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'Ist nun auch Titz kein großer Geiger, noch weniger der größte aller Zeiten, wie seine Verehrer behaupten, so ist er doch unbezweifeIt ein musikalisches Genie, wie seine Compositionen hinlänglich beweisen' 1, so charakterisierte den deutschen Musiker Louis Spohr, der ihn während eines Aufenthalts· in St. Petersburg im Jahre 1803 spielen hörte und selbst mit ihm musizierte.

Background: A review of literature shows that cochlear implant (CI) users face difficulties in terms of music interpretation when compared to regular hearing (RH) counterparts. The electrically pulsing nature of the CI acts differently than sound waves in a normally functioning ear, leading to different interpretations of musical concepts such as pitch or timbre. An exceptional case however has been observed in a university-level violinist with bimodal hearing (congenitally deaf in the right ear, and with very minimal residual hearing in the left; they use one CI and one hearing aid) at the University of Ottawa. Objective: This study will compare the pitch recognition, timbre preference and audiation (linked to pitch and rhythmic perception) abilities between an exceptional CI user and case-control RH violinists. Data has previously been collected on CI users not playing the violin due to CI technology's limitations in pitch processing. Since the violin is considered a pitch-heavy instrument to play, it is expected that the study participant has exceptional pitch recognition skills when compared to other CI users (and perhaps RH peers), while still demonstrating comparable timbre preference and rhythmic audiation abilities to an RH comparison group. Method: Three tests were administered relating to pitch recognition on a violin-like interface, timbre preference between two heard tones, and an Advanced Measures of Music Audiation (AMMA) test for general musical knowledge in pitch and rhythm-based melodic discrimination. Results were compared between the critical case-study with CIs and RH control participants to quantify a basis in pitch perception, timbre preference and melodic audiation (applied to pitch and rhythm) skills. Implications: The study participant demonstrated comparable timbre preference and rhythmic discrimination skills to an RH comparison group. The study participant demonstrated pitch perception skills higher than previously tested CI users, despite being lower than the RH comparison group. The CI-using study participant would have developed these higher-than- average pitch perception skills through rigorous early-age training, and passion and persistence of music training on a pitch-heavy instrument despite known recommendations. This sheds light on the CI's technology not necessarily limiting users' choice of instrument due to its pitch processing, despite previous recommendations.

This disertation turns its focus to one of the most significant personage of violin history. It portrays Eugène Ysaÿe not only as an interpret, conductor and pedagogist, but also as unconventional composer which established underlying milestone influented violin techniques of 20th century. We will point out to amity with leading artistic personalities which affected not only his evolution as composer. On musical examples, we will demonstrate his musical language, composition technique and personal input. This work should serve as complex oversight of Ysaÿe's life and persisting legacy.

Title: The effect of manual therapyof the cervical spine on standingbalance of violinists measured by CDP Objectives: The intention of this thesis is to describe most frequent functional changes of musculoskeletal apparatus of violinists. Secondly, to track and react to these changes with appropriate manual there of the cervical spine. Thirdly, to find out if this therapy has an effect maintaining postural stability by testing on a posturograph using the SOT protocol. Methods: This is a pilot study that uses subjective and objective examinations. Subjectively, the functional changes of the musculoskeletal apparatus were examined and then their frequency within the proband group was evaluated (n = 10, 2 men and 8 women). Within the objective examination, 15 parameters of postural stability were monitored under certain conditions. Using the Wilcoxon Pair Test, situations before and after manual therapy of the cervical spine were compared. The statistical significance level was set to α = 0.05 for this test. Results: The study has shown that violinists have some functional changes in the musculoskeletal apparatus in common. Their most frequent blockade is AO joint (9 out of 10 violins), the most common hypertonus can be found in flexors of the forearm of the left hand (9 out of10) andthetrapezius and...

