Orientador: Esdras Rodrigues Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T13:00:31Z (GMT). No. of bitstreams: 1 Luckman_PauloEgidio_M.pdf: 9209306 bytes, checksum: 05ab9ba9c61a5aac65ee16c023498b65 (MD5) Previous issue date: 2012 / Resumo: O objeto de estudo deste trabalho é um método de ensino de cordas duplas escrito por Luis Soler Realp (1920-2011), violinista catalão naturalizado brasileiro. O método foi analisado e depois comparado com algumas obras referenciais que trabalham cordas duplas escritas por Sevcik, Flesch, Galamian e Sitt. À luz desta comparação, foram discutidos os méritos do trabalho de Soler, seus fundamentos, e algumas de suas idiossincrasias. Além disso, foram comentados brevemente pontos relacionados ao estudo das cordas duplas no contexto geral da formação violinística / Abstract: The objective of this paper is a double stops method developed by Luis Soler Realp (1920-2011), a Catalan naturalized Brazilian violinist. The method was analyzed and compared with several references that work with double stops written by Sevcik, Flesch, Galamian and Sitt. In the light of this comparison, the merits of Soler Realp were discussed, as well as his fundaments and some of his idiosyncrasies. Aspects related to the study of double stops within a general context of violin teaching were also briefly discussed / Mestrado / Praticas Interpretativas / Mestre em Música

Though the Danish composer, Carl Nielsen, has become familiar to most of us only through his symphonic output, he was a gifted composer of other genres including chamber music, keyboard music, concertos, vocal music, and lesser orchestral works. His music is well-known throughout Scandinavia, but has not received widespread recognition elsewhere, though much of it could be a valuable addition to the repertory of Western musicians. In view of this fact, the author will outline Nielsen's output and style with special emphasis on his violin music and its appropriateness for performance.

Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.

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. / Arts, Faculty of / Music, School of / Graduate

Research on the origins of the violoncello reveals considerable dispute concerning the existence and identity of its ancestor, the bass violin. This study focuses on the classification of the sixteenth- and early seventeenth-century bass violin by means of the following criteria: construction, early history and development, role due the social status of builders and players, use within the violin band, performing positions, and defining terminology. Accounts of inventories, organological treatises, music theoretical writings, lists of households and royal courts, descriptions of feasts, reports of choreographies and iconographical examples confirm the bass violin's presence in the late sixteenth century and beyond. Three of the earliest unchanged extant organological examples embody, complement and corroborate the bass violin's identification, and conclude the essay.

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.

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I mitt examensarbete har jag valt att skriva om sats 1 ur Felix Mendelssohns violinkonsert. Jag har valt detta stycke för att jag tycker väldigt mycket om det och jag har lyssnat på violinkonserten sedan jag var ett litet barn. Syfte har varit att undersöka om utförandet av ett musikstycke kan påverkas av om man är ergonomiskt medveten eller inte. Jag fann intresse att skriva om ergonomi då jag har egna erfarenheter av att ha problem med spänningar och smärta i min kropp när jag övat (i synnerhet nacke, axlar och armar) och har insett att det kan vara sammanlänkat med ett bristande ergonomiskt medvetande i mitt fiolspel. Jag har velat undersöka om jag med ergonomiska övningar kan undvika spänningar och smärta. Jag har valt ut ett par passager ur stycket och undersökt vad det är för spänningar och smärta som uppkommer. Jag valde ut några ergonomiska övningar för nacke och axlar som förhindrar att spänningar uppstår och provade att se om övningarna kunde förbättra mitt framförande av passagerna. Övningarna gav ett mycket positivt resultat. Jag märkte en tydlig skillnad från tidigare: det krävdes bara ett par minuters ergonomiska övningar innan varje övningspass av de olika passagerna för att bli av med spänningarna och smärtan. Jag har känt mig mycket mer avslappnad i kroppen efter att jag praktiserat övningarna. Därför har jag absolut haft nytta av att undersöka detta ämne. Jag har blivit mer medveten om vilket viktigt verktyg ergonomin tillför till övningen. Dessa typer av övningar kommer jag använda mig av i framtiden i mitt musicerande. Förhoppningsvis kommer mitt arbete inspirera andra musiker att bli mer ergonomiskt medvetna. Detta är ett ämne vi inte ska underskatta.

Efter att vid två olika tillfällen spelat på masterclasses för violinprofessor Ulf Wallin, rekommenderades jag ett huvudinstrumentbyte från violin till viola. Detta med tanke på de rygg- och nackproblem som jag brottats med under en längre period och som hindrat mig från att komma vidare i mitt violinspel. I detta arbete utforskar jag speltekniska skillnader mellan violin och viola. Jag har under åtta veckor systematiskt övat på skalor, etyder och repertoar. Jag har valt att dela upp processen i fyra olika moment: instrumentfattning, stråkteknik, intonation och altklav. Under processen redogör jag för hur jag arbetat med de olika momenten och med hjälp av mina lärare tagit mig an de utmaningar jag stött på. Jag har regelbundet fört loggbok och antecknat intressanta saker jag upptäckt under övningspassen. Jag har också spelat in videoklipp för att kunna följa min utveckling. Jag har analyserat denna process utifrån Gibsons affordance-begrepp, vilket har fått mig att inse varför jag har olika förutsättningar beroende på om jag spelar violin eller viola. Arbetet har resulterat i att jag uppnått en förbättrad teknik och musikaliskt uttryck. Jag redovisar det genom en inspelning jag gjort av ett solostycke med ljud och bild i en gotländsk kyrka.

This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra). The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.