Two important parts of violin pedadogy are left hand and right hand technique. Of these two parts, the right hand technique is eminently more complex, and causes greater frustration for the player. Bow technique Is a combination of many diverse functions in the left arm, and requires great agility and cooperation from the arm and back muscles. Because most of the expression and interpretation of the music comes through the bow, it is important that there be no obstacles confronting the player that would hinder a quality performance.How, then, is such a complicated art taught to students of the violin? In the years preceding World War II, the majority of teachers developed their own methods based on personal experience and pedagogic knowledge. Because pedadogic knowledge was often scant, personal experience was the basis of one's technique, which consisted of a system of rules designed to work for that individual. This method could be impractical when applied to others.By the twentieth century, two schools of bowing technique had been developed and proved to be the most successful in producing superior violinists. Both the Franco/Belgian andRussian methods of bowing are grounded in the Viotti tradition, which, through the past two centuries, has proven to contain the basic, fundamental principles of successful bow technique.It took a few more years to commit these methods to paper and be published, which allowed standard bowing technique to circulate beyond the few prominent music schools and conservatories. Yet, even today, many teachers are unaware of these two schools of bowing, and how they can guide both the teacher and pupil to satisfactory results when confronted with bowing problems.This dissertation presents the history of bowing technique from the first appearance of the violin to the development of Franco/Belgian and Russian bowing techniques. It compares and contrasts the two methods, and examines how the use of either bow grip will affect the execution of the bow strokes. Finally, this work analyzes the strengths and weaknesses of each method, and how one determines which method will accomplish the desired results and help each student to develop to his/her full potential by allowing for individual differences. / School of Music

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Thesis (D.M.A.)--University of Rochester, 1968. / Vita. Includes tables (5 fold.) in pocket. Bibliography: leaves 434-439. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7697

Treatise (D.M.A.) Florida State University, 2007. / Advisor: Alexander Jiménez, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-26-2008). Document formatted into pages; contains 42 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.Mus.) -- University of Adelaide, Dept. of Music, 1980.

Thesis (DCA)--University of Wollongong, 2005. / Typescript. Bibliographical references: leaf 78-81.

Thesis (D. Mus. Arts)--University of Washington, 1992. / Vita. Includes bibliographical references (leaf [75]).

Thesis (D. Mus. Arts)--University of Washington, 1998. / Vita. Includes: Appendix: Discography of Steven Staryk's recordings. Includes bibliographical references (leaves [81]-82).

Thesis (Ed.D.)--Teachers College, Columbia University, 1993. / Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 93-45).

Thesis (D.M.A.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains x, 99 p.; also includes graphics (some col.) Includes bibliographical references (p. 96-99). Available online via OhioLINK's ETD Center