Orientador: Esdras Rodrigues Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T13:00:31Z (GMT). No. of bitstreams: 1 Luckman_PauloEgidio_M.pdf: 9209306 bytes, checksum: 05ab9ba9c61a5aac65ee16c023498b65 (MD5) Previous issue date: 2012 / Resumo: O objeto de estudo deste trabalho é um método de ensino de cordas duplas escrito por Luis Soler Realp (1920-2011), violinista catalão naturalizado brasileiro. O método foi analisado e depois comparado com algumas obras referenciais que trabalham cordas duplas escritas por Sevcik, Flesch, Galamian e Sitt. À luz desta comparação, foram discutidos os méritos do trabalho de Soler, seus fundamentos, e algumas de suas idiossincrasias. Além disso, foram comentados brevemente pontos relacionados ao estudo das cordas duplas no contexto geral da formação violinística / Abstract: The objective of this paper is a double stops method developed by Luis Soler Realp (1920-2011), a Catalan naturalized Brazilian violinist. The method was analyzed and compared with several references that work with double stops written by Sevcik, Flesch, Galamian and Sitt. In the light of this comparison, the merits of Soler Realp were discussed, as well as his fundaments and some of his idiosyncrasies. Aspects related to the study of double stops within a general context of violin teaching were also briefly discussed / Mestrado / Praticas Interpretativas / Mestre em Música

The predominant purpose of the study was to investigate whether or not there is a relationship between singing intonation and string playing intonation among college level and professional string players in Northern California. For the purpose of this study a convenient sampling method was used to recruit participants according to their availability. Thirty college-level and professional string players from the Bay Area participated in this study (n=30). For the purpose of this study, only violin, viola and cello players have been included. The investigative variables for the study are singing intonation and string playing intonation. Intonation has been assessed. through participants' singing and playing. A computer program, called Melodyne, was used to analyze the recorded performances of the participants and determine the magnitude and direction of deviation for both played and sung pitches. The study included a 15 minute individual task after which subjects' intonation has been assessed in two dimensions: string performance intonation and singing performance intonation~ The participants were assigned an eight-measure singing excerpt adapted from the National Anthem of the United States of America, as well as another eight-measure excerpt designed specifically to assess string performance intonation. The subjects were individually audio-recorded and the audio files were analyzed using Melodyne to determine whether or not there is a relationship between singing intonation and string playing intonation. Pearson product-moment correlation coefficient has been calculated to determine the degree of relationship between singing intonation and string playing intonation of the participants.

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.

For several decades since the rise of extensive instrumental music instruction, various music periodicals have devoted a certain amount of space to printing comments, suggestions, and other pedagogical material to aid the student in playing a particular instrument. The writer, in his belief in the value of this material, has chosen to make a survey of various periodicals and to catalog certain items as a reference guide to the location of significant articles.

The present study explored whether (a) positive or negative reinforcement would produce higher percentages of on-task student behavior at set timed intervals, (b) positive, negative, or total reinforcement would increase student attentiveness after reinforcement, and (c) if natural fluctuations in teacher approval/disapproval would have any bearing on percentages of student attentiveness. Findings of the 15-day study concluded that (a) positive reinforcement maintained significantly higher levels of student attentiveness over negative reinforcement, (b) negative reinforcement did not significantly lower percentages of student attentiveness, and (c) natural fluctuations in rates of teacher approval/disapproval had no apparent effect on the amount of on-task behavior in the beginning strings class.

