Guerra-Peixe, cuja obra “Concertino para violino e Orquestra de Câmara” é abordada nesta pesquisa, contribuiu para a formulação dos caminhos estéticos e estilísticos do Armorial. O Movimento Armorial promoveu a recriação em diversas artes através da modelagem dos elementos das manifestações populares nordestinas. Na música o intuito era o de criar a Música Erudita Nordestina. Visando uma interpretação embasada na estética e no estilo do Movimento Armorial, foi feita uma análise evidenciando os elementos da música popular nordestina presentes na obra, uma pesquisa fonográfica e experimentações com o instrumento rabeca. Esta abordagem serviu de base para consolidar a adaptação timbrística da sonoridade sugerida para a execução na proposta interpretativa que esta pesquisa apresenta. / Guerra-Peixe, wrote the “Concertino for violin and chamber orchestra” during his involvement with the Movimento Armorial. This aesthetic movement in northeastern Brazil strived to recreate the tenets of learned art through the use of popular manifestations. This study presents the Concertino’s performance preparation within the Armorial canon. Analysis of the popular rhythms present in the work as well as recording comparisons and experiments with the Rabeca were the basis for tone modeling in the interpretive decisions presented in this research.

Orientador: Ricardo Lobo Kubala / Banca: Emerson Luiz de Biaggi / Banca: Esdras Rodrigues / Resumo: Este trabalho apresenta um panorama histórico do desenvolvimento dos meios de ensino de violino, buscando contextualizá-los historicamente e investigá-los por meio de abordagem de caráter interdisciplinar, que procurou suporte, entre outras áreas, na ciência da expertise. Dessa forma, objetivou-se contribuir para a discussão acerca de práticas de ensino atuais. No primeiro capítulo apresentamos metodologias de dois ospedali italianos - instituições precursoras ao conservatório onde ocorria a internação e educação da juventude em situação de vulnerabilidade social. No segundo capítulo, disserta-se sobre a ascensão da música instrumental nos séculos XVI e XVII, o surgimento de uma literatura voltada uma metodização progressiva do estudo do violino e o legado de mestres do Barroco como Arcangelo Corelli e Giuseppe Tartini. Discorre-se, então, sobre aspectos pedagógicos envolvidos no sistema mestre/aprendiz. No terceiro capítulo, investiga-se o advento do Conservatório de Paris e suas consequências para o ensino musical. O quarto e último capítulo tem enfoque na produção dos séculos XX e XXI, quando pedagogos como Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian e Simon Fischer desenvolveram metodologias caracterizados por viés marcantemente analítico e cognitivista. Verificou-se, ao longo da história das práticas de ensino de violino, uma constante - e crescente - preocupação no que se relaciona à qualidade do estudo do instrumento. Concluiu-se que, independentemente da me... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work presents a historic panorama of the development of the methods of violin study, seeking to contextualize them historically and research them through an approach of interdisciplinary character, which sought support, among other areas, in the science of expertise. Thus, the aim is to contribute to the discussion about current teaching practices. In the first chapter we present methodologies from two Italian ospedali - precursory institutions to the conservatory where the lodging and education of youth in situations of social vulnerability occurred. In the second chapter, we discuss the rise of instrumental music in the 16th and 17th centuries, the emergence of literature aimed at a progressive method of studying the violin and the legacy of Baroque masters such as Arcangelo Corelli and Giuseppe Tartini. We then discuss pedagogical aspects involved in the master/apprentice system. In the third chapter, we investigate the advent of the Paris Conservatory and its consequences for musical education. The fourth and final chapter focuses on 20th and 21st century production, when pedagogues such as Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian, and Simon Fischer developed methodologies characterized by substantial analytical and cognitive perpectives. Throughout the history of violin teaching practices, there has been a constant - and growing - concern regarding the quality of the study of the instrument. It was concluded that, regardless of the methodology used, ef... (Complete abstract click electronic access below) / Mestre

