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Interpreting Bach: Sonata No. 3 in C Major For Solo ViolinKreutzfeldt, Hannah L. 17 September 2014 (has links)
No description available.
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522 |
AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCEPHELAN, VINCENT J. 19 July 2006 (has links)
No description available.
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Quotations and Constructivism in Twentieth-Century Violin Chaconnes by John Adams, Hans W. Henze, and Moses PergamentZorgniotti, Marc F. 09 August 2010 (has links)
No description available.
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ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTSOrtega Paredes, Juan Carlos 27 August 2012 (has links)
No description available.
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The Application of Bel Canto Principles to Violin PerformanceDyo, Vladimir January 2012 (has links)
Bel canto is "the best in singing of all time." Authors on vocal literature (Miller, Celletti, Duey, Reid, Dmitriev, Stark, Whitlock among others) agree that bel canto singing requires complete mastery of vocal technique. The "best in singing" means that the singer should possess immaculate cantilena, smooth legato, a beautiful singing tone that exhibits a full palette of colors, and evenness of tone throughout the entire vocal range. Furthermore, the singer should be able to "carry the tone" expressively from one note to another, maintain long lasting breath, flexibility, and brilliant virtuosity. Without these elements, the singer's mastery is not complete. In addition, proper mastery of bel canto technique prolongs the longevity of the voice. For centuries, --emulating beautiful singing has been a model for violin performers. Since the late Renaissance and early Baroque periods, a trend toward homophonic style, melodious songs, and arias had a tremendous influence on pre-violin and violin performers, and even on luthiers. The earliest known four-stringed violins created by Andrea Amati, and Gasparo da Saló in the sixteenth century already possessed a tone that resembled the qualities of a human voice. Today, it has become more difficult to differentiate the tone of one violinist from another. The individual quality of the singing tone, which was the hallmark in violin playing of the golden age of Ysaye, Kreisler, Heifetz, Menuhin, Oistrakh etc. has deteriorated. The purpose of this monograph is to analyze the fundamental principles of bel canto and to apply these principles to violin performance. Teachers, students, and performers will find practical ideas to improve or solve various aspects of violin playing. I will focus primarily on tone production and tone formation (breathing, resonance, vibrato etc.), tonal shading (messa di voce), and range (blending positions). Through understanding the bel canto principles of singing and applying those principles to violin performance, one would have more means to give the tone its distinctive qualities. / Music Performance
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ЮНЫЙ СКРИПАЧ [THE YOUNG VIOLINIST]: A RUSSIAN/SOVIET VIOLIN METHODDyo, Yevgeniy January 2018 (has links)
There is no abstract in the dissertation / Music Performance
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527 |
Dérèglement passager de corps hétérogènes : le concept d'organisme musical et la métaphore du virus : étude sur les possibilités de développement organique du matériau musicalBaril, Félix Frédéric. January 2006 (has links)
No description available.
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Parental involvement in private violin lessons : survey of teacher attitudes and practicesKalverboer, Kenda. January 2008 (has links)
No description available.
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529 |
The mystery of the Mystery sonatas : a musical rosary picture bookStrieck, Katia. January 1999 (has links)
No description available.
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An Analytical Study of the Suite for Violin and Piano (1935), Op. 6, by Benjamin Britten (1913-1976)Lee, Hanjun 12 1900 (has links)
The Suite for Violin and Piano, Op. 6 is one of the least-known compositions by Benjamin Britten. It has been considered unfavorably by critics and scholars due to its puzzling mixture of tonal and post-tonal elements. However, this dissertation argues that the suite is composed with a clear tonal framework, and its unique mixed tonal-post-tonal language justifies an in-depth analysis. This analytical study utilizes a linear progression technique - the voice leading produced by passing tones and neighbor notes around focal pitches - to identify tonal areas of the suite.
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