Piano trio in G major / C. Debussy -- Piano trio in B-flat major, no. 7, op. 97 / L. v. Beethoven. / text

The concept of vaiation in Shostakovich's sonata for violin and piano, op. 134 -- Conata for violin and piano, op. 134 / D. Shostakovich. / text

Sonata in A major for violin and piano / Cesar Franck -- Piano trio no. 2 in C minor, op. 66 / F. Mendelssohn. / text

Sonata for violin and cello / Maurice Ravel -- Piano trio in C major, op.87 / Johannes Brahms. / text

Sonata for violin and cello / Maurice Ravel -- Piano trio in C major, op.87 / Johannes Brahms. / text

Polonaise brillante in D major, op.4 / Henryk Wieniawski -- Sonata for horn and piano, op.24 / Trygve Madsen -- Sonata for violin and piano in E minor, op.82 / Edward Elgar. / text

Not available / text

Concerto for violin and wind ensemble is a 25-minute virtuosic work for the violin and accompanying winds, brass, and percussion. As a trained violinist, among the first works I learned were the concerti of J.S. Bach. Thus, I pay special homage to Bach in this piece by using the famous B-A-C-H motive (each letter corresponding to a pitch) to generate much of the musical material in the work. The analysis of the Concerto details the processes in which B-A-C-H affected and shaped the melodic and harmonic language of the piece, while also touching upon the use of orchestration and the problems associated with balancing a single solo instrument against a large ensemble. I also discuss the several existing works for violin that were highly influential in composing the Concerto and the "anxiety of influence" associated with each model. / text

This document examines David Amram's (b. 1930) diverse compositional style, as represented by his Concerto for Violin and Orchestra (1974). Amram's unique background as a performer in various genres allows him to blend styles seamlessly. He highlights the use of a wide range of styles in this work, which makes this concerto a significant work in the twentieth century, American violin concerto repertoire as well as bridging the classical, jazz, and world genres creating a truly American style of music. This document examines how these influences--including classical, jazz, world music, and "Beat Generation" artists--have influenced David Amram's compositional style as represented in his Concerto for Violin and Orchestra. Biographical information about David Amram, including his life, compositional output, and a brief musical analysis with an emphasis on performance information useful to violinists are presented. In addition an interview with Amram was conducted, in which his compositional style and in particular his Concerto for Violin and Orchestra was discussed. A transcript of the interview is provided in the Appendix of this document.

In this document I fuse a study of performance technique and pedagogy, introducing Hindustani violin technique through the lens of a performer trained in western violin practice. While a large body of research on Hindustani music theory, history, and the performance of other instruments currently exists, very little has been written about the Hindustani violin. Aside from a few short interviews with prominent Hindustani violinists, nothing has been published on technique, performance practice or pedagogy. My research involves a comparative analysis of Hindustani and Western violin techniques, enhanced by data from my violin performance and pedagogy lessons with Hindustani performer/teacher Kala Ramnath. The research includes documentation of the history of the violin's regional predecessors such as the sarangi, it's introduction to India, and the first compilation of Hindustani violin techniques and exercises, for basic sliding, shifting and improvisation. Knowledge of the Hindustani violin performance tradition offers Western musicians new perspectives on creative violin approaches, and enhances their ability to perform with greater flexibility and virtuosity.