The purpose of this work is to set forth the physical characteristics of the generator and resonator of the violin and to determine in what manner and degree they influence the technic of artistically manipulating the instrument.

Orientador: Ricardo Lobo Kubala / Banca: Emerson Luiz de Biaggi / Banca: Esdras Rodrigues / Resumo: Este trabalho apresenta um panorama histórico do desenvolvimento dos meios de ensino de violino, buscando contextualizá-los historicamente e investigá-los por meio de abordagem de caráter interdisciplinar, que procurou suporte, entre outras áreas, na ciência da expertise. Dessa forma, objetivou-se contribuir para a discussão acerca de práticas de ensino atuais. No primeiro capítulo apresentamos metodologias de dois ospedali italianos - instituições precursoras ao conservatório onde ocorria a internação e educação da juventude em situação de vulnerabilidade social. No segundo capítulo, disserta-se sobre a ascensão da música instrumental nos séculos XVI e XVII, o surgimento de uma literatura voltada uma metodização progressiva do estudo do violino e o legado de mestres do Barroco como Arcangelo Corelli e Giuseppe Tartini. Discorre-se, então, sobre aspectos pedagógicos envolvidos no sistema mestre/aprendiz. No terceiro capítulo, investiga-se o advento do Conservatório de Paris e suas consequências para o ensino musical. O quarto e último capítulo tem enfoque na produção dos séculos XX e XXI, quando pedagogos como Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian e Simon Fischer desenvolveram metodologias caracterizados por viés marcantemente analítico e cognitivista. Verificou-se, ao longo da história das práticas de ensino de violino, uma constante - e crescente - preocupação no que se relaciona à qualidade do estudo do instrumento. Concluiu-se que, independentemente da me... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work presents a historic panorama of the development of the methods of violin study, seeking to contextualize them historically and research them through an approach of interdisciplinary character, which sought support, among other areas, in the science of expertise. Thus, the aim is to contribute to the discussion about current teaching practices. In the first chapter we present methodologies from two Italian ospedali - precursory institutions to the conservatory where the lodging and education of youth in situations of social vulnerability occurred. In the second chapter, we discuss the rise of instrumental music in the 16th and 17th centuries, the emergence of literature aimed at a progressive method of studying the violin and the legacy of Baroque masters such as Arcangelo Corelli and Giuseppe Tartini. We then discuss pedagogical aspects involved in the master/apprentice system. In the third chapter, we investigate the advent of the Paris Conservatory and its consequences for musical education. The fourth and final chapter focuses on 20th and 21st century production, when pedagogues such as Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian, and Simon Fischer developed methodologies characterized by substantial analytical and cognitive perpectives. Throughout the history of violin teaching practices, there has been a constant - and growing - concern regarding the quality of the study of the instrument. It was concluded that, regardless of the methodology used, ef... (Complete abstract click electronic access below) / Mestre

The primary research question of this paper examines teachers' philosophies concerning parental involvement and pedagogical practices. Specifically, what are violin teachers' attitudes and practices concerning parental involvement? Secondary research questions were formulated as a result of major topics arising from the review of literature and focused on how and why teachers formed their personal philosophies towards parental involvement. The following research is unique in that it defines the concept of parental involvement directly from the perspective of the teacher. Because anyone teacher oversees the development of many violin students, he/she is in an extraordinary position to comment on factors, conditions and behaviours across a large sample of students with differing types and degrees of parental involvement. Specifically, this study investigates factors of parental involvement that violin teachers believe to have a positive impact on student success.

No abstract available. / Thesis (M.Mus.)-University of Natal, 1987.

Orientador: Ricardo Lobo Kubala / Banca: Emerson Luiz de Biaggi / Banca: Luiz Britto Passos Amato / Resumo: Este trabalho tem por objetivo investigar aspectos técnicos e interpretativos presentes em excertos orquestrais de violino e estudar o potencial de seu uso como ferramenta para o desenvolvimento do violinista. No primeiro capítulo, discorre-se sobre levantamento de material, em que se buscaram informações acerca de excertos orquestrais de violino, no que concerne tanto a seu uso em processos seletivos como a aspectos técnicos e estilísticos relativos a sua preparação e execução. Encontrou-se, além de material acadêmico usual - como dissertações, teses e artigos - vasta referência em sites, blogs, videoaulas e outros meios, com conteúdo substancial, divulgados na internet. São apresentados também os critérios que orientaram a escolha dos excertos investigados no capítulo seguinte. No segundo capítulo, investigam-se aspectos técnico-interpretativos significativos de cada excerto escolhido, e são feitas sugestões de possíveis abordagens interpretativas desses excertos. Por fim, no terceiro capítulo, procura-se estabelecer paralelo entre aspectos presentes no repertório tradicional do violino e nos excertos orquestrais investigados. A relação encontrada entre o material estudado no capítulo 2 e obras como sonatas e concertos - usualmente estudados por violinistas - é rica e evidencia as possibilidades de exploração dos excertos orquestrais como meio de aprendizagem do instrumento. O presente estudo é voltado para estudantes de violino em nível de graduação e, de modo mais amplo, ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work aims to investigate technical and interpretative aspects present in orchestral violin excerpts and to study the potential of its use as a tool for the violinist's development. In the first chapter, we broached the material survey, in which information was sought about violin orchestral excerpts, with respect both to its use in orchestral auditions as well as in the technical and stylistic aspects regarding their preparation and execution. In addition to usual academic material - such as dissertations, theses and articles - it has been found extensive reference in websites, blogs, video lessons and other means, with substantial content released on the Internet. The paper also presents the criteria that guided the choice of excerpts investigated in the following chapter. In the second chapter technical and interpretative aspects of each significant excerpt chosen are scrutinized and suggestions are made for possible interpretative approaches to these excerpts. Finally, in the third chapter, we try to establish a parallel between aspects present in the traditional violin repertoire and orchestral excerpts investigated. The association between the material studied in Chapter 2 and works such as sonatas and concerts, usually studied by violinists, are rich and it highlights the exploration of possibilities of orchestral excerpts as a mean of learning the instrument. This study is aimed at violin students at the undergraduate level and, more broadly, for violinists who ar... (Complete abstract click electronic access below) / Mestre

