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 / 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.

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Learning to play a musical instrument is a daunting task. Musicians must execute unusual physical movements within very tight tolerances, and must continually adjust their bodies in response to auditory feedback. However, most beginners lack the ability to accurately evaluate their own sound. We therefore turn to computers to analyze the student's performance. By extracting certain information from the audio, computers can provide accurate and objective feedback to students. This thesis lays out some general principles for such projects, and introduces tools to help practicing rhythms and violin intonation. There are three distinct portions to this research: automatic exercise creation, audio analysis, and visualization of errors. Exercises were created with Constraint Satisfaction Programming, audio analysis was performed with amplitude and pitch detection, and errors were displayed with a novel graphical interface. This led to the creation of MEAWS, an open-source program for music students.

In this dissertation I examine arguments for teaching post-secondary violin students to be versatile musicians rather than specialists in one genre or area of music. In order to do this, I assess the professional and educational opportunities in Toronto based on interviews with nine professional violinists as well as teachers and administrators at four institutions that offer post-secondary instruction in violin performance. To supplement information gathered through interviews, violinists and violists performing with the National Ballet of Canada and the Esprit Orchestra were asked to respond to a questionnaire regarding their training and work experiences. Data collected through fieldwork is contextualized by an analysis of scholarly writing, periodicals and websites on the topic of current post-secondary music curriculum and pedagogy methods. Throughout the dissertation, I build the case that, despite strong opinions and many years of pedagogy that emphasize the contrary, versatility provides many advantages to professional violinists when compared to specialization. In order to maximize the benefits of versatility in a professional career, I draw on Benjamin Brinner’s notion of core competences (Brinner 1995) to posit the skills necessary for professional musicians to pursue successful, enduring careers in Toronto. Applying these core competences to an analysis of violinists’ training, I explore the violin curriculum of post-secondary music schools in Toronto: The University of Toronto, the Glenn Gould School, Humber College, and York University to examine how students are being trained. In particular, I query how students are being prepared to be profession violinists with a focus on whetherthey are being prepared to be versatile musicians or specialists in one style. I conclude by offering recommendations as to how to better teach versatility based on the findings of the previous chapters. I explain that versatility can be nurtured in the school environment through teacher training and curricular changes that emphasize informal learning approaches, shifts in conventionally held assumptions about musical value and career success, and by encouraging exploration and improvisation as a basis of developing creativity.

In this dissertation I examine arguments for teaching post-secondary violin students to be versatile musicians rather than specialists in one genre or area of music. In order to do this, I assess the professional and educational opportunities in Toronto based on interviews with nine professional violinists as well as teachers and administrators at four institutions that offer post-secondary instruction in violin performance. To supplement information gathered through interviews, violinists and violists performing with the National Ballet of Canada and the Esprit Orchestra were asked to respond to a questionnaire regarding their training and work experiences. Data collected through fieldwork is contextualized by an analysis of scholarly writing, periodicals and websites on the topic of current post-secondary music curriculum and pedagogy methods. Throughout the dissertation, I build the case that, despite strong opinions and many years of pedagogy that emphasize the contrary, versatility provides many advantages to professional violinists when compared to specialization. In order to maximize the benefits of versatility in a professional career, I draw on Benjamin Brinner’s notion of core competences (Brinner 1995) to posit the skills necessary for professional musicians to pursue successful, enduring careers in Toronto. Applying these core competences to an analysis of violinists’ training, I explore the violin curriculum of post-secondary music schools in Toronto: The University of Toronto, the Glenn Gould School, Humber College, and York University to examine how students are being trained. In particular, I query how students are being prepared to be profession violinists with a focus on whetherthey are being prepared to be versatile musicians or specialists in one style. I conclude by offering recommendations as to how to better teach versatility based on the findings of the previous chapters. I explain that versatility can be nurtured in the school environment through teacher training and curricular changes that emphasize informal learning approaches, shifts in conventionally held assumptions about musical value and career success, and by encouraging exploration and improvisation as a basis of developing creativity.

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

No description available.

Modernist accounts of artistic integrity often required artists to alienate audiences. In some senses, the relationship between artists and audiences never recovered, and arts organizations today struggle to overcome the hostility. The alienation had roots in two applications of Hegelian philosophy. First, modernists viewed bourgeois audiences as needing a new consciousness of their place in history. Second, artists could only bring this consciousness about by posing an antithesis to bourgeois culture, accomplished by abstraction, or removal from established aesthetic norms. In music and painting, abstraction became an important mark of seriousness, while audiences were alienated by it. J. S. Bach’s “Chaconne” for solo violin offers a model for reconciling artist and audience. Bach used a well-established dance form to lead an audience through many levels of abstraction that are both pleasing and challenging. A different account of artistic integrity and a more nuanced view of abstraction can reframe the relationship between artist and audience.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-19T15:49:16Z No. of bitstreams: 1 arquivototal.pdf: 4564038 bytes, checksum: 7f1c7139338d4ab5fafbbca4a0886f63 (MD5) / Made available in DSpace on 2016-07-19T15:49:16Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4564038 bytes, checksum: 7f1c7139338d4ab5fafbbca4a0886f63 (MD5) Previous issue date: 2016-03-29 / A survey about the work written by the composer Marcílio Onofre (1982), this research discusses the collaborative process between the composer and the performer in Caminho Anacoluto II – quasi-Vanitas for violin and piano. We will discuss about the process of technical expansion that occurs in contemporary music and the results in the music of this period. We will also introduce a brief presentation of the composer, the Laboratory of Musical Composition, Onofre’s participation on it and the collaborations that occurred. Finally, an approach to the work Caminho Anacoluto II – quasi-Vanitas, its structural aspects and a reflection on the collaborative process. / Uma pesquisa realizada acerca da obra escrita pelo compositor Marcílio Onofre (1982), o presente trabalho visa oferecer algumas reflexões sobre o processo de colaboração entre compositor e intérprete na música Caminho Anacoluto II – quasi-Vanitas para violino e piano. Trataremos do processo de expansão técnica que ocorre na música contemporânea e os resultados nas músicas deste período. Também será oferecida uma breve apresentação do compositor, do Laboratório de Composição Musical, a participação de Onofre no laboratório e as colaborações ocorridas. Por fim, será feita uma abordagem à obra Caminho Anacoluto II – quasi-Vanitas, seus aspectos estruturais e uma reflexão sobre a participação deste pesquisador no processo de colaboração com o compositor.