This is a study on the creative benefits of analyzing one's masters and role models. By transcribing and studying three jazz improvisations of three separate violinists, I developed my sense of composition. With the melodic and rhythmical toolset found in the solos, four new songs were created. These were then performed at KMH, two songs in a traditional jazz manouche setting and two with a six-piece band. I chose to confine the work to the contemporary jazz scene in France.       The idea was born out of my appreciation of these musicians. Hearing them express such complexity so effortlessly made me eager to investigate their playing.  I have listened a great amount to the material to comprehend the melodic innovations and the rhythmic phrasing. Not only did I become a more confident composer - by making sure I could play the parts, my ability to express myself on the instrument was greatly enhanced as well! / <p>Filip Magnusson - Violin, Martin Vidlund – gitarr, Edvard Hamngren – gitarr, Gabriel Dahl - kontrabas, elbas, </p><p>Magnus Johansson – trummor, Felicia Roos – altsaxofon, Marius Zeeberg – tenorsaxofon, Ima Baeza Bilgin – piano, </p><p>Samtliga låtar komponerade av Filip Magnusson</p><p><strong>Rundown</strong></p><p>Den här låten inspirerades av Phil Markowitz komposition ”Sno Peas” framförd av Bill Evans och Toots Thielemans. Låtens ramverk är det stadiga harmoniska flödet, med ackordbyten vid varje taktstreck.</p><p><strong>Hiding in the Soil</strong></p><p>Den här kompositionen är en hommage till violinisten Mathias Lévy. Efter att ha transkriberat hans improvisationer försöker jag närma mig hans spelsätt genom nya melodier.</p><p><strong>Once a Dreamer</strong></p><p>Melodin är inspirerad av min lärares improvisation över låten Rêverie (Django Reinhardts tolkning av Debussy). Stort tack till Aurélien Trigo för strålande guidning under mina år på musikhögskolan.</p><p><strong>Hyperrealism</strong></p><p>Låten är en gungande dans i 5/4.</p><p>- ny konstellation -</p><p><strong>Inner Circle</strong></p><p>Som en hyllning till Joe Hendersons Inner Urge och violinisten Bastien Ribots makalösa improvisation över den skrevs Inner Circle. En tuff och mustig komposition som för tankarna till 60-talet.</p><p><strong>Du Bor Kvar</strong></p><p>Den här låten i tretakt är ett tack till någon som påverkade min musikalitet på ett djupt vis.</p><p><strong>Starfall</strong></p><p>Starfall är den nyaste låten. En meditation och kontemplation över livets förgänglighet och det vackra i det tillfälliga.</p><p><strong>Försvinnande</strong></p><p>Ännu en låt som väcktes ur reflekterandet av förgänglighet. Min bild av den här låten är varma melodier och toner som slingrar sig förbi lyssnaren. Varje musikaliskt moment passerar ständigt.</p><p><strong>Twilight Freeway</strong></p><p>Twilight Freeway är en saga om vilken frihet natten bär på.</p><p><strong>Egosystem</strong></p><p>Egostystem avslutar konserten och är ännu en hyllning till min lärare Aurélien Trigo som i själva verket skrev större delen av låtens melodi under sina egna studier. Här tolkar jag melodin med egen harmonik och form i ett sprakande avslut på min kandidatutbildning.</p>

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There is no abstract in the dissertation / Music Performance

Att vara violinist ställer stora krav på den enskilde eftersom yrket för med sig betydande risker för att råka ut för arbetsrelaterad ohälsa. Syftet med denna uppsats är att undersöka hur violinlärare på musikhögskola i Sverige säger sig arbeta för att förebygga arbetsrelaterad ohälsa (ARO) hos violinstudenter och om detta sker på lärarens eget initiativ eller om lärarkollegiet arbetar efter en speciell metodik. Studien utgår från en hermeneutisk metod för att tolka kvalitativa intervjuer av violinlärare på musikhögskola. Resultatet visar på ett personligt engagemang hos de intervjuade lärarna vad det gäller att lära ut ergonomi i instrumentalundervisningen, men att det är upp till varje lärare att bestämma omfattning och djup på den ergonomiska kunskap som förmedlas till studenterna. Beroende på vilken violinlärare man har så kan det således vara stora skillnader på ergonomins tyngd i violinundervisningen. Detta innebär att violinstudenter inte ges lika förutsättningar för att undvika arbetsrelaterad ohälsa. / Being a violinist implies great demands on any individual since the profession brings considerable risks of work-related illnesses or injuries. This essay investigates how violin teachers in music colleges in Sweden are working in order to prevent work-related injury and illness among violin students and if this happens due to the teacher’s own initiative or if the college is working with a certain methodology. The study utilizes a hermeneutic method in order to interpret qualitative interviews with violin teachers at music colleges. The results show a personal commitment among the interviewed teachers when it comes to teaching ergonomics in instrumental teaching, but it is up to each teacher to decide the extent and depth of the ergonomic knowledge that is being passed on to the students. Depending on the violin teacher, there may be considerable differences in the ergonomic focus of the violin teaching. This means that violin students do not receive the same chances with regards to avoiding work-related illnesses or injuries.