Submitted by JOÃO RICARDO DE SOUZA null (bobsouzas@ig.com.br) on 2016-05-06T17:02:05Z No. of bitstreams: 1 Tese Final João Ricardo REVISADO ABNT corrigida.pdf: 16095703 bytes, checksum: 9ba8e6eee4b45fc0f7b504ac6708dac8 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-09T19:22:00Z (GMT) No. of bitstreams: 1 souza_jr_dr_ia_par.pdf: 505450 bytes, checksum: 138e2480fd0102ecd7de800911620d90 (MD5) / Made available in DSpace on 2016-05-09T19:22:00Z (GMT). No. of bitstreams: 1 souza_jr_dr_ia_par.pdf: 505450 bytes, checksum: 138e2480fd0102ecd7de800911620d90 (MD5) Previous issue date: 2016-03-15 / Esta pesquisa qualitativa de caráter bibliográfico-documental e cunho comparativo tem como objetivo central demonstrar a importância do ensino coletivo de instrumentos de Cordas Friccionadas desenvolvido no SESC-Consolação desde sua criação; verificar as similaridades e diferenças entre o ensino coletivo de instrumento desenvolvido na Inglaterra e nos EUA, além dos benefícios da adoção desse modelo pedagógico na educação não formal brasileira. Os dois primeiros capítulos descrevem o surgimento do ensino coletivo de instrumentos de cordas destinado aos jovens e adultos no SESC Consolação; sua extensão e importância na educação não formal brasileira. Para tanto, foram realizadas algumas entrevistas com alunos, professores, gestores e músicos que iniciaram seu aprendizado musical nessa instituição; consultados documentos que relatam as atividades desenvolvidas ao longo dos anos por essa instituição. Buscamos ainda descrever o legado dos egressos do projeto de cordas do SESC, o perfil atual desta atividade e propostas para o futuro. O capítulo III foi destinado à análise de dois métodos desenvolvidos no SESC e um método importado, todos direcionados ao ensino coletivo de cordas na instituição. O capítulo IV descreve como se originou o ensino coletivo de instrumentos de cordas friccionadas em grande escala na Inglaterra, no século XIX, com o predomínio do ensino de violino. Conforme descrevem os pesquisadores europeus, esse modelo foi introduzido nas escolas públicas inglesas, gerando o Movimento de Maidstone, que permitiu a milhares de crianças aprenderem violino e outros instrumentos já no início do século XX. O capítulo V descreve como esse ensino foi introduzido nos EUA e de que forma ele se propagou até os dias atuais. A partir destes capítulos buscamos encontrar as similaridades e diferenças do ensino musical desenvolvido no SESC-Consolação, comparado àqueles desenvolvidos na Inglaterra e nos EUA. Por último, tecemos as considerações finais apontando para os fenômenos observados. Esperávamos, com esta pesquisa, demonstrar a importância pedagógica do SESC-Consolação no cenário musical brasileiro e as vantagens que o ensino coletivo de instrumentos oferece. Nossos dados nos levaram a concluir, entre outras coisas, que, apesar de quase quatro décadas terem se passado desde o início da primeira turma do curso de ensino coletivo de cordas do SESC, este núcleo de ensino de instrumentos musicais continua sendo de capital importância para a cultura musical paulistana, oferecendo iniciação em cordas em sistema coletivo tanto para o público jovem e adulto com objetivos puramente amadores, quanto para os jovens com pretensões de futuras especializações e profissionalização. / This qualitative research of bibliographic and documentary character and comparative nature has as its main objective to demonstrate the importance of collective teaching for stringed instruments developed at since its inception; to verify the similarities and differences with the collective teaching of musical instruments developed in England and the USA, and the benefits of adopting this pedagogical model within Brazilian nonformal education. The first two chapters describe the emergence of collective teaching for stringed instruments for young people and adults at SESC-Consolação; its expansion and importance in non-formal Brazilian education. For this reason, interviews were carried out with former students, teachers, managers and musicians who began their musical learning at this institution; documents consulted that record the activities developed over the years by this institution. We seek to further describe the legacy of graduates by SESC strings project, the current profile of this activity and proposals for the future. Chapter III was designated for the analysis of two methods developed within SESC and an imported method, all directed to the collective teaching of strings at the institution. Chapter IV describes how the collective teaching for stringed instruments emerged on a large scale in England in the nineteenth century, with the predominance of violin teaching. As described by European researchers, this model was introduced in English public schools, creating the Maidstone movement, which allowed thousands of children to learn the violin and other instruments already in the early twentieth century. Chapter V describes how this teaching has been introduced in the USA and how it spread to the present day. From these chapters we seek to find the similarities and differences of musical education developed at SESC-Consolation with that developed in England and the USA. Finally, we weave the final remarks pointing to the observed phenomena. We hope this research will demonstrate the pedagogical importance of SESC-Consolação in the Brazilian music scene and the advantages that the collective teaching for stringed instruments offers. Our data led us to conclude, amongst other things that, in spite of nearly four decades having passed since the first class of collective teaching for stringed instruments at SESC; this teaching core of musical instruments remains of paramount importance for São Paulo's musical culture offering initiation into strings in collective system for both young and adult audiences with purely amateur purposes, and for young people with aspirations to future specialization and professionalization.

