The diploma thesis is focused on the development of interpretation of violin playing at the advanced level at music schools. The aim of the thesis is to go through different periods of music development and to deepen the quality of means of reproduction and develop basic principles of interpretation in advanced students on the basis of several selected compositions. Another objective is to handle the practising process of each composition creatively. The work is oriented practically and may become useful for violin teachers and advanced students. The problems connected with violin playing are treated from the point of view of performance. The teaching process goes from imagination to realization where the technical skills are means for the realization of imagination and, simultaneously, the final performance is a great deal influenced by the player's technical skills. Also, the possibilities how to develop musical imagination and accomplish successful realization of the process mentioned above are discussed. The central themes of the thesis are the development of interpretation of violin playing and the problems connected with it, both theoretical and practical. A scheme for the teaching process is defined and the possible ways of application of the scheme during practice are shown on examples of...

SUMMARY: The thesis contains a description, analysis and subsequent comparison of selected czech violin schools for the beginners. The final assessment is based on several criteria such as efficiency and speed of acquisition of violin techniques by the student, student's development of musicality, as well as the aesthetic and musical motivation.

Esta tese propõe uma investigação acerca da trajetória do compositor e violinista Manoel Joaquim de Macedo (1845-­-1925). Por meio de uma revisão da literatura, procura entender como surgiu o perfil biográfico do músico, perfil esse que acabou consagrado. Por outro lado, desconstrói esse perfil a partir de pesquisas recentes e dados inéditos, propondo uma nova leitura de sua biografia. Manoel Joaquim de Macedo é inserido em seu contexto social e político para melhor se entender como ele atuou como músico e quais eram suas ambições. Assim, são examinados o meio no qual ele se iniciou na música; a tradição da escola franco-­-belga de violino, na qual ele teria se formado; o meio musical carioca e mineiro do final do século XIX início do XX; e as questões político-­-ideológicas que envolveram a criação da ópera Tiradentes, seu grande projeto profissional da maturidade / This work proposes an investigation about the composer and violinist Manoel Joaquim de Macedo (1845-­-1925). Through a literature review, it tries to understand how the consecrated biography of the musician was formed. On the other hand, it deconstructs this biography from recent research and unpublished data, proposing a new biographical approach. Manoel Joaquim de Macedo is inserted in its social and political context to better understand how he acted as musician and what were his ambitions. Thus, this work examines the medium in which he began in music; the Franco-­-Belgian violin school tradition, in which he would have formed; the musical ambient of Rio de Janeiro and Minas Gerais in the late nineteenth and early twentieth century; and the political and ideological issues surrounding the creation of the opera Tiradentes, his great professional project of the maturity.

A presente dissertação apresenta um estudo que teve por objetivo buscar subsídios para a construção da performance da Sonata Op. 61 para violino e piano do compositor ítalo-brasileiro Glauco Velásquez (1884-1914). Primeiramente realizamos um breve estudo biográfico do compositor e das influências musicais a que foi exposto, destacando sua colaboração com a violinista Paulina d\'Ambrósio. Foram comparados elementos de sua Sonata Op. 61 com as sonatas de Franck e Lekeu, por apresentarem tais compositores relações diretas de semelhança e influência sobre Velásquez. Por fim, através de estudo da partitura, evidenciamos os elementos relevantes para a compreensão e performance da Sonata Op. 61, com sugestões de execução e comentários resultantes da experiência do preparo da obra e sua apresentação pública em recital. / This dissertation presents a research that has as goal find elements to the musical interpretation of the Sonata Op.61 for violin and piano by the italian-brazilian composer Glauco Velásquez (1884-1914). Firstly we present a brief research about the biography of the composer and the musical influences that he was exposed, highlighting his partnership whit the violinist Paulina d\'Ambrósio. Elements from the Sonata Op. 61 has been compared whit the sonatas by Franck and Lekeu, since these works have a close relationship of similarity and influence on Velásquez. Finally, through study of the score, we highlight the important elements for understanding and performing the Sonata Op.61, whit suggestions and comments resulting from the rehearsals and public performance of the work in a recital.

