Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-10-07T16:48:13Z No. of bitstreams: 1 arquivototal.pdf: 18219531 bytes, checksum: 0e90b5a1339f54b242beb9a61d7e6e1b (MD5) / Made available in DSpace on 2016-10-07T16:48:13Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 18219531 bytes, checksum: 0e90b5a1339f54b242beb9a61d7e6e1b (MD5) 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.

The intent of this dissertation is to identify and analyze several pieces by female composers that are technically suitable for the specific development of an advanced Suzuki violin student studying in Suzuki books 7 or 8. The selected pieces can then be used by trained Suzuki teachers, in conjunction with the male-composer-dominated Suzuki repertoire, to enhance students' technical development while also increasing their well-rounded musicianship by exposing them to female composers. The development of off-the-string bow strokes, string crossings, shifting, left-hand articulation and musical expression will be traced through the first six volumes of the Suzuki repertoire in order to understand a Suzuki student's expected abilities pertaining to these technical elements when beginning the repertoire in books 7 and 8. Pieces by female composers highlighting and enhancing the referenced techniques will be identified and analyzed in a similar manner. These pieces will be compiled into a document for Suzuki students and teachers to use, along with appropriate editorial markings and biographies of the composers. This document can be an inspirational supplement to Suzuki students' musical development and help develop an awareness of female composers.

In Romanian, the word lăutari refers to highly skilled professional Romani (Gypsy) musicians. By interacting with Romanian culture and tradition, the lăutari settled down in the country and developed a unique musical tradition. Their music is characterized by intricate, elaborate, and refined ornamentation; its execution requires a highly level of technique. George Enescu, regarded as Romania's most influential musician, was affected by lăutari music. He created a unique musical language that recreates Romanian character by using lăutari elements. This dissertation examines how to approach Enescu's Violin Sonata No. 3 and perform it by understanding the characteristics of lăutari music as well as the work's use of such lăutari violin techniques as diverse expressive slides, vibrato, double stops, various ornaments, artificial harmonics, imitation of folk instruments, and a variety of bow strokes. Enescu's Violin Sonata No. 3 is regarded as a challenging work in the violin literature requiring a high level of violin technique. Although the standard violin repertoire is enormous, many violinists are looking to rediscover new and challenging repertoire, distinguish themselves from others, and promote themselves as professional performers. Therefore, this study should help violinists to approach the idiomatic violin writing of Enescu's sonata, especially its lăutari techniques and style.