Die-bleibende Stadt : Quintet für fünf Bläser Nr. 1, op. 27 -- La nuit et l'extra-terrestre : Deuxième Poéme Symphonique pour Orchestra à vents, op. 28 -- Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, op. 30 -- 3 duets of strings, "Information Engineering", op. 31. / Lam, Wang Kong. / Durations: 8 min.; 8 min.; 70 min.; 8 min. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves ). / Lyrics of 3rd work in Latin; abstract also in Chinese. / Abstract --- p.ii / Acknowledgements --- p.iii / Die bleibende Stadt: Quintet fur funf Blaser Nr. 1，Op.27 --- p.1 / Programme notes --- p.2 / Score --- p.3 / "La nuit et I'extra-terrestre : Deuxieme Poeme Symphonique pour Orchestre a vents, Op.28" --- p.9 / Programme notes --- p.10 / Score --- p.11 / "Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, Op.30" --- p.39 / Programme notes --- p.40 / Score: / Chapter I. --- Introit --- p.44 / Chapter II. --- Offertorio --- p.72 / Chapter III. --- Sanctus --- p.102 / Chapter IV. --- Pie Jesu --- p.121 / Chapter V. --- Agnus Dei --- p.126 / Chapter VI. --- Lux aetema --- p.137 / Chapter VII. --- Libera me --- p.141 / Chapter VIII. --- In paradisum --- p.171 / "3 Duets for strings, ""Information Engineering´ح, Op.31" --- p.184 / Programme notes --- p.185 / Score: / Chapter I. --- Fourier Transform --- p.186 / Chapter II. --- Cryptography --- p.188 / Chapter III. --- Information Theory --- p.190

The concert features an eclectic variety of blues, rags, fiddle tunes and consort music arranged for both historic and modern instruments. The program includes works by numerous composers, from Johann Groh and Thomas Lupo, who were born in the late 16th century, to George Linus Cobb and Doc Roberts of the early 20th century.

Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expansion, orchestration, and ultimately a recomposition of Et si sensus deficit… The melodic, harmonic, and formal material in Sola Fides Sufficit is largely based on my detailed musical analysis of the Pange Lingua, an unaccompanied 13th century plainchant written by St. Thomas Aquinas. The six-phrase melody is well-known in the Roman Catholic tradition for its performance at the end of Holy Thursday Mass. My analysis drove my compositional choices regarding two distinct objectives: One, to reflect the chant material in overt ways (e.g., use of neighbor figures) and two, to intentionally diverge from the original chant material, at times exploiting or exaggerating elements purposefully avoided in the chant (e.g., the tritone). I utilized both ways of decision-making to create drama, contrast, tension, and resolution in the piece. My large-scale formal goal was to create a cohesive composition utilizing particular surface and structural aspects of the Pange Lingua melody, while withholding presentation of the melody in its entirety until the climax (conclusion) of the work. Fragments from the chant were selected and employed in varying contexts depending on the formal goals of each section. Some fragments were presented with few changes, while others were transformed and developed through tonality, registration, timbre, and rhythm. My structural design was shaped by four words of character the composer Witold Lutoslawski perceived as essential in the creation of his large-scale works: Introduction, Narrative, Transitional and Concluding. Influenced by Lutoslawski’s psychological approach to listener perception as a compositional and analytical tool, Sola Fides Sufficit unfolds in four unbroken parts, each portraying primarily one of these four formal characters. Within each movement, these formal characters also occur on a smaller scale and give shape to each section. Only during the Narrative portions is the content the most important aspect perceived. During the Introductory, Transitional, and Concluding music, however, the role of the given section in the form is more important than the content.

The submission focuses on the performance of violin works that incorporate elements of folk music. It investigates some of the ways in which traditional folk melodies are utilised in violin repertoire and considers the implications for performance. It recognises that when performing music inspired by folk idioms the classical violinist often needs to adopt a different set of technical and musical objectives relevant to the cultural origin of the work. The submission takes the form of two CD recordings with a supporting exegesis. The exegesis discusses those aspects of the performances that stem from the cultural traditions to which the repertoire is related. Due to the broad nature of this topic my investigation was confined to selected works that stemmed from English and Hungarian traditional music. The exegesis examines the relevance of the research and the application of these discoveries in performance. The main focus is the incorporation of traditional Hungarian characteristics in the performance of Bartók’s Rhapsody No 2 for Violin and Piano, and Kodály’s Duo for Violin and Violoncello, Op 7. Discussion then moves to Vaughan Williams’s The Lark Ascending and the differences required to recreate the sound of the traditional English fiddler. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2007

