Alexander Technique and Body Mapping Principles for the Suzuki Violin Teacher
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ ViolinScaleBooks fromLateNineteenth-Centurytothe Present -FocusingonSevcik,Flesch,Galamian,andSassmannshaus Adocumentsubmittedtothe DivisionofGraduateStudiesandResearchofthe UniversityofCincinnati Inpartialfulfillmentoftherequirementsforthedegreeof DOCTORAL OFMUSICALARTS inViolinPerformance 2006 by HeejungKim B.M.,Seoul NationalUniversity,1995 M.M.,TheUniversityof Cincinnati,1999 Advisor:DavidAdams Readers:KurtSassmannshaus Won-BinYim ABSTRACT Violinists usuallystart practicesessionswithscale books,andtheyknowthe importanceofthem asatechnical grounding.However,performersandstudents generallyhavelittleinformation onhowscale bookshave beendevelopedandwhat detailsaredifferentamongmanyscale books.Anunderstanding ofsuchdifferences, gainedthroughtheidentificationandcomparisonofscale books,canhelp eachviolinist andteacherapproacheachscale bookmoreintelligently.Thisdocumentoffershistorical andpracticalinformationforsome ofthemorewidelyused basicscalestudiesinviolin playing. Pedagogicalmaterialsforviolin,respondingtothetechnicaldemands andmusical trendsoftheinstrument , haveincreasedinnumber.Amongthem,Iwillexamineand comparethe contributionstothescale -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Black Violin
This section is part of a full NEW VICTORY® SCHOOL TOOLTM Resource Guide. For the complete guide, including information about the NEW VICTORY Education Department check out: newvictorYschooltools.org ® inside | black violin BEFORE EN ROUTE AFTER BEYOND INSIDE INSIDE THE SHOW/COMPANY • closer look • where in the world INSIDE THE ART FORM • WHAT DO YOUR STUDENTS KNOW NOW? CREATIVITY PAGE: Charting the Charts WHAT IS “INSIDE” BLACK VIOLIN? INSIDE provides teachers and students a behind-the-curtain look at the artists, the company and the art form of this production. Utilize this resource to learn more about the artists on the NEW VICTORY stage, how far they’ve traveled and their inspiration for creating this show. In addition to information that will enrich your students’ experience at the theater, you will find a Creativity Page as a handout to build student anticipation around their trip to The New Victory. Photos: Colin Brennen MAKING CONNECTIONS TO LEARNING STANDARDS NEW VICTORY SCHOOL TOOL Resource Guides align with the Common Core State Standards, New York State Learning Standards and New York City Blueprint for Teaching and Learning in the Arts. We believe that these standards support both the high quality instruction and deep engagement that The New Victory Theater strives to achieve in its arts education practice. COMMON CORE NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS Speaking and Listening Standards: 1 Arts Standards: Standard 4 Music Standards: Developing Music English Language Arts Standards: Literacy; Making Connections -
What Is the “Ševčík Method”?
Course: CA1004 Degree Project, Master, Classical, 30hp 2020 Master's Programme in Classical Music at Edsberg Manor | 120.0 hp Department of Classical Music Supervisor: Sven Åberg Angelika Kwiatkowska What is the “Ševčík Method”? Deeper understanding of Otakar Ševčík’s excercises for violin based on the example of his 40 Variations, op. 3 Written reflection within independent project The sounding part of the project is the following recordings: Mozart – Symphony no. 39 Finale – before Mozart – Symphony no. 39 Finale – after Rossini – Overture La Gazza Ladra - before Rossini – Overture La Gazza Ladra - after Abstract In this thesis I have studied the so-called “Ševčík method” based on the example of his 40 Variations, op. 3. I’ve tried to achieve a deeper understanding of what the exercises are good for and how they work. I took a closer look at Otakar Ševčík’s life and work history, I also investigated other’s opinions and judgements of the “method” that were appearing in press and literature during the last hundred years. The practical part of my project is the experiment that I’ve put myself through. I was diligently practicing 40 Variations every day, trying to improve my technique and learn by playing how to apply those exercises in real life. As a result of this process I’ve developed my bow technique and gained better understanding of how to use Ševčík’s exercises. Keywords: Violin, technique, exercises, bow technique, right-hand technique, Ševčík I Contents Introduction ...................................................................................................... -
Secrets of Stradivarius' Unique Violin Sound Revealed, Prof Says 22 January 2009
Secrets Of Stradivarius' unique violin sound revealed, prof says 22 January 2009 Nagyvary obtained minute wood samples from restorers working on Stradivarius and Guarneri instruments ("no easy trick and it took a lot of begging to get them," he adds). The results of the preliminary analysis of these samples, published in "Nature" in 2006, suggested that the wood was brutally treated by some unidentified chemicals. For the present study, the researchers burned the wood slivers to ash, the only way to obtain accurate readings for the chemical elements. They found numerous chemicals in the wood, among them borax, fluorides, chromium and iron salts. Violin "Borax has a long history as a preservative, going back to the ancient Egyptians, who used it in mummification and later as an insecticide," For centuries, violin makers have tried and failed to Nagyvary adds. reproduce the pristine sound of Stradivarius and Guarneri violins, but after 33 years of work put into "The presence of these chemicals all points to the project, a Texas A&M University professor is collaboration between the violin makers and the confident the veil of mystery has now been lifted. local drugstore and druggist at the time. Their probable intent was to treat the wood for Joseph Nagyvary, a professor emeritus of preservation purposes. Both Stradivari and biochemistry, first theorized in 1976 that chemicals Guarneri would have wanted to treat their violins to used on the instruments - not merely the wood and prevent worms from eating away the wood because the construction - are responsible for the distinctive worm infestations were very widespread at that sound of these violins. -
