Thesis (D.M.A.)--University of Maryland, College Park, 2006. / For violin and piano. Compact discs; 1st disc on DVD.

Thesis (M.A. (Music))--Mahidol University, 2008. / LICL has E-Thesis 0038 ; please contact computer services.

Thesis (M.M.)--Boston University

Yes. While the results presented in this thesis declare that listeners prefer the recording of an acoustic instrument, there is still a positive response about virtual violins, especially when compared to an unfiltered electric instrument. In this context a virtual violin is the result of convolving the raw signal from an electric instrument with the impulse from a real violin. A key part of this process is the characterisation of this impulse response, of which there are several methods. This thesis explores the use of virtual violins in acoustics research and music performance. The opening chapters provide an overview of the literature about violin acoustics and previous uses of virtual violins. A significant portion of the thesis details the development of a system that is used to produce digital characterisations of violins. The method used involved the measurement of sound radiation from the violin body after it had been excited by an impulse. This impulse is provided by an instrumented hammer, which strikes the violin on the bridge. One of the pitfalls of this method is the imperfect frequency response of the strike, which is corrected using a deconvolution algorithm. Deconvolution is an important part of the process and is discussed at length in the thesis. The described characterisation system utilised a bespoke frame that could hold the violin by the neck and rotate it to a specific angle on a single plane. This enabled the characterisation of a violin at incremental angles. Not only can these characterisations be used for the development of virtual violins, but they can also be used to analyse the spectral properties of the instrument. These characterisations at different angles allowed an examination of the violin's directivity, which explored how the sound energy is distributed from the instrument. Analysis determined that in the mid-range (C4-B5) the sound distribution is fairly isotropic. Outside of these ranges the sound distribution is significantly anisotropic. Finally, the thesis details three psychoacoustic experiments where participants listened to different audio samples and rated them according to their personal preference. The first of these had five virtual violins, of various manufacturers and ages, along with an unfiltered electric instrument. Listeners of mixed musical ability were asked to listen to recorded samples of these instruments and to provide preference scores for each. The experiment found that listeners preferred the sound of virtual violins to the unfiltered electric. The next experiment presented musically trained participants with samples of a virtual violin with varying impulse response lengths. This revealed that there was a sigmoid shaped relationship between the number of coefficients of the violin's impulse response and the listener's preference score. The final experiment was designed to examine the preference scores towards a recording of a real violin and its emulated equivalent. Participants of two groups, one with musical training and one without, took part in the study. The results showed that the real violin was preferred to the emulated violin and that musical training did not have any effect on the preference scores. The statistical analysis also determined that there was no interaction between violin treatment and musical training. An additional question was also posed to the participants post-experiment: Which of the presented samples is the real instrument? The results showed that those with musical training were significantly better at identifying the real instrument compared to those without such training. Speculation is drawn as to why this might be, though it is speculated that the spatial effects, such as those described by Weinreich, had no effect.

<p>Bilaga: 2 CD</p>

Examensarbete 15 hp. Musiklärarexamen

Maurice Ravel (1875-1937) composed two sonatas for violin and piano, first one in 1897 and the later one during the period between 1923 and 1927. The first sonata wasn¡¦t discovered until 1975. The second one is more popular nowadays. In addition to the introduction and the conclusion, this thesis is divided into three chapters. The first chapter provides general information of these two sonatas. It emphasizes on the deep thoughts had given during Revel¡¦s composing, and records of the leading performers and performances of the two sonatas for violin and piano. In chapter two, the author analyzes and compares the structures and the writing methods for each movement from both sonatas. In addition, the author integrates correlations and the breakthrough points in each movement from both sonatas. Last chapter explores the violin techniques of these two works. Musical and technical suggestions are provided on the execution and interpretation. These two sonatas are the only ones written for violin and piano among all the strings chamber music works by Maurice Ravel. They are also the first and the last strings chamber music works Ravel composed. Each of the sonatas represents different music era of Ravel. The similarities and differences of writing style and violin technique used by Ravel in these two sonatas are presented in this thesis. The diversity of Ravel's sonatas for violin and piano certainly enriches the repertoire of performing violinists.

Abstract Igro Stravinsky composed¡§Pulcinella¡¨ballet under the suggestion of Diaghilev in 1919. In this work, most of the melodies are based on Pergolesi as well as his contemporary composers, in addition to Stravinsky' unique features, such as dissonance intervals and unusual rhythmic patterns. The baroque concerto grosso form was used as a vehicle to describe his ideal of neo-classicism. The violin version of¡§Suite Italienne¡¨was composed in 1925. It's six sections: Introduzione¡B Serenata¡B Tarantella¡B Gavotta con due Variaziono¡B Scherzino¡B and Minuetto & Finale, were all selected from the ¡§Pulcinella¡¨. The current violin version was adapted by Dushkin in 1933. Besides the violin version, there are two other versions, one for cello and the other one for orchestra . In addition to the introduction and the conclusion, the main part of this thesis is divided into three chapters. Chapter one is an overview of Stravinsky's background of music composition. The Ballet Russes's director Diaghilev and violinist Dushkin are also mentioned. Chapter two is a comparison of the two different versions between¡§Pulcinella¡¨and¡§Suite Italienne¡¨. The plot of¡§Pulcinella¡¨is also included. The last chapter is a technical analysis of violin playing as well as musical interpretation of ¡§Suite Italinne¡¨.

In the nighteenth century,the Paris Concervatory is the very important musical school and places a key position in France . At that time the Brussels Concervatory also places an important position in Belgium. The characteristic of French Violin School is the beautiful melody, and Belgian Violin School has the brilliant skills of Paganini¡¦s style. Henry Vieuxtemps is the representative of Franco-Belgian Violin School, which are the merge of the above two schools. This study focuses on the background, forms and playing skills of Vieuxtemps¡¦ Concerto No.5 in A minor.

Wolfgang Amadeus Mozart (1756~1791) is one of the most important composers in the Classic period. In his early age, he used to be a virtuoso, played across Europe such as England, France, and Italy, etc. Therefore Mozart was influenced by different styles of music. He then took these different music styles into a refined and harmonious integration. Mozart not only had great dedication in operas, but also in the sonata form with ¡§double exposition¡¨ which he used in the concertos. We can see this progressing from the piano concertos that Mozart composed through his whole life. Although Mozart¡¦s violin concertos belong to his early work, they are the bridge between the concertos with ritornello form in the Baroque period and the sonata form with double exposition in the Classic period. In addition to the preface, this thesis consists of three chapters. The First Chapter mainly summarizes the life of Mozart, dividing into three periods¡Xthe early period (1756~1779), Salzburg period (1773~1782), and Vienna period (1782~1791). The Second Chapter discusses the background of the Mozart¡¦s Violin Concerto No. 4, including the Mozart as a violinist, the interaction between Mozart and other violinists in his time , and the differences between the form of this violin concerto, ritornello form and the sonata form with ¡¨double exposition¡¨. The Third Chapter concentrates on the analysis of the concerto, and the tempo, dynamics, fingerings, and bowings, and the way of playing the decorative notes. In this article, the cadenza written by Joachim was adopted. The writer of this thesis sincerely hopes this article can make some attribution to the persons who are interested in Mozart¡¦s music and play the Mozart¡¦s violin concertos.