L'étude par continuation des solutions périodiques et quasi-périodiques est appliquée à plusieurs modèles issus du violon. La continuation pour un modèle à un degré de liberté avec friction régularisée permet de montrer la préservation, par rapport à la friction de Coulomb, des bifurcations de cycle limite (une vitesse maximale et une force minimale permettant le mouvement de Helmholtz) et de propriétés globales de la branche de solution (croissance de l'amplitude avec la vitesse, décroissance de la fréquence avec la force normale). L'équilibrage harmonique est évalué sur la friction régularisée et a des propriétés de convergence intéressantes (erreur faible, monotone, à décroissance rapide). La continuation sur un modèle à deux modes donne accès aux solutions de registres supérieurs, dont la stabilité coïncide avec l'expérience. La valeur retenue pour l'inharmonicité peut modifier fortement le diagramme de bifurcation. Une nouvelle méthode de continuation des solutions quasi-périodiques est proposée. Elle associe l'EH étendu à deux pulsations avec la Méthode Asymptotique Numérique. Une attention particulière est portée à la rapidité des calculs, face à la croissance rapide de la taille des systèmes à inverser. Un modèle de friction prenant en compte la température au point de contact est reformulé à l'aide d'une dérivée fractionnaire. Nous proposons une méthode de continuation de solutions périodiques de systèmes contenant des dérivées ou intégrales fractionnaires. Nous établissons une condition suffisante pour que les cycles asymptotiques du cadre causal (Caputo) soient solutions du cadre que nous avons choisi. / The continuation of periodic and quasi-periodic solutions is performed on several models derived from the violin. The continuation for a one degree-of-freedom model with a regularized friction shows, compared with Coulomb friction, the persistence of limit cycle bifurcations (a maximum bow speed and a minimum normal force allowing Helmholtz motion) and of global properties of the solution branch (increase of amplitude with respect to the bow speed, decrease of frequency with respect to the normal force). The Harmonic Balance Method is assessed on this regularized friction system and shows interesting convergence properties (the error is low, monotone and rapidly decreasing). For two modes the continuation shows higher register solutions with a plausible stability. A stronger inharmonicity can greatly modify the bifurcation diagram. A new method is proposed for the continuation of quasi-periodic solutions. It couples a two-pulsations HBM with the Asymptotic Numerical Method. We have taken great care to deal efficiently with large systems of unknowns. A model of friction that takes into account temperature of the contact zone is reformulated with a fractional derivative. We then propose a method of continuation of periodic solutions for differential systems that contain fractional operators. Their definition is usually restricted to causal solutions, which prevents the existence of periodic solutions. Having chosen a specific definition of fractional operators to avoid this issue we establish a sufficient condition on asymptotically attractive cycles in the causal framework to be solutions of our framework.

Den här studien handlar om min upplevelse av att spela Johann Sebastian Bachs Chaconne med en barockstråke och med en modern stråke. Den handlar också om huruvida detta påverkar mitt val av hur jag väljer att spela stycket på i slutändan. På ett tidstroget sätt eller på ett modernt sätt. Mitt syfte är att undersöka om det är någon skillnad att spela ett stycke med en tidstrogen stråke samt med en modern stråke. Finns det några fördelar och nackdelar med samtliga och har någon utav dem bättre förutsättningar i valet av stycke som man ska spela. Arbetet har utförts i Kungliga Musikhögskolans lokaler och inspelningarna i min egen studio. Några av de resultat jag kommit fram till är att jag ännu inte har hittat endast ett sätt att spela chaconne på. Det beror helt från dag till dag och vilket humör jag är på. Det vill säga att jag väljer att spela på ett sätt som känns bäst i stunden. Jag har också upplevt att det känns bättre att spela med den barocka stråken när jag spelar på ett tidstroget sätt och vice versa.

