Thesis (Ph. D.)--Ohio University, 2005. / Title from PDF t.p. (viewed Jan. 26, 2007). Includes bibliographical references (p. 157-170).

Este trabalho estuda o processo de escolarização da viola caipira. Considerando que se trata de um processo que vem se constituindo nas últimas décadas na região centro-sul do Brasil, analisa suas dimensões e implicações em relação ao instrumento, bem como em relação aos tocadores e às representações identitárias que se formaram ao longo do século XX. A tese a ser desenvolvida é a de que a formalização de práticas musicais e a sistematização de técnicas de execução do instrumento junto a diversas instâncias de consagração têm contribuído para forjar as identidades culturais de ambos, viola caipira e violeiro. Nesse sentido, afirma-se que, no âmbito de instituições provedoras de cultura e instituições escolares, está sendo gerada o que se pode considerar a técnica moderna de viola caipira. Por outro lado, mostra-se que esse processo tem se dado em função das ações socioculturais de novos violeiros, cuja formação teórico-musical é sistematizada na academia ou fora dela, por meio de processos híbridos que envolvem, especialmente, a técnica de viola caipira da tradição oral e de outros instrumentos. / This work studies the scholarization process of the viola caipira. Considering that this is a process, which is being constituted on the centre-south area of Brazil in the last decades; the dimensions and implications of the process regarding the instrument, as well as its relation to the players and the identitarian representations formed throughout the 20th century are analyzed. The theory to be developed claims that the formalization of musical practices and the systematisation of the instruments techniques of execution, along with several consecration instances, have contributed to forge the cultural identities of both, viola caipira and player. In that sense, it is asserted that, in the field of culture-provider institutions and scholar institutions, it is being generated what can be considered the modern technique of the viola caipira. On the other hand, it is shown that the process mentioned has occurred as a result of the socio-cultural actions of the new players, whose theoretical-musical formation is systematized inside or outside the academy, through hybrid processes that involve, especially, the technique of the viola caipira from oral tradition, and techniques of other instruments.

Sonata for viola da gamba and harpsichord in D major, BWV 1028 / J. S. Bach -- Sonata for viola and piano in E-flat, op. 120, no. 2 / Johannes Brahms -- Viola concerto in D major, op. 1 / Carl Stamitz. / text

Note: / The brilliant musical career of Paul Hindemith (1895-1963) could be definedaround two roles: the virtuosic interpreter, and the prolific composer. In 1922,Hindemith's fascination with the viola d'amore, as a performer, brought him closer to theworld of early music. His fascination led him to write two pieces for viola d'amore: theKleine Sonate for viola d'amore and piano, Op. 25, No.2 (1922) and the KammermusikNo.6 for viola d'amore and orchestra, Op. 46, No.1 (1927). These pieces represented aimportant turning point for Hindemith, in that their composition led him to develop a newtechnical and stylistic approach to his main instrument: the viola. / La brillante carriere musicale de Paul Hindemith (1895-1963) se partage entredeux aspects distincts de son enorme talent: l'interprete virtuose innovateur et Ieprolifique compositeur. En 1922, Hindemith se rapproche du monde de la musiqueancienne via sa fascination, en tant qu'interprete, pour la viole d'amour. C'est ainsi queHindemith aura compose deux reuvres pour la viole d'arnour: la petite sonate pour violed'amour et piano, Op. 25 No.2 (1922) ainsi que Ie Kammermusik No.6 pour violed'arnour et orchestre, Op.46 No.1 (1927). Ces pieces se veulent un veritable pointtoumant pour Ie cornpositeur puisqu'a travers eUes, il developpera des nouvellesapproches techniques et stylistiques pour son instrument de predilection, ralto.

Discussion in this document is divided into three main areas. Chapter One is an introduction, describing the scope, purpose, and procedures of the document. Chapter Two discusses the evolution of the viola and violin to 1800, emphasizing viola design, luthiers, theoretical writings, and literature for the viola. Further discussion of writing for the viola during the first half of the nineteenth century is provided in Chapter Five.Chapter Four provides a brief analysis of the famous violin etudes of this period, placing emphasis on their tranferability to the viola. The analysis is prefaced by a discussion of the value of etudes and the technical differences between violin and viola. The writer concludes that, although the violin etudes do not speak directly to all the peculiar technical problems of the viola, their thoroughness and progressiveness make them useful study material for violists.The main emphasis of this document is on Chapters Three and Five. Chapter Three discusses the early viola methods written between 1780 and 1800. Included are methods by Corrette, Cupis, Woldemar, Gebauer, and an anonymous English tutor. As the modern application of these methods to technical study was found to be impractical, emphasis was placed more on their historical importance.Chapter Five provides an analysis of the viola etudes and methods written during the first half of the nineteenth century. Included are works by Martinn, Kayser, Praeger, Bruni, Hoffmeister, Cavalini, Rolla, Blumenthal, Campagnoli, Casimir-Ney, Garaude, and Giorgetti. Each of these works was compared to the violin etudes on the same technical level.The writer did not find the same technical progression and thoroughness in the viola etudes that was found in the violin studies. However, several of the etudes were deemed useful technical studies for the violist. These viola etudes often placed more emphasis on tone development and unusual fingerings and positions. Of particular note were the etudes of Cavalini, Rolla, Blumenthal, Giorgetti, Campagnoli, and Casimir-Ney. The writer has included an appendix of selected viola etudes, chosen for their usefulness and variety.

