Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2. / submitted by Tang Pan-hang Benny. / Thesis submitted in: December 1997. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract --- p.i / 摘要 --- p.ii / Acknowledgment --- p.iii / Declaration --- p.iv / Introduction --- p.1 / Trombone Concerto (first movement) --- p.2 / Programme notes --- p.3 / Remarks --- p.5 / Instrumentation --- p.6 / Seating Plan --- p.7 / Scores --- p.8 / Post-Zero 零後 --- p.56 / Introduction --- p.57 / Programme notes --- p.57 / Performance direction --- p.61 / Instrumentation --- p.62 / Seating plan --- p.62 / Scores --- p.63 / "Trio for Flute, Violin and Cello No.2" --- p.144 / Programme notes --- p.145 / Performance direction --- p.145 / Scores --- p.146 / Biography --- p.159 / Music Works List --- p.160

Classical violin concertos by English composers are relatively obscure nowadays, as the genre is largely monopolized by Mozart’s last three concertos. This study explores the compositional and violinistic traits of ten English concertos from the late eighteenth century, as well as the social and cultural circumstances under which they were written. These concertos are challenging violinistically, suggesting that they were primarily intended as virtuosic showpieces. In addition, a number of the concertos display musical eccentricities that hint at the quirky personalities of their composers. In some respects, these concertos are unadventurous, particularly in terms of harmony and thematic contrasts. However, they contain a number of unique compositional features that are worthy of our attention. The most notable of these is the incorporation of Baroque features in a large number of the concertos, despite their general adherence to the new galant style. All evidence suggests that the two styles were combined deliberately as a compositional technique, and this is perhaps the most distinctly “English” characteristic of these concertos.

Detta arbete syftar till att fördjupa kunskapen om hur violin- och violalärare kan arbeta för att ge sina elever som utövar klassik musik möjlighet att minimera stress och nervositet i samband med provspelning och konserttillfälle. I bakgrundskapitlet presenteras orsaker till samt förebyggande åtgärder för att hantera stress. Dessutom redogörs för musikdidaktiska perspektiv på instrumentalundervisning. Studien har genomförts med kvalitativ intervju som metod. Fyra lärare och musiker har intervjuats. Resultatet i studien styrker tidigare forskning då flera teman är likartade. Dock framkommer nya infallsvinklar på orsaker till stress i resultatet. En av de mer avgörande anledningarna till studenters ökade stressfaktor tydliggörs som avsaknad av mental och praktisk förberedelse. Elevens brist på att se inlärning i en långsiktig process med en utvecklingskurva som inte alltid går parallellt med förväntningarna är en annan orsak som enligt resultatet kan leda till ökad stress. I den förebyggande stresshanteringen betonas vikten av den praktiska förberedelsen som innefattande tekniskt hantverk, övningsmetodik samt att öva på konsertvana inom ramen för gemensam lektion. Vikten av att vara mentalt förberedd för situationen understryks ha betydelse i den förebyggande stresshanteringen. / The purpose of this study is to develop an understanding in how violin teachers can work to provide their students the opportunity to minimize stress and anxiety related to auditions and concerts. In the previous research presented in the background, clear causes and preventive measures to deal with and prevent stress are described. The quantitative interview was the method of the study. Four musicians and teachers were interviewed. The previous research is confirmed by the result that is described in themes by the informants. However, new perspectives on the causes of stress are outlined in the result. One of the more important reasons for an increased stress factor in students is clarified as the absence of mental and practical preparation. A lack in regarding learning as a long term process on behalf of the students, which does not always run parallel with expectations, may lead to increased stress. The importance of the practical preparation includes technical craftsmanship, practice methods, and to practice the concert experience. The importance of being mentally prepared for the situation is a preventive action against stress. The mental preparation before the concert situation, can include relatively simple things like knowing how the room looks like, and that the student has created an image of the audience. Practice in entering the stage, in addition to a presentation approach, are also important factors in reducing stress.