The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.

Bien que le Oud soit l’instrument emblématique de la musique arabe, il est devenu omniprésent dans pratiquement tous les pays du monde. La façon de le jouer diffère d’un pays et d’une région à l’autre, se traduisant par des différences en termes de style. Des classifications et des catégorisations des styles du jeu du Oud existent, connues des musiciens et des auditeurs, mais rarement répertoriées. La présente recherche a donc pour objectif de porter un regard sur ces classifications ainsi que sur les principaux styles existant actuellement pour en déduire une première catégorisation. Pour parvenir aux résultats visés par cet objectif, une approche phénoménologique a été adoptée et qui s’opérationnalise en un devis de recherche mixte à deux volets séquentiels : une recension des écrits publiés sur le sujet, qui jette les bases historiques, théoriques et documentaires, bonifiée d’une collecte de données primaires par entrevues auprès d’informateurs clés. De nombreux documents ont été recensés, publiés depuis le IXe siècle jusqu’à nos jours et la question de styles n’est abordé qu’en filigrane. Les données et les informations retenues de cette revue de la littérature nous ont permis de colliger un matériel préliminaire, qui a servi à la construction d’un questionnaire ouvert, pour colliger des données auprès de répondants. En effet, des entrevues avec des oudistes professionnels, des musiciens et des luthiers appartenant à différentes pays et régions ont été réalisées. À la suite d’un portrait historique du Oud assez documenté, une catégorisation générale a été esquissée et qui consiste à distinguer cinq grandes rubriques principales du jeu du Oud, appelées « styles » ou « écoles ». Les différences de perspectives par rapport à ces styles sont multiples, mais la principale et la plus commune est celle qui aborde cette question selon le pays, la région ou le territoire, soit les frontières géographiques, linguistiques ou même politiques. Les cinq grands styles retenus sont les suivants : Le style sharqi (‘oriental’), le style irakien, le turc, le style iranien et le style maghrébin andalou. Pour plusieurs répondants, d’autres façons de jouer du Oud, qu’elles soient émergentes ou non sont considérées comme des sous-styles de l’un ou l’autre des cinq styles cités. Ce travail ne prétend pas à l’exhaustivité, il relate des éléments qui font consensus, tout comme des divergences d’opinions au sujet des styles du jeu du Oud, ce qui en fait sa richesse. Cette catégorisation représenterait donc une base de référence à des travaux futurs sur ce sujet complexe. Malgré certaines limites discutées, la contribution de cette recherche est double, tant au niveau théorique que pratique. / Although the Oud is the iconic instrument of Arabic music, it has become ubiquitous in almost every country in the world. The way to play it differs from one country and region to another, resulting in differences in terms of style. Hence, classifications and categorizations of Oud playing styles exist, known to musicians and listeners, but rarely documented. The present research aims to examine these classifications as well as the main styles currently existing to draw a first categorization. To achieve this objective, a phenomenological approach was adopted, and which is operationalized in a sequential mixed method design: We begin by reviewing the principal documentation published on Arabic music from the ninth century to the present day focusing on all the aspects related to playing this instrument, supplemented by primary data gathered through in-depth interviews with key informants. It was found that the question of styles is not well detailed, but only touched on implicitly. The data and information retained from this literature review enabled us to collect preliminary material, which was used to construct an open-ended questionnaire, to collect data from respondents. Therefore, interviews with professional Oud players, musicians and luthiers belonging to different countries and regions were carried out. Following a well-documented historical portrait of the Oud, a general categorization has been sketched out which consists of distinguishing five main categories of the playing of the Oud, called “styles” or “schools”. Many perspectives exist, but the main and most common is to classify Oud styles according to the country, region, or territory, namely, geographical, linguistic, or even political borders. The five major styles selected are: The sharqi style (‘oriental’), the Iraqi style, the Turkish, the Iranian style and the Maghreb Andalusian style. For several respondents, other ways of playing the Oud are considered sub-styles of one or another of the five styles cited. This work does not claim to be exhaustive, it relates relevant elements discussed in this research that make consensus, as well as a differences about the styles of Oud playing, which makes it rich. This categorization would therefore represent a basis for future research on this complex subject. Despite some limitations, the contribution of this research is both theoretical and practical.

Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.