Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Feb. 9, 2004, Nov. 15, 2004, Apr. 18, 2005, and Oct. 9, 2006. Includes bibliographical references (p. 37-[39]).

Treatise (D.M.A.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Violin virtuosos Henryk Wieniawski, Ole Bull, and Pablo de Sarasate each composed short virtuosic works based on their own cultural heritage. This thesis examines the exotic elements incorporated into the character pieces by the three violinists. It draws upon contemporary literature and newspaper reviews of their performances in order to demonstrate the ways in which the violinists and their music were perceived as representative of nineteenth-century exoticism. Wieniawski, whose musical training was primarily French, produced exotic Polish polonaises and mazurkas, which were perceived as evidence of Polish national character, but only in his homeland of Poland. In contrast, Ole Bull's Norwegian heritage was central to his professional persona. His compositions were influenced by Norwegian fiddling and fiddle tunes as well as the pastoral conventions of European art music. Sarasate drew on music from a wide variety of geographical and cultural regions within Spain in his Spanish dances. While his dances were extrememly popular with audiences, critical reception was often dismissive. The individual personas and international receptions of Wieniawski, Bull, and Sarasate were shaped by the musical characteristics of their homelands heard in their works.

Denna skriftliga reflektion inom självständigt konstnärligt arbete behandlar klassisk musik och filmmusik som musikformer. I studien analyseras och diskuteras emotionella upplevelser hos musikern vad gäller likheter och skillnader med inriktning mot den typiska romantiska stilen. Syftet är tvåfaldigt: i) att som musiker och violinist i ett konsertsammanhang framföra fyra verk: två från den klassiska romantiska repertoaren, två från filmmusikrepertoaren; ii) att som musiker analysera hur jag interpreterar och upplever klassisk musik och filmmusik. De två spåren täcker in det väsentligaste för att komma fram till ett svar på vad likheterna och skillnaderna innebär för upplevelser av musiken. Studiens resultat påvisar att jag som musiker upplever en skillnad i hur jag instuderar och interpreterar de fyra musikstyckena utifrån om det är klassisk musik eller filmmusik. Klassisk musik upplever jag som mer konventionsstyrd medan filmmusik möjliggör en friare interpretation.

Pablo de Sarasate (1844-1908) contributed to the development of violin performance through his innovative virtuosic techniques and popular Spanish characteristics, and his influence on violin performing style remains even in the present day. He composed virtuosic compositions to showcase his excellent technique, and well-known composers of the time such as Camille Saint-Saëns and Edouardo Lalo composed for him as well. These compositions include not only virtuosity but also Spanish characteristics that were suitable to Sarasate's nationalistic heritage. The combination of Spanish and virtuosic characteristics made these pieces as standard violin repertoire for modern violinists. At the end of the nineteenth century, it was his distinct performance style that broke the boundary of technical virtuosity in violin performing. The following generations - Kreisler, Heihetz, and in the present day, Isaac Permann - developed their performance techniques based on Sarasate's performance style. To examine Saraste's influences and contributions to the development of violin performing style, this dissertation focuses on Sarasate's performance practices, his technical developments, his unique style of playing, and his music to discuss his influences on composers and violinists alike. This study places Sarasate's performance style in the context of nineteenth- and twentieth-century violin performance practices through a discussion of major violin schools such as Franco-Belgian and German schools. The study is of Sarasate's repertoire such as his Zigeunerweizen and Saint-Saëns's Introduction and Rondo Capriccioso, which offers an interpretation of Sarasate's contributions to the development of violin literature and performance practice. Since his performance style can be observed not only in the scores and commentary of his contemporaries but also in recordings, this study also includes a comparison of recordings by various violinists such as Sarasate, Kreisler, and Heifetz to reinforce the discussion of individual performing styles and Sarasate's influences. Through his contributions to the development of violin performance, Sarasate made himself one of the most renowned figures in the history of the violin.

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