Abstract: To the history of development of violin pedagogy, the 20th century is a golden age. With the succession and development by various great educators and virtuosos, and through the matured influence by the whole educational realm and environment, many different points of view, theoretic pedagogical systems and pedagogical schools began to appear. Both ¡§Talent Education¡¨ proposed by Shinichi Suzuki(1898-1998) and the pedagogy of ¡§Mental¡VPhysical Theory¡¨ mentioned by Kato Havas(1920- ) belong to one of the main violin pedagogical schools developed in recent years. Today in the field of violin teaching, although various schools have their own space for development, there are many different background factors among them. For example, Suzuki¡¦s pedagogy was influenced by the Eastern and Western cultures, whereas Havas¡¦ pedagogy completely inherited the Western teaching ideas; the vocabulary concept in the linguistics system was employed by Suzuki¡¦s pedagogy as its foundation, whereas Havas¡¦ pedagogy absorbed the theories of psychology as the basis of its pedagogical studies; Suzuki¡¦s pedagogy emphasized teaching materials, environment and the external, reasonable and appropriate succession of experience, whereas Havas¡¦ pedagogy emphasizes the search for the nature of playing action and the coordinating development of physical and mental. Since these cultural and educational backgrounds are different, the teaching principles of these two pedagogies are very different. In view of this, this research paper is divided into seven chapters for detailed studies and analyses, and comparisons are made between the philosophical foundations, teaching ideas, teaching strategies and means of these two pedagogies in order to present the characteristics of these two pedagogies developed under different background factors, and also show the similarities and dissimilarities between them. After detailed comparisons and analyses, we can understand that these two pedagogies are very much different in various aspects. Suzuki¡¦s pedagogy emphasizes the learning development of children. From many places of teaching it appears to have been influenced by the traditional German school. But Havas¡¦ pedagogy focuses on the realm of playing action. Hitherto the ¡§Mental-Physical Theory¡¨ mentioned by her is still a very new pedagogy. From the analytical description of these comparisons, we can understand that although there is a certain extent of difference between them, they perhaps can adopt some parts of the other pedagogy, and supplement the insufficiency of each other so as to achieve better teaching qualities.

This thesis aims to deal with the famous Violin Concerto no.2 of Wieniawski who is a member of French violin school and a virtuoso soloist during the mid-nineteenth-century. Wieniawski was admitted to the master class of Lambert Massart, a member of French violin school which many violin treaties and pedagogies came from. Wieniawski was a soloist when he¡¦s young. He settled in St Petersburg from 1860 to 1872 and exerted a decisive influence on Russian violin school. The first chapter is to introduce the main bibliography, the motive and the search process of the thesis. Also it is to make a survey of violin schools, soloists and important violin concertos before Wieniawski. The second chapter is to present the life, works and performance style of Wieniawski. The third chapter goes to discuss Wieniawski Violin Concerto no.2 and analyzes technique he used. The forth chapter is to mainly discuss several teaching ways for Wieniawski Violin Concerto no.2, including the levels of students and solutions of techniques to help different students. The fifth chapter concludes the four chapters above. After Beethoven, the violin concertos developed along three independent lines. One inherits tradition and stressed the musical value, another follows the virtuoso path, and the third is the new type of ¡¥national¡¦ concerto. Wieniawski Violin Concerto no.2 is an important virtuoso work like Concertos of Paganini and Vieuxtemps. Among the virtuoso works, this concerto is one of few works that could combine technique dexterity and music value. Wieniawski Violin Concerto no.2 is the fifth level of the String Syllabus by American String Teacher Association. There are many works in the same Level, like the Concertos no.4 and no.5 by Mozart, the Concertos no.7 and no.9 by Rode, the Concerto no.22 by Viotti, the Concertos ¡¥four seasons¡¦ by Vivaldi, ¡¥Havanaise¡¦ by Saint-saën, ¡¥Devil¡¦s Trill¡¦ by Tartini and so on. Compared with those works in the same level, Wieniawski Concerto no.2 is more difficult in technique. It is a bridge between the fifth and sixth level and a virtuoso violin work.

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The purpose of this project is to bring Kim’s caprices into the mainstream violin literature through a three-prong approach by examining each caprice via musical analysis, technical analysis, and by investigating its pedagogical merit. After inspecting each caprice through three different lenses mentioned above, the paper will organize the twelve caprices around a tripartite structure; serial, atonal, and free tonal. The work opens with a six-measure Motto. While the relationship between the Motto and the rest of the work is not immediately clear, thorough musical and formal analysis will provide insight into the work’s cohesion. This project will also examine pedagogically what specific technical challenges lay in selected caprices and how to solve thorny problems. The caprices are truly innovative in a sense that they present opportunities to understand non-tonal polyphonic writing on what is supposed to be a monophonic instrument while expanding the tradition of the Violin Caprice.

abstract: Most violinists of the Western classical tradition are untrained in the aural skills and left-hand techniques of microtonal intervals. This document surveys the nature of the problem and presents a manual for self-teaching the three-quarter tone step—the equal tempered ‘neutral second’ (N2) a quarter tone between the major and minor second intervals—through the melodic syntax of specific Persian classical music (PCM) modes. While the paper does not teach PCM performance, it does offer a method of melodic functional hearing through a new solmization system designed specifically for PCM. Additionally, the paper guides readers through the PCM repertoire by grouping modes with a shared functional usage of the N2. Combined with the pedagogical research of learning modalities and Edwin Gordon’s Music Learning Theory, these tools provide violinists with a method for achieving the aural accessibility and performance mastery of the N2. This process serves as a future model for learning unfamiliar intervals both within and without the Western classical tradition. / Dissertation/Thesis / Doctoral Dissertation Music 2020

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This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra). The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.

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.

The diploma thesis called Correlation of Talent and Progression in Violin Playing is focused on the talent and aptitude for playing the violin. In the first place, it is concerned with the general terms of talent and aptitude and their diverse definitions and it brings findings and opinions of various theorists. It also discusses the difference between these two notions. Further, it narrows its focus on musical talent and related concepts, such as musical development of children, the inheritance of talent as well as brilliance. The second part of the theoretical part deals with the specifics of talent for playing the violin and important prerequisites for the interpret successful development of interpret. The practical part introduces eight semi-structured, qualitative interviews with professional violin players about their talent and musical development. The aim was to compare the theoretical findings with the real experience followed by a summary.

This diploma thesis, titled Czech Folk Song in Violin Pedagogy, discusses the use of folk songs in classes of playing the violin. It presents general information about Czech folk songs, describes their characteristics, examines the forms of their existence in the present times, and thinks about their future. The practical part surveys the problems of their use in improving musical and performance skills and introduces violin instructive literature of arrangements of folk songs. The final part shows the results of the research, through the answers of the questionnaires, the goal of which was to find if violin pedagogues of these days use folk songs during their teaching and how much they use the potential of these songs for the formation of skills of playing the violin. Keywords playing the violin, folk song, violin pedagogy, collections of folk songs