The topic of this study is left-handedness as a phenomenon in violin playing and classical violin pedagogy. The aim of the study is to investigate what kind of knowledge and approaches are crucial for taking left-handedness into account when teaching left-handed violinists in the normatively right-handed violin pedagogy. The body of knowledge arises from literature on hemispheric lateralization, left-handedness, attributes of violin playing, and earlier studies on hand-preference and musical performance, hemispheric adaptations to musical training, and children’s conceptions of left and right. A background-study was carried out on left-handedness in guitar playing. The study employs abductive reasoning, has an auto-ethnographic thread and draws on the hermeneutical epistemology. The theoretical framework rests on the cultural-psychological perspective on music education. The data was collected in two parts using qualitative ethnography-inspired methods. First qualitative thematic interview was used for gathering strategically sampled data from expert respondents on violin playing, pedagogy and violin-making. Secondly non-participant observation and follow-up interview was used for examining a beginner violin lesson. The findings of the study suggest that violin pedagogues need knowledge of the lateralization effects on violin playing and methodological understanding for pupils’ handedness and maturity of motor development. The data suggests that left-handedness is not a disadvantage in violin playing when provided with education that recognizes it. Reversed violin playing is considered as an alternative for strongly left-handed pupils. The data shows that violin education needs open discussion on left-handedness in terms of prejudices in orchestras, and raised awareness on the availability of left-handed instruments.

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Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs. Includes bibliographical references.

Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.

This diploma thesis, titled Czech Folk Song in Violin Pedagogy, discusses the use of folk songs in classes of playing the violin. It presents general information about Czech folk songs, describes their characteristics, examines the forms of their existence in the present times, and thinks about their future. The practical part surveys the problems of their use in improving musical and performance skills and introduces violin instructive literature of arrangements of folk songs. The final part shows the results of the research, through the answers of the questionnaires, the goal of which was to find if violin pedagogues of these days use folk songs during their teaching and how much they use the potential of these songs for the formation of skills of playing the violin. Keywords playing the violin, folk song, violin pedagogy, collections of folk songs

Detta är en skriftlig undersökning och reflektion inom konstnärligt självständigt arbete på kandidatnivå. Syftet med undersökningen är att diskutera kring tekniskt invanda mönster, om det är möjligt att förändra dessa och i så fall hur dessa vanor kan förebyggas och åtgärdas. Som hjälpmedel för undersökningen används Sergej Prokofjevs andra violinkonsert i g-moll, i vilken det finns många tekniska svårigheter som hör ihop med de aspekter som behandlas. För att undersöka detta används olika metoder såsom förändringar i vardagen, olika övningssätt och mental träning. Det genomförs även en intervju med Cecilia Zilliacus, professor i violin vid Kungl. Musikhögskolan i Stockholm. Undersökningen av dessa metoder antecknas regelbundet och deras effektivitet relaterande ämnet diskuteras. I resultatet av undersökningen jämförs olika metoder med varandra och det diskuteras vad som är det mest effektiva sättet att hantera tekniska vanor. Undersökningens slutsatser visar att det går att analysera och förändra de egna vanorna med hjälp av olika metoder som förändrar den egna övningen. Detta kan vara användbart för musiker på alla nivåer som vill hitta strategier för att bli av med sina mönster eller fungera som inspiration för att hitta nya övningsmetoder. / This is a written investigation and reflection within artistically independent work at graduate level. The purpose of this study is to discuss technical habits and patterns, if it is possible, and in that case how these habits can be prevented and remedied. Sergei Prokofiev's second violin concerto in G minor is used as an aid to the investigation, in which there are several technical difficulties associated with the aspects being discussed. To investigate this, different methods are tested, such as changes in everyday life, different practice methods and mental training. It also contains an interview with Cecilia Zilliacus, professor of violin at the Royal College of Music in Stockholm. The development of these methods is regularly written down and their effectiveness related to the topic is discussed. In the summary of the survey, the different methods are compared with each other and it is discussed what is the most effective way to manage technical habits. The investigation shows that it is possible to analyze and change ones pattern with different methods that change the practice sessions. The study's conclusions can be useful for musicians of all levels who want to find strategies for getting rid of their patterns or serve as an inspiration for finding new practice methods. / <p>Inspelning av Sergej Prokofjevs andra violinkonsert, sats 1 tillsammans med pianist Erik Lanninger</p>