Noted for both vocal and symphonic output, Gustav Mahler's musical sophistication constantly puzzled scholars in the past decades. In his symphonic works, the mixed forms and styles in combination with the vocal influence make it abstruse for listeners to detect the meaning of the use of traditional instruments. The solo violin, which has an extensive history of appearing in symphonic compositions since the Baroque era, is an instance of a traditional instrument given an unusual function. For instance, Mahler's violin solos do not tend to showcase the virtuosity of the instrument as they normally do in orchestral music. In order to closely examine the role of the solo violin, I rely on aspects relating to introversive semiosis such as harmonies, rhythms, textures, phrase structures, and forms; then my focus shifts to extroversive semiosis, specifically to topics and contextual factors. By considering the violin as a musical sign, listeners can comprehend the instrument's structure, syntax, and ultimately the complex logic of Mahler's musical discourse.

The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.

In recent years, a large part of the erhu's repertoire has been arranged for performance on the violin and vice versa. Given the difficulties involved in transcribing the music of plucked or woodwind instruments for the violin, the erhu has been the most popular choice for transcribing Chinese music for the violin. However, the erhu and violin are radically dissimilar instruments based on different principles. Pipa music is an essential part of traditional Chinese music from as early as 202 BCE, and the instrument's repertoire represents a large portion of East Asian music aesthetics, and this context should be considered to successfully transcribe pipa music for violin. This dissertation talks briefly about Chinese music history and its categories and also focuses on the history and development of the pipa as well as its repertoire categories to provide context for the following musical examples. I use existing transcription examples from different categories of pipa music as an avenue to discuss how to transcribe pipa music for the violin. Even though the violin has some limitations for use as a plucked instrument, the instrument can still make use of several different kinds of techniques in order to play the music in a way that can represent certain features of the pipa while retaining the violin's characteristics.

This thesis seeks to explore the many possibilities that lie within the incorporation of the voice alongside playing the violin. This territory is still very unknown, and the author believes that many new artistic possibilities and tools are yet to be discovered.The attempts made seek to understand the difficulties and limitations of the incorporation of the voice, while discovering its bountiful treasures. / <p>"Terje Vigen" by Ivar BøksleArrangement by Olav Eirik LølandViolin and vocal - Olav Eirik Løland</p><p></p><p>Konserten börjar efter två minuter.</p>

The diploma thesis investigates 24 Caprices for Solo Violin op. 1 by Nicolo Paganini in great detail. It also includes a brief biography of the famous performer and composer but mainly focuses on 24 caprices op. 1. The author of this work addresses circumstances of their creation, their main features and methodology problems. He further looks into interpretation options and compares recordings of Ruggiero Ricci, Ivan Kawaciuk, Itzhak Perlman and Shlomo Mintz. The aim of the work is to offer violinists who study any of the capricies recommendation regarding technic and interpretation problems.

Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project will focus on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time will be included in this document. I will analyze these works, including a comparison between the works of Westhoff and those of other composers during his time, to prove that Westhoff's solo works establish multiple stops as a central factor of German violin playing of the time, and, thus, to promote Westhoff's works as a complement to the extant repertoire of unaccompanied violin music written in the Baroque era before Johann Sebastian Bach's solo violin works and Georg Philipp Telemann's twelve fantasias for violin solo. Furthermore, this project will help one to better understand the use and function of multiple stops in the German violin repertoire in the seventeenth century.