No description available.

This research identifies the resonant frequencies emitted by 2 types of stringed instruments, violins and guitars, in a definitive way that provides measured data for results. A resonance testing apparatus designed to support the instruments for testing, produce forced vibrations of precise period and amplitude to excite an instrument, and acquire measured data was used to perform the testing for this research. The output of this research presents a tabulation of the resonant frequencies and their amplitude that correlates the resonant frequencies below 1000 Hz pictorially to a location on the top plate of the instrument that represents the most significant displacement. The outcome of this research supports the viability of this method with opportunities for further research to focus on improved construction techniques, areas of a completed system that can be manipulated to improve tonal quality, or methods of manipulation that have previously not been explored.

No description available.

No description available.

No description available.

This is a musical score written to fulfill the requirements of a master of music.

Chen Qigang (b. 1951) is one of today's most representative and prolific Chinese composers. His works are regarded as setting a standard of excellence among Chinese composers in the twenty-first century. Like many Chinese composers of his generation, Chen combines in his works the traits of both Chinese traditional music and Western musical language. La joie de la souffrance (The Joy of Suffering) for violin and orchestra, composed for the Shanghai Isaac Stern International Violin Competition in 2016–17, is one of his mature works that not only represents one of the great achievements of fusing Chinese and Western musical languages, but is also a major addition to the venerable tradition of Chinese concertos. By analyzing La joie de la souffrance as the nexus of old and new, East and West, I hope to provide not only insight into a valuable work of the twentieth-century violin concerto repertoire, but also a glimpse into some of the musical influences of a Chinese composer working in France in the late twentieth and early twenty-first centuries. By extension, I hope to shed light on some of the factors, trends, and developments that have influenced Chinese composers in the early twenty-first century.

This document aims to add diversity to advanced violin repertoire being taught and performed. Specifically, this project revives late German Romantic composer Robert Kahn (1865-1951) and argues for his violin sonatas to be included in standard violin repertoire due to their immense pedagogical wealth. Kahn was a prolific composer and left behind a large collection of pieces including twenty-five chamber works, the majority involving string instruments. Yet Kahn is rarely performed and hardly known to modern violinists. His works embody the late Romantic style in their expression, harmony, form, and drama and deserve renewed recognition. This document narrows its focus to Kahn's Violin Sonata No. 1 in G Minor, Op. 5 and provides an extensive pedagogical guide for violinists. The guide includes chapters on both collaborative and technical challenges that exist within this piece. The collaborative chapter offers guidance and suggested rehearsal techniques for both instruments regarding balance challenges throughout the first movement. The technical chapter provides exercises for violinists on how to approach several difficult passages within the first and third movements. This project includes an interview conducted by the author with Julia Bushkova and Arsentiy Kharitonov, the first artists to record all three Kahn Sonatas. The transcript of this interview is included in Appendix B of this document.

The purpose of this study was to explore the ways in which high school violin students transform and comprehend a teacher’s model through the framework of Kolb’s (1984) Experiential Learning Theory. Additionally, the Learning Styles Inventory (LSI) results of this study’s participants were compared to extant researchers’ LSI data. Kolb and Kolb’s Learning Styles Inventory 3.1 and a brief survey were administered to participants (N = 100) during Phase I of the study in order to gather data regarding three quantitative independent variables—learning style, gender, and grade level. A subset of participants (n = 15) representing an array of those variables participated in Phase II of the study wherein participants were shown a video recorded lesson. During that lesson, a teacher modeled an eight-measure melodic phrase for each participant whose responses to the lesson were recorded for later analysis. Qualitative student responses (applied strategy, focus during the lesson, type of response to the model, performance intensity, task complexity) and interview responses were coded and distilled into common themes and compared among independent variables from Phase I. The high school violinist participants in this study preferred reflective observation and concrete experience orientations more frequently than was the case in extant research. The only significant interaction between independent variables was found between gender and learning preference. The two most frequently applied strategies were derived from Initiating (AE/CE = 24.46%) and Creating (CE/RO = 20.44%) learning styles. Participants largely focused on musical components (77.55%)—e.g., rhythm, pitch, intonation, articulation—by performing with the bow (48.72%) concurrently with the model (57.95%). When provided with practice time, participants largely utilized low (33. 68%) or silent, reflective (24.47%) intensities. Fundamental, two-phase combinations of strategies were applied the majority of the time (57.72%) by participants. Qualitative descriptions of the variety of participant responses were included and contextualized using LSI data. I concluded, based on a synthesis of the quantitative data and qualitative observations, that participants largely prioritized immediate individual needs—such as pitch identification or previous sections of the lesson—over both teacher instruction and their own learning preferences. I also concluded that a single modeling experience often resulted in a diverse array of participant responses—which may or may not adhere to the immediate content of the lesson. As a result of this study, I suggest that music educators and researchers consider that learners potentially utilize a singular modeling experience in a variety of different ways resulting in an array of potential outcomes. It is important for teachers to be explicit and clear in their instructions surrounding a modeling task in order to better guide students towards desired outcomes. Future researchers might consider learners’ viewpoints in response to a modeled experience as a means of framing achievement, outcome, or other research topics. ELT researchers might consider building on the implications of the comparison among KLSI data and qualitative data among learners under the age of 19 with a focus on variables outside the typical factors of gender, age, educational level, educational specialization, and culture.

No description available.