Bibliography: v. 1, p. 197-201. Vol. 1. Introduction and commentaries -- v. 2. The musical text.

”Many  Stories,  Many  Memories” was a participatory creative music project carried out in collaboration with three professional musicians, a group of seven senior residents and the occupational therapist of “Suomikoti”-elderly home in Stockholm, February 20th – March 21st 2013 . The aim of the project was to build community feeling, participation and operation for the elderly people with dementia by intervening musically in their everyday lives. During the eight workshop-sessions, improvisation pieces were created by using song, text, fine arts, percussion instruments, body percussion, piano, kantele, and violin.The emphasized qualities of the project’s musical working methods were contextuality, and person-centered and focus group - oriented approaches. The purpose of multi-sensor exercises  was  to  support  the  participants’  sense  of  body  and reinforce their identity. The project, during which the musicians and the group of seniors met in the field of performing arts, was completed with a collectively composed semi-improvised concert, which was performed to an audience consisting of the residents and staff of Suomikoti, as well as family members.“Many  Memories,  Many  Stories”  was  my  Professional Integration Project (PIP) in the international Joint Music Master for New Audience and Innovative Practice – Master Degree Program (NAIP) at on the Royal College of Music in Stockholm. Observational periods at local Stockholm elderly homes as well as a preparatory project were conducted prior to the PIP-project. The goal of the PIP-project and this Master Thesis was to create new empiric data on the potentials of creative participatory music workshops for elderly care. This project’s musical intervention was carried out as practice-based research, and was documented session by session both in written reflections and on video for data- analysis. Semi-structured thematic interviews were also conducted for obtaining data. The interviewees were professional practitioners on the fields of music and health-care.The outcomes of the project reveal that intensive participation in the project had positive effects  on  the  people’s motor skills, creativity, expression, social interaction and self- esteem, which by enriching their everyday lives improve their general quality of life.Attached to this Master Thesis are two videos; a documentary-DVD describing the process of the project, and an edition of the”Many  Memories,  Many  Stories”-concert in full length. The documentary DVD contains mainly video-footage from the workshop sessions. / <p>Bilaga: 1 DVD</p>

From the middle of the eighteenth century, the use of left-hand pizzicato and harmonics began to become more common in violin playing. Over time, these techniques underwent substantial developments thanks to several different violinists, among others Heinrich Wilhelm Ernst. These developments, however, have not been adequately investigated or documented, and in general, ignorance and misconceptions prevail regarding who contributed what, as well as to the significance of these individual contributions.This thesis attempts to present Ernst's contributions in this area, and also advance that his lack of adequate recognition is unfair. In order to do this, a more complete and chronologically accurate review of the development of left-hand pizzicato and harmonics from the beginning of their development has been drawn up. This has been done through critical reviews and comparisons of different contemporary sources such as musical journals, violin methods and musical scores.The conclusion has been drawn that Ernst contributed to the development of left-hand pizzicato and harmonics to a greater extent than has been adequately recognised. The importance of his role in this development is partially due to the number of his individual contributions, but primarily because he enabled the violin to play the role of several independent instruments played simultaneously in a more advanced fashion, which has arguably changed the outlook of the instrument.

In the eighteenth century, the art of violin performance in France was promoted. Until in the nineteenth century, France became the center of art in the Europe, including painting, literary, architecture, and they were developed vigorously. The Paris Conservatory had a key position in music and expanded outward, and the music of Belgium was influenced very much, therefore they are named ¡§Franco-Belgian Violin School.¡¨ And the music is abundant in beautiful melodies and brilliant skills. Henry Vieuxtemps was an important and representative violinist at that period. By the way, his works presented romantic emotion. First chapter in this study presents the development of violin school. The second chapter introduces Vieuxtemps¡¦ position of ¡§Franco-Belgian Violin School,¡¨ the background of his works. The third and fourth chapter, do a research of the form, the interpretation and the performance style of Violin Concerto No.2 in F# minor, op.19. Then a conclusion in the final chapter. Key words¡GFranco-Belgian Violin School¡BVieuxtemps¡BRomantic music¡Bviolin concerto¡Bperformance practice.

Sans etoiles is a musical composition in three movements written for clarinet, horn, violin, cello and piano. This essay deals with the principal characteristics of the musical material used in the piece, the modalities governing transitional processes and the influence of these factors on memory and the perception of musical time. The artistic project gave way to a reflection on the directional aspects of music in order to establish transitional links between independent musical entities defined as 'musical objects'. The main transitional agent between these entities consisted of an autonomous musical layer bearing an exclusive impact on the surrounding musical context. The harmonic network of the piece, a set of interchangeable chord progressions, was conceived from the self-replication of a three-note cell. Each movement of the final work proposes a unique approach to musical time.

In this study the author develops a methodology for the study of the Samuel Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic components of the work, presenting important pedagogical principles, and offering an array of performance practice techniques. The primary tool used to formulate the methodology was a survey of exceptional violinists and pedagogues. Twenty-six professional violinists responded to a survey that asked their suggestions for preparing and performing five specific excerpts from the Concerto. The compilation of the responses provides an invaluable guide for violinists who are studying or teaching this staple of the instrument’s repertoire. / School of Music

A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros. / The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.

A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros. / The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.

A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros. / The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.

Orientador: Esdras Rodrigues Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T00:34:41Z (GMT). No. of bitstreams: 1 Santos_JulianoBuosidos_M.pdf: 5944297 bytes, checksum: 6493cd8b9254b752c233881a86712f71 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem o propósito de divulgar um repertório pouco conhecido e interpretado atualmente: a música germânica escrita para consort de violinos para mais de quatro vozes, na segunda metade do século XVII. Um estudo histórico e estilístico nos possibilita aproximar desse repertório, identificando as influências que recebeu, seus antecedentes e seu desenvolvimento. Constataremos que a composição para este tipo de ensemble não foi um movimento isolado e nem raro, mas sim uma forma de instrumentação e escrita musical explorada em sua época, dada a sua rica e sofisticada possibilidade inventiva / Abstract: This research wishes to unveil a repertoire, which is little known and very seldom played nowadays: the music written for consort of more than four violins in the seventeenth-century in germanic lands. An historical and stylistic study shall allow us to improve our knowledge of this repertoire, identifying its origins, its influences and development. We will realize that this type of music was neither a peculiar nor a remote one, but rather that it was a particular form of instrumentation, customarily used by composers in that period, given its beautiful and sophisticated aesthetics / Mestrado / Praticas Interpretativas / Mestre em Música