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Thesis (M.M.)--University of Michigan, 2005.

Thesis (M.M.)--University of Michigan, 2005.

This paper is a collection of corrections and related thoughts for Bevil's thesis The Welsh Crwth, Its History and Its Genealogy.

This work outlines the design and implementation of an algorithm to simulate two-polarisation bowed string motion, for the purpose of realistic sound synthesis. The algorithm is based on a physical model of a linear string, coupled with a bow, stopping fi ngers, and a rigid, distributed fingerboard. In one polarisation, the normal interaction forces are based on a nonlinear impact model. In the other polarisation, the tangential forces between the string and the bow, fingers, and fingerboard are based on a force-velocity friction curve model, also nonlinear. The linear string model includes accurate time-domain reproduction of frequency-dependent decay times. The equations of motion for the full system are discretised with an energy-balanced finite difference scheme, and integrated in the discrete time domain. Control parameters are dynamically updated, allowing for the simulation of a wide range of bowed string gestures. The playability range of the proposed algorithm is explored, and example synthesised gestures are demonstrated.

Thesis (Ph.D.)--Boston University / The purpose of this study was to examine the life of Phyllis Young (b. 1925) and her contributions to string education. The researcher explored her ancestry, childhood, education, personal life, and career as a cellist and string pedagogue. The study is divided into a prologue, five chapters, and an epilogue, and ends with her retirement from the University of Texas String Project in 1993. Phyllis Young, a faculty member at the University of Texas at Austin from 1953- 2007, was Professor of Cello from 1974-2007 and the Parker C. Fielder Regents Professor in Music from 1991-2007. She authored two books, Playing the String Game (1978) and The String Play (1986), and served as national president of the American String Teachers Association. She received that organization's Distinguished Service Award (1984) and the Paul Rolland Lifetime Achievement Award (2002). In 2006, the American String Teachers Association established an award in her name, The Phyllis Young Outstanding Studio Teacher Award. For forty years (1953-1993) Young was associated with the University of Texas String Project, a teacher training program that continues to serve as a model for numerous string programs nation-wide. She was director of the project from 1965-93. Young has given lecture-demonstrations, master classes, and workshops for string teachers in thirtythree countries on six continents and in forty-four of the American states. Her success as a pedagogue is substantiated through her numerous students, many of whom occupy significant musical positions in universities and orchestras, and as leaders in the string education field. Phyllis Young is a dedicated, passionate teacher whose legacy rests not only on her professional accomplishments, but also on her influence on those who have been associated with her. The success of her students, her influence on other string teachers and programs, and her two books, all lasting testaments to her commitment to excellence, can be considered the most significant components of her legacy.

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Music educators admit that there is a great need for research in the field o public school music. Instrumental class teaching has suffered the trial and error method since its introduction into the schools. There is still an appalling lack of material on the subject. The two or three books published on instrumental class teaching are from twelve to seventeen years old. The Reader's Guide lists only nine magazine articles in the past ten years concerning the class teaching of string instruments. Yet, the successful teaching of instrumental classes requires a high type of organization and a specialized teaching technique. It is not only necessary for the teacher to be a good musician, but he must have a knowledge of proper classroom methods and apply it. The purpose of this study is to analyze and evolve from six recognized beginning string methods a course of study suitable for use in training a beginning string section.

In the early years of the nineteenth century, when bowed string instruments were assumed to have reached the apex of their development, there arose among antiquarians and scholars a widespread interest in tracing the ancestry of the violin and related members of the chordophone family. This task proved to be exceedingly formidable not only because of the enormous amount of often obscure evidence which had to be taken into consideration but also because of the manner in which many items of evidence seemed to contradict each other. The issue is still not resolved to the complete satisfaction of every party concerned. Literally scores of different and often conflicting arguments have been advanced, and it could perhaps be justly said that the only furtherance thus far realized has been that of the confusion rather than the resolution of the issue.

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