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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
521

Interpreting Bach: Sonata No. 3 in C Major For Solo Violin

Kreutzfeldt, Hannah L. 17 September 2014 (has links)
No description available.
522

AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCE

PHELAN, VINCENT J. 19 July 2006 (has links)
No description available.
523

Quotations and Constructivism in Twentieth-Century Violin Chaconnes by John Adams, Hans W. Henze, and Moses Pergament

Zorgniotti, Marc F. 09 August 2010 (has links)
No description available.
524

ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS

Ortega Paredes, Juan Carlos 27 August 2012 (has links)
No description available.
525

The Application of Bel Canto Principles to Violin Performance

Dyo, 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
526

ЮНЫЙ СКРИПАЧ [THE YOUNG VIOLINIST]: A RUSSIAN/SOVIET VIOLIN METHOD

Dyo, Yevgeniy January 2018 (has links)
There is no abstract in the dissertation / Music Performance
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 musical

Baril, Félix Frédéric. January 2006 (has links)
No description available.
528

Parental involvement in private violin lessons : survey of teacher attitudes and practices

Kalverboer, Kenda. January 2008 (has links)
No description available.
529

The mystery of the Mystery sonatas : a musical rosary picture book

Strieck, Katia. January 1999 (has links)
No description available.
530

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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