<p>Syftet med det här arbetet var att närmare undersöka hur några nutida folkmusiker övar och tänker kring sitt övande, samt om det hos dessa fanns speciella sätt att öva in och lära ut svensk folkmusik.För att undersöka detta intervjuades fem folkmusiker med olika bakgrund, ålder och kön med hjälp av öppna frågor. Slutsatserna är att utbildning ger spelmannen impulser till ett mer strukturerat sätt att öva. Förebilderna har en stor betydelse i musik som traditionellt lärs ut via gehör. Folkmusikern ”måste” inte vara tekniskt skickligt för att vara ”bra” utan mycket kan uppvägas av karaktär och uttryck.  Ett vanligt sätt att lära ut svensk folkmusik, är att först spela hela låten, spela en repris och sedan dela in den i fraser. I studien fanns ett samband mellan informantens utbildning och komplexiteten i egna övningar samt rekommenderade övningar till elever.</p> / <p>The aim of this study is to examine how certain traditional musicians of today practice, and their thoughts on studying the violin. Also, if there was a specific kind of practice and teaching in the genre of Swedish traditional music.Five musicians with different backgrounds, age and sex were interviewed with open questions.The conclusions are that education can provide the traditional musician with a structured practice method.  Models are of great importance in music played by ear. The musician that plays traditional music “must “ not always be technically skilled to be a musician of importance. Character and expression can counterbalance a bad technique. A common way to teach Swedish music is to first play the whole tune and then divide it into smaller units. There was a connection in the study between the education of the informant and the complexity of their own exercises and the exercises they recommended to pupils.</p>

Numerous influential composers are associated with the program known as "El Sistema" in Venezuela. Despite a richly prolific output from many of these figures, only a few are known in the United States and throughout the world. Among the most influential is Paul Desenne (b. 1959), whose Sonata for Violin Solo is the subject of this doctoral essay. Throughout his youth and musical education, Desenne was exposed to an eclectic variety of musical styles and idioms. This eclecticism influenced his compositional style from the time of his earliest compositions and is also evident in his more recent works. The Sonata for Violin Solo reflects this cultural interweaving that incorporates music from Desenne’s native Venezuela and utilizes elements from indigenous tribes, Spanish settlers, and African peoples that are combined with global musical elements. This essay explores these elements from a theoretical perspective, as well from the practical viewpoint of the performer.

Of the many waveforms the bowed string can assume, theso-called "Helmholtz motion" (Helmholtz 1862) gives the fullestsound in terms of power and overtone richness. The developmentof this steady-state oscillation pattern can take manydifferent paths, most of which would include noise caused bystick-slip irregularities of the bow-string contact. Of thefive papers included in the thesis, the first one shows, notsurprisingly, that tone onsets are considered superior when theattack noise has a very limited duration. It was found,however, that in this judgment thecharacterof the noise plays an important part, as thelistener’s tolerance of noise in terms of duration isalmost twice as great for "slipping noise" as for "creaks" or"raucousness" during the tone onsets. The three followingpapers contain analyses focusing on how irregular slip-sticktriggering may be avoided, as is quite often the case inpractical playing by professionals. The fifth paper describesthe triggering mechanism of a peculiar tone production referredto as "Anomalous Low Frequencies" (ALF). If properly skilled, aplayer can achieve pitches below the normal range of theinstrument. This phenomenon is related to triggering wavestaking "an extra turn" on the string before causing thestring’s release from the bow-hair grip. Since transverseand torsional propagation speeds are both involved, twodifferent sets of "sub-ranged" notes can be produced this way.In the four last papers wave patterns are analysed andexplained through the use of computer simulations. Key words: Key words: Bowed string, violin, musicalacoustics, musical transient, anomalous low frequencies,Helmholtz motion

Syftet med det här arbetet var att närmare undersöka hur några nutida folkmusiker övar och tänker kring sitt övande, samt om det hos dessa fanns speciella sätt att öva in och lära ut svensk folkmusik.För att undersöka detta intervjuades fem folkmusiker med olika bakgrund, ålder och kön med hjälp av öppna frågor. Slutsatserna är att utbildning ger spelmannen impulser till ett mer strukturerat sätt att öva. Förebilderna har en stor betydelse i musik som traditionellt lärs ut via gehör. Folkmusikern ”måste” inte vara tekniskt skickligt för att vara ”bra” utan mycket kan uppvägas av karaktär och uttryck.  Ett vanligt sätt att lära ut svensk folkmusik, är att först spela hela låten, spela en repris och sedan dela in den i fraser. I studien fanns ett samband mellan informantens utbildning och komplexiteten i egna övningar samt rekommenderade övningar till elever. / The aim of this study is to examine how certain traditional musicians of today practice, and their thoughts on studying the violin. Also, if there was a specific kind of practice and teaching in the genre of Swedish traditional music.Five musicians with different backgrounds, age and sex were interviewed with open questions.The conclusions are that education can provide the traditional musician with a structured practice method.  Models are of great importance in music played by ear. The musician that plays traditional music “must “ not always be technically skilled to be a musician of importance. Character and expression can counterbalance a bad technique. A common way to teach Swedish music is to first play the whole tune and then divide it into smaller units. There was a connection in the study between the education of the informant and the complexity of their own exercises and the exercises they recommended to pupils.