A Baroque violin was initially made. It was then incrementally converted to a Romantic (modern) setup by replacing the short neck with a longer, more slender neck and adding a longer ebony fingerboard, a heavier bassbar and soundpost. This increased the total mass from 386 to 440 g. Several different Baroque and modern configurations, with baroque and modern style bows, were used for acoustical measurements and playing tests with professional violinists. Chladni patterns were similar in both versions and also when the bridge was placed below the soundholes. The Baroque version gave higher body mode frequencies than the Romantic. Placing the bridge below the soundholes lowered the frequency of the 800 Hz resonance to 600 Hz. Saunders Loudness Tests showed a response that varied strongly over the body resonances. For the transition from Baroque to Romantic setup, hand bowing showed an increase of 1 dB and machine bowing about 5 dB. The compliance of the body added to the air lowered the main air resonance by 5 Hz, equivalent to adding about 130 cc to the 2000 cc air volume. The top plate stiffness measured at the bridge feet was about 10 kN/m higher at the treble foot than at the bass foot, for all locations of the soundpost outside the treble foot. The stiffness at the bass foot remained constant. This was reversed when the soundpost was placed between the two feet: the stiffness at the treble foot was then lower than at the bass foot. The rocking and bounce frequencies of the bridge were lowered from 3000 and 6000 Hz respectively to about 2.5 and 3 kHz when fitted to the violin. Thinning the bridge waist lowered the rocking frequency. Recordings of performances on the violin were made for many combinations of physical state (baroque or romantic), type of string and bow, position of bridge, and others. Long-term average spectra for these recordings are compared here, and an online appendix includes these recordings in a way that allows them to be readily compared: www.phys.ul1sw.edu.au/music/people/mclennanappendix.html

Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Phillip Spurgeon, Florida State University, School of Music. Title and description from treatise home page (viewed 11-21-03). Document formatted into pages; contains 61 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 1994. / Vita. Includes bibliographical references (leaves [74]-79).

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 127-128). Available also in a digital version from Dissertation Abstracts.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1994. / Duration: 12:19. Typescript. Includes performance notes. eContent provider-neutral record in process. Description based on print version record.

abstract: An integral part of the avant-garde movement in 1920s Paris, the American composer George Antheil collaborated with writers Ezra Pound and James Joyce, violinist Olga Rudge, and befriended the likes of Pablo Picasso, Man Ray, and many others. In Paris, Antheil found great success as the provocateur of riots and scandal at his concerts, with a purposefully controversial compositional style. This document explores, in detail, his three violin sonatas composed between 1923 and 1924 at the behest of Ezra Pound for his violinist friend Rudge. The violin sonatas provide a fascinating perspective on Antheil's musical and personal life during his first years in Paris. The historical and personal contexts of the sonatas are examined, in addition to their musical repercussions for Antheil's compositional style. This document relies primarily on unpublished letters, writings and other memorabilia from collections held at The Library of Congress, New York Public Library, Columbia University, Princeton University, Yale University, and Indiana University. Antheil's published scores and autobiography, Linda Whitesitt's biography of Antheil and other literature pertaining to the period and person are also consulted. While a fair amount has been written on Antheil's more famous work Ballet Mécanique, which stylistically followed the violin sonatas, the lesser-known sonatas have received minimal attention or exploration. This document places these three works into their rightful context, as cornerstones of Antheil's musical style during his most avant-garde years in Paris. / Dissertation/Thesis / Doctoral Dissertation Music 2015

No description available.

<p>Text, bild, medverkande och repertoar om examenskonsert och stilanalysarbete finns i dokumentet.</p><p>Repertoar: Vals av Joel Böhlén; Polska av Joel Böhlén; Polska efter Spelgulle, Borgsjö;  Polska från Haverö; Frustration av Sandra Arvman; Myr av Sven Ahlbäck; Adventslåten av Gustaf Jernberg; Polonesse ur Ludvig Olssons notbok; STorpolska från Liden; Kålbölepolskan efter Ellika Frisell; Bancolåten efter Sven Ahlbäck; Polska efter Per Jonas Lång, Haverö; Polska efter Pål Nilsson, Jämtland; Polska efter Per Danielsson, Jämtland; Polska efter Isak Isaksson, Haverö; Polska efter Jonk JOnas, Haverö; Ekot över Djuphorten, Polska av Evert Dvärby, Haverö; Behåvningslåten av Evert Dvärby, Haverö; Bryggarvalsen efter Anders Bryggarn Ohlsson; Medverkande: Villads Hoffman, Cittern; Petter Ferneman, Dragspel; Mårten Hillbom, Slagverk; Uno Dvärby, Kontrabas; Agnes Darelid, Trombon; Hannes Junestav, Trombon; Lars Ullberg, Trombon; Leon Falk, Trombon; Gusten Brodin, Fiol</p>

A Korean-German composer Isang Yun.s life was evenly distributed between two different countries, and his music contains both elements of performance practices of Eastern Asian and Western music. This dissertation presents his ethnic and aesthetic musical roots by an analytic examination of his solo violin piece, K♠nigliches Thema (1976). The dissertation is divided into four chapters. The first chapter contains Isang Yuns biography and his works of the four periods. The second chapter studies his philosophy in music and compositional techniques such as twelve-tone technique, Taoism, Hauptton, Hauptklang and the Korean instrumental technique in Western instruments. The third chapter presents a detailed analysis of Knigliches Thema with his Taoist philosophy. The fourth chapter is solely dedicated to the performance perspectives of Königliches Thema in tempo, dynamic and various violin techniques.

No description available.