A Handbook of Cello Technique for Performers
CELLO MAP: A HANDBOOK OF CELLO TECHNIQUE FOR PERFORMERS AND COMPOSERS By Ellen Fallowfield A Thesis Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. -
A Brief History of the Violin
A Brief History of the Violin The violin is a descendant from the Viol family of instruments. This includes any stringed instrument that is fretted and/or bowed. It predecessors include the medieval fiddle, rebec, and lira da braccio. We can assume by paintings from that era, that the three string violin was in existence by at least 1520. By 1550, the top E string had been added and the Viola and Cello had emerged as part of the family of bowed string instruments still in use today. It is thought by many that the violin probably went through its greatest transformation in Italy from 1520 through 1650. Famous violin makers such as the Amati family were pivotal in establishing the basic proportions of the violin, viola, and cello. This family’s contributions to the art of violin making were evident not only in the improvement of the instrument itself, but also in the apprenticeships of subsequent gifted makers including Andrea Guarneri, Francesco Rugeri, and Antonio Stradivari. Stradivari, recognized as the greatest violin maker in history, went on to finalize and refine the violin’s form and symmetry. Makers including Stradivari, however, continued to experiment through the 19th century with archings, overall length, the angle of the neck, and bridge height. As violin repertoire became more demanding, the instrument evolved to meet the requirements of the soloist and larger concert hall. The changing styles in music played off of the advancement of the instrument and visa versa. In the 19th century, the modern violin became established. The modern bow had been invented by Francois Tourte (1747-1835). -
The Use of Scordatura in Heinrich Biber's Harmonia Artificioso-Ariosa
RICE UNIVERSITY TUE USE OF SCORDATURA IN HEINRICH BIBER'S HARMONIA ARTIFICIOSO-ARIOSA by MARGARET KEHL MITCHELL A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC APPROVED, THESIS COMMITTEE aÆMl Dr. Anne Schnoebelen, Professor of Music Chairman C<c g>'A. Dr. Paul Cooper, Professor of- Music and Composer in Ldence Professor of Music ABSTRACT The Use of Scordatura in Heinrich Biber*s Harmonia Artificioso-Ariosa by Margaret Kehl Mitchell Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Al¬ though scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth- century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-1704), a virtuoso violin¬ ist and composer. Scordatura appears in three of Biber*s works—the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso- Ariosa—although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats. -
Violin Pizzicato Exercises 1
VIOLIN PIZZICATO EXERCISES 1 OPEN A Exercise Locate the OPEN A STRING. Set the Metronome to 72 BPM. Keep a steady tempo. Here we go! [1-2-3-4 Begin] OPEN D Exercise Remember to emphasize Down-Beats. Keep a steady tempo. Follow the conductor! OPEN G Exercise © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery” VIOLIN PIZZICATO EXERCISES 2 OPEN E Exercise STRING CROSSING EXERCISES I am floating against the edge of the fingerboard in order to encourage everyone to remain loose. Feel as though you are floating into playing-position to perform pizzicato motions. While in playing-position, strive to achieve a controlled-looseness in your playing motions. The distance from one string to the next is quite small. The range of motion needed to perform string-crossings efficiently is equal to the curve of the top arch of the bridge. OPEN D and OPEN A OPEN G and OPEN D © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery” VIOLIN PIZZICATO EXERCISES 3 ALL OPEN STRINGS DYNAMIC CHANGE EXERCISES Hi! I am going to appear above your music in order to bring your attention to dynamic changes. When the music is louder, I will appear bigger and when the music is softer, I will appear smaller. Soft Dynamics = Play Over the Fingerboard Loud Dynamics = Play Closer to the Bridge Always be kind to your instrument and pizzicato away from the bridge. PIZZICATO DYNAMIC CHANGE EXERCISE © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery” VIOLIN PIZZICATO EXERCISES 4 CRESCENDO EXERCISE DECRESCENDO EXERCISE Come and Play Your Part! www.stringquest.com © Copyright 2013 Reg. -
Some Misconceptions About the Baroque Violin Stewart Pollens
Performance Practice Review Volume 14 | Number 1 Article 6 Some Misconceptions about the Baroque Violin Stewart Pollens Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Pollens, Stewart (2009) "Some Misconceptions about the Baroque Violin," Performance Practice Review: Vol. 14: No. 1, Article 6. DOI: 10.5642/perfpr.200914.01.06 Available at: http://scholarship.claremont.edu/ppr/vol14/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Some Misconceptions about the Baroque Violin Stewart Pollens Copyright © 2009 Claremont Graduate University Much has been written about the baroque violin, yet many misconceptions remain²most notably that up to around 1750 their necks were universally shorter and not angled back as they are today, that the string angle over the bridge was considerably flatter, and that strings were of narrower gauge and under lower tension.1 6WUDGLYDUL¶VSDWWHUQVIRUFRQVWUXFWLQJQHFNVILQJHUERDUGVEULGJHVDQG other fittings preserved in the Museo Stradivariano in Cremona provide a wealth of data that refine our understanding of how violins, violas, and cellos were constructed between 1666- 6WUDGLYDUL¶V\HDUV of activity). String tension measurements made in 1734 by