A presente dissertação apresenta um estudo que teve por objetivo buscar subsídios para a construção da performance da Sonata Op. 61 para violino e piano do compositor ítalo-brasileiro Glauco Velásquez (1884-1914). Primeiramente realizamos um breve estudo biográfico do compositor e das influências musicais a que foi exposto, destacando sua colaboração com a violinista Paulina d\'Ambrósio. Foram comparados elementos de sua Sonata Op. 61 com as sonatas de Franck e Lekeu, por apresentarem tais compositores relações diretas de semelhança e influência sobre Velásquez. Por fim, através de estudo da partitura, evidenciamos os elementos relevantes para a compreensão e performance da Sonata Op. 61, com sugestões de execução e comentários resultantes da experiência do preparo da obra e sua apresentação pública em recital. / This dissertation presents a research that has as goal find elements to the musical interpretation of the Sonata Op.61 for violin and piano by the italian-brazilian composer Glauco Velásquez (1884-1914). Firstly we present a brief research about the biography of the composer and the musical influences that he was exposed, highlighting his partnership whit the violinist Paulina d\'Ambrósio. Elements from the Sonata Op. 61 has been compared whit the sonatas by Franck and Lekeu, since these works have a close relationship of similarity and influence on Velásquez. Finally, through study of the score, we highlight the important elements for understanding and performing the Sonata Op.61, whit suggestions and comments resulting from the rehearsals and public performance of the work in a recital.

Ce travail de thèse propose un transfert de méthodes industrielles et de recherche que sont le prototypage virtuel et la caractérisation mécanique des structures vers l'artisanat d'art : la fabrication des instruments de musique à cordes, plus particulièrement la guitare et le violon.Ce domaine, historiquement éminemment empirique, est étudié ici avec des critères objectifs. Le travail porte principalement sur le comportementmécanique vibratoire de ces instruments de musique. Le comportement mécanique du matériau utilisé (bois de lutherie) est tout d'abord étudié, et une méthode non-destructive proposée et appliquée à l'épicéa et à l'érable. La fiabilité des modèles numériques et ensuite étudiée par des méthodes de vérification et de validation de modèle, habituellement utilisées dans les domaines industriels et de recherche Les modèles développés sont ensuite utilisés en support à l'étude de phénomènes complexes de l'acoustique musicale appliquée au violon et à la guitare. Pour finir, l'utilisation de ces méthodes numériques pour une application concrète en facture instrumentale (prise de décision en milieu incertain, innovation de la géométrie et des matériaux) est proposée. / This work proposes a methodology for the transfer of industrial and research domain methods toward arts and crafts domain. The virtual prototyping and mechanical characterization of materials are used for the stringed musical instruments making domain. The works is adressed to the guitar and violin making. This domain is historically driven by empricism and it is studied here using objective criteria. The main topic is the mechanical vibratory behaviour of musical instruments. Firstly, the mechanical behaviour of the material used (tonewood) is studied. A non-destructive methodology is proposed and applied on spruce and maple species. The reliability of the numerical models is studied by method usually used in industry and research, the verification and validation process. The models developed are used as a support for the study of complex phenomena in musical acoustics. Finally, the utilization of numerical method for a practical application in instrument making (decision support under uncertainties, geometric and material optimization) is proposed. The methodology for a transfer to art and crafts domain is discussed.

<p>I mitt examensarbete har jag valt att undersöka de tankar som finns kring vem som spelar vilket instrument. Vilka ord, som har med utseende respektive personlighet att göra, förknippar studerande vid en svensk musikhögskola samt en svensk folkhögskola med de utvalda instrumentalisterna; -klassisk tubaist, fiolspelande folkmusiker, klassisk tvärflöjtist, afrosångaren, afrotrummisen, klassisk pianist? Vilket kön, vilket utseende och vilken personlighet tänker de sig att respektive instrumentalist har? Genom en enkätundersökning har jag försökt ta reda på detta. Jag delade ut enkäter till studerande vid en svensk musikhögskola samt till musikstuderande vid en svensk folkhögskola. Av 201 utdelade enkäter fick jag in 49 svar. Jag tycker mig se tydliga skillnader kring vilka ord som förekommer till de olika instrumentalistgrupperna. Respondenternas uppfattning om vilket kön instrumentalisterna har är i de flesta fall väldigt överensstämmande</p> / <p>In my degree project I have chosen to examine the thoughts that exist around who plays which instrument. What kind of words –related to looks and personality - do students at a Swedish university of music associate with the following instrumentalists: classical tuba player, folk music violinist, classical flutist, afro singer, afro drummer, classical pianist? Which gender, looks and personality do they think the respective instrumentalist have? Through a survey, I have attempted to answer this. I handed out the surveys to students at a Swedish university of music, and to music students at a Swedish folk high school. From a total of 201 surveys, 49 responded. I think there are clear differences concerning which words relate to the different instrumentalists. The respondents’ opinion regarding the gender of the instrumentalists are generally in accordance.</p>

The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.