Discussion in this document is directed toward two main areas: Chapters two, three, and four are concerned with the development of the viola as a serious musical instrument in the orchestral, chamber, and solo genres. The history of the instrument is presented on a parallel track with that of the violin, showing how the viola is similar to, and differs from the violin, with respect to the size and most importantly, playing technique. An attempt is made to show that historically there has been a lack of understanding on the part of most pedagogues concerning the subtle differences in performance technique between violin and viola. This is accomplished by a comparison of methods and studies for both instruments from the Harmonie Universelle of Mersenne through the development of the French School, including Kreutzer, Rode, Gavinies, and others. Such comparison leads the author to state that there is little which actually acknowledges the differences between playing violin and viola.The author states that the main problems between the two instruments are mostly a matter of degree with regard to such techniques as extension, shifting, finger percussion, double-stop articulations, and bowing. Such discussion leads to the conclusion that there is a need for technical studies which will provide for this above-stated degree of difference, and put the "finishing touches" on the violist's playing technique.It is the opinion of this author that such technical studies are embodied in the form of Twelve Caprices for Viola by Lillian Fuchs. These caprices were written by Miss Fuchs to help her overcome performance problems with which she was faced.Part two of this dissertation is an analysis of the Twelve Caprices. In preparing this analysis the author approached the principal problems of each hand and addressed himself to the methods for surmounting each separate problem. Each caprice is methodically analyzed in some detail, avoiding redundancy by discussing only new techniques as they occur, and not restating problems which are the same in more than one caprice.

Este trabalho estuda o processo de escolarização da viola caipira. Considerando que se trata de um processo que vem se constituindo nas últimas décadas na região centro-sul do Brasil, analisa suas dimensões e implicações em relação ao instrumento, bem como em relação aos tocadores e às representações identitárias que se formaram ao longo do século XX. A tese a ser desenvolvida é a de que a formalização de práticas musicais e a sistematização de técnicas de execução do instrumento junto a diversas instâncias de consagração têm contribuído para forjar as identidades culturais de ambos, viola caipira e violeiro. Nesse sentido, afirma-se que, no âmbito de instituições provedoras de cultura e instituições escolares, está sendo gerada o que se pode considerar a técnica moderna de viola caipira. Por outro lado, mostra-se que esse processo tem se dado em função das ações socioculturais de novos violeiros, cuja formação teórico-musical é sistematizada na academia ou fora dela, por meio de processos híbridos que envolvem, especialmente, a técnica de viola caipira da tradição oral e de outros instrumentos. / This work studies the scholarization process of the viola caipira. Considering that this is a process, which is being constituted on the centre-south area of Brazil in the last decades; the dimensions and implications of the process regarding the instrument, as well as its relation to the players and the identitarian representations formed throughout the 20th century are analyzed. The theory to be developed claims that the formalization of musical practices and the systematisation of the instruments techniques of execution, along with several consecration instances, have contributed to forge the cultural identities of both, viola caipira and player. In that sense, it is asserted that, in the field of culture-provider institutions and scholar institutions, it is being generated what can be considered the modern technique of the viola caipira. On the other hand, it is shown that the process mentioned has occurred as a result of the socio-cultural actions of the new players, whose theoretical-musical formation is systematized inside or outside the academy, through hybrid processes that involve, especially, the technique of the viola caipira from oral tradition, and techniques of other instruments.

No description available.

Legendary violist and pedagogue Karen Tuttle developed a new approach to playing the viola known as Coordination. Coordination consists of a deep emotional connection to music, as well as highly specific motions of the body. This document details the execution of the physical motions of Coordination, through written descriptions and multimedia examples. A detailed discussion of the application of the motions is presented, using notated examples from Ernest Bloch’s Suite Hébraïque.

This dissertation is looking into a problematic of solo viola repertoire in 20th and 21th century focused on Czech composers and with a selection of major international works. It deals also with a development of viola as a solo instrument thanks to its interpreters. It would be almost impossible to get on viola on solo concert stages without them. This thesis is divided into four main captures, which are focused mostly on single pieces and it is written from an interpret´s point of view.