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The primary research question of this paper examines teachers' philosophies concerning parental involvement and pedagogical practices. Specifically, what are violin teachers' attitudes and practices concerning parental involvement? Secondary research questions were formulated as a result of major topics arising from the review of literature and focused on how and why teachers formed their personal philosophies towards parental involvement. The following research is unique in that it defines the concept of parental involvement directly from the perspective of the teacher. Because anyone teacher oversees the development of many violin students, he/she is in an extraordinary position to comment on factors, conditions and behaviours across a large sample of students with differing types and degrees of parental involvement. Specifically, this study investigates factors of parental involvement that violin teachers believe to have a positive impact on student success.

Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. This study will explore in some detail how Bach transforms these solo keyboard pieces into a three movement concerto for three concertino instruments and ripieno. As is the case with most of Bach's instrumental works, the question of where BWV 1044 fits within the chronology of Bach's works is unclear. This paper will attempt a reliable date of composition for this concerto by combining a variety of methods including source study and comparative formal analysis.

Darbe analizuojamas mokymo(si) griežti smuiku specifiškumas pradiniame etape. Tyrimo tikslas: atskleisti mokymo(si) griežti smuiku pradinio etapo ypatumus meno mokyklose. Tyrimo uždaviniai: apžvelgti psichologinius – pedagoginius vaikų raidos ypatumus bei gabumus, jų reikšmę muzikinio ugdymo procesui; išanalizuoti laikysenos bei rankų nustatymo specifiką, mokanti(s) griežti smuiku; apibūdinti pedagogo vaidmenį mokymo procese; ištirti mokytojų požiūrį į mokymo(si) griežti smuiku pradinio etapo ypatumus bei svarbą. Tyrimo metodai: teorinė metodinės, pedagoginės ir psichologinės literatūros analizė; anketinė apklausa raštu (anketa mokytojams); aprašomoji statistinė duomenų analizė. Mokymas(is) griežti smuiku laikomas sudėtingu tiek mokytojui, tiek mokiniui. Pradinis mokymo(si) etapas yra labai svarbus ir atsakingas periodas, turintis įtakos visam tolimesniam jaunojo smuikininko vystymuisi. Būtina atsižvelgti į vaiko amžių, gabumus, nes kiekvienai amžiaus grupei būdingos savos galimybių ribos, suvokimo, elgesio ir pan. ypatybės. Viena svarbiausių užduočių yra mokinio muzikinių gabumų (tame tarpe ir muzikinės klausos bei ritmo pojūčio) vystymas. Sunkiausias darbas pradiniame mokymo(si) etape yra rankų nustatymas, todėl pedagogas privalo gerai apgalvoti metodiką, atsižvelgti į vaiko individualius fiziologinius ypatumus, nesistengti skubinti vystymo(si) proceso. Muzikanto ugdymas ir mokymas – sudėtinga veikla, apimanti du artimai susijusius dalykus: pedagogo požiūrio į meną, žinių... [toliau žr. visą tekstą] / The work analyses of teaching (learning) to play the violin at early stage. The purpose of the research: to disclose peculiarities of teaching (learning) to play the violin at the initial stage. The goal of the research: to review the psychological – pedagogical specialties of children development, its importance to musical education process; to analyse the particularity of posture and measurement by the arm while teaching (learning) to play the violin; to describe teacher’s role in the teaching process; to survey teacher’s attitude to the initial phase peculiarity and importance of teaching (learning) to play the violin. The methods of the research: the theoretical analysis of methodical, pedagogical and psychological literature; written questionnaire (a questionnaire for teachers); descriptive statistical analysis of data. Teaching (learning) to play the violin is said to be difficult for both teacher and student. The primary teaching (learning) phase is very important and responsible period, which affects the whole future development of the young violinist. It is essential to take the child’s age, abilities into account, because each age group has its own typical limit of potentiality, perception, behaviour, and other features. One of the most important exercises is the development of the student’s musical talent (also his/her ear for music and sense of rhythm). The hardest work in the initial teaching (learning) stage is the hand-setting, that is why the teacher must... [to full text]

Dereglement passager de corps heterogenes is a work for flute (doubling piccolo and alto flute), clarinet (doubling bass clarinet), horn, piano, violin, cello and contrabass which explores the concept of "virus" within a musical form similar to the theme and variations. During its elaboration, I imagined what could metaphorically be the effects of different virus on what I define as "musical organisms". This idea suggested a number of variations that could serve as laboratories to experiment different levels of interaction between the virus and the musical organisms. This thesis consists of the musical score and a detailed analysis.

Heinrich Ignaz Franz von Biber's (1644--1704) Mystery Sonatas of 1676 are a set of fifteen sonatas for violin and continuo plus one unaccompanied passacaglia for solo violin. They are unusual in their use of scordatura and in the presence of an image associated with the Rosary devotion before each sonata. This association between image and music in the sonatas, and the correspondence to the fifteen mysteries of the Rosary closely resembles the structure of seventeenth-century Rosary picture books. / In this thesis the context, background, and meaning of the sonatas is explored. The first chapter examines the function of the sonatas and places them in context by outlining musical life in Salzburg, the sonata tradition, the Rosary devotion, Emblem books, and Rosary picture books. The second chapter focuses more on the collection as a whole and on elements such as key, dance affect, and scordatura. The third chapter consists of an examination of three sonatas---each one unique in placing the listener in a different relation to the mystery.

No abstract available. / Thesis (M.Mus.)-University of Natal, 1987.

The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.

This study is about Johann Christian Bach's Opus 11 Quintets for flute, oboe, violin, viola, cello and continuo. The main focus of the research concerns the use of sonata form in these pieces. All the first movements are in sonata form, which was a common practice of his time. The two slow second movements are in sonata form also. In addition, one of the slow movements is sonata form without a development section.This period of time was rich in experimentation. Within Bach's work the variety within these eight sonata-form movements is explored. Essential features of the sonata form as well as Bach's unique originality are evident.In order to be able to historically place these works, the sonata-form movements of Bach's contemporaries and Bach's other types of instrumental works are compared to Bach's Opus 11. Works included for the discussion in this dissertation are the quartets and quintets in mixed instrumentation including one or two woodwind instruments. The closest possible instrumentation to Opus 11 is that of flute and oboe.Bach's music is Italian in tone; however, the Germanic inheritance is evident in the use of polyphonic texture, harmonic depth, and richness of instrumentation. His concern for instrumental color is highly advanced for his time and he virtually pioneers this color effect in an ensemble works. His skillful use of sonata form and instrumentation is the pathway that Mozart promoted.