Orientador: Esdras Rodrigues Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T13:00:31Z (GMT). No. of bitstreams: 1 Luckman_PauloEgidio_M.pdf: 9209306 bytes, checksum: 05ab9ba9c61a5aac65ee16c023498b65 (MD5) Previous issue date: 2012 / Resumo: O objeto de estudo deste trabalho é um método de ensino de cordas duplas escrito por Luis Soler Realp (1920-2011), violinista catalão naturalizado brasileiro. O método foi analisado e depois comparado com algumas obras referenciais que trabalham cordas duplas escritas por Sevcik, Flesch, Galamian e Sitt. À luz desta comparação, foram discutidos os méritos do trabalho de Soler, seus fundamentos, e algumas de suas idiossincrasias. Além disso, foram comentados brevemente pontos relacionados ao estudo das cordas duplas no contexto geral da formação violinística / Abstract: The objective of this paper is a double stops method developed by Luis Soler Realp (1920-2011), a Catalan naturalized Brazilian violinist. The method was analyzed and compared with several references that work with double stops written by Sevcik, Flesch, Galamian and Sitt. In the light of this comparison, the merits of Soler Realp were discussed, as well as his fundaments and some of his idiosyncrasies. Aspects related to the study of double stops within a general context of violin teaching were also briefly discussed / Mestrado / Praticas Interpretativas / Mestre em Música

This dissertation explores the perceived readiness of potential violin majors (PVMs) in the United States for university-level violin study. The purpose of this study was to explore violin professors’ expectations of PVMs in the United States, their perceptions of how these expectations are being met, and how PVMs can be prepared to meet these expectations. A lack of research into how PVMs in the United States are being prepared for the rigors of university-level violin study warranted investigation to define violin professors’ expectations and their perceptions of the preparedness of PVMs. A descriptive instrumental exploratory study was conducted using qualitative and descriptive statistical data with 121 participants (n = 121). The participants were tenure-track and tenured violin professors in the United States who have taught for at least three years at universities accredited by the National Association of Schools of Music (NASM) and whose teaching loads consist of a minimum of 75% applied violin lessons. Participants were asked to define their ideal expectations of PVMs, their perceptions of how these expectations have been met, and advice they have for the adults who help prepare PVMs. Data were collected online through a Qualtrics survey and Zoom video interviews. The findings indicated that violin professors generally agreed upon their expectations of PVMs, which include having a solid technical foundation, performing repertoire that is aligned with their technical development, and being open-minded. Violin professors perceived that less than 50% of PVMs have a solid technical foundation and less than 50% perform developmentally appropriate repertoire, though most PVMs were perceived to demonstrate an openness to learning. Most violin professors accept PVMs into their studios whom they perceive to be unready for university-level study, usually due to administrative pressure. To meet violin professors’ expectations, they suggest that PVMs work with private violin teachers outside of the K-12 music classroom. Private violin teachers should hold PVMs to a high performing standard, be familiar with violin professors’ expectations, and have the subject matter knowledge and pedagogical content knowledge necessary to develop a solid technical foundation and assign level-appropriate repertoire. Other influential adults include K-12 music teachers, although learning outcomes for K-12 music classes differ significantly from violin professors’ expectations. Overall, this study demonstrated a clear disconnect between violin professors’ expectations and how PVMs are being prepared to meet them. The data showed that participants made the following assumptions: (a) PVMs take private lessons and are already “apprentices” working with a “master,” (b) audition websites present adequate information for PVMs, and (c) private teachers have the subject matter knowledge to prepare PVMs to meet technical expectations and perform with high standards. There appears to be an overall lack of communication and collaboration not just from violin professors, but also from private teachers and K-12 classroom music teachers. Recommendations for practice and implementation are offered to the three identified populations that interact with PVMs: violin professors, private teachers, and K-12 classroom music teachers.

Violin repertoire composed in the late twentieth and early twenty-first centuries placed new demands on performers. While numerous pedagogues have written etudes and treatises analyzing traditional techniques, far fewer have thoroughly examined contemporary techniques. Many of the existing etudes and exercises inspired by contemporary violin repertoire are of a very high difficulty level and may seem unapproachable to students with little to no experience performing the music of recent decades. As a result, many violin students are unacquainted with the language of new music. This dissertation is intended to help fill a gap in the pedagogical literature by serving as a resource that familiarizes advanced students with the notation and proper execution of the non-traditional techniques commonly found in contemporary violin music. This document includes a survey of violin repertoire written since 1970, an analysis of the non-traditional techniques used most often in the works examined, methods for approaching specific technical problems that arise in them, and nine etudes originally composed by this author. The etudes focus on nine contemporary techniques, ranging from contact point variations to changing subdivisions, and are intended for study by advanced violinists interested in performing contemporary music.

No description available.

Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.