemas de escalas para violino de Carl Flesch, Ivan Galamian e Simon Fischer.Dantas, Paula Ferreira 30 March 2015 (has links)
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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.
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Aspectos gerais e técnicos do violino/viola sob a perspectiva de Carl Flesch e Ivan Galamian : suas influências na era digital / General and technical aspects of the violin/viola from the perspective of Carl Flesch and Ivan Galamian : their influences in the digital ageKakizaki, Valter Eiji, 1988- 26 August 2018 (has links)
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
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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
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Pedagogický odkaz Ivana Galamiana. / Ivan Galamian's Pedagogical LegacySnyder, Ian John January 2014 (has links)
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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Optimized Learning Through Etudes According to Four Pedagogues' Principles: Applied study on selected works from <i>24 Studies for Solo Violin </i> by Pierre GaviniesLee, Linda 29 September 2021 (has links)
No description available.
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Interpreting J.S. Bach's solo violin sonata and partitas through Leopold Mozart, Joachim/Moser, and GalamianOh, Hea-seung 28 August 2008 (has links)
Not available / text
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Interpreting J.S. Bach's solo violin sonata and partitas through Leopold Mozart, Joachim/Moser, and GalamianOh, Hea-seung 09 August 2011 (has links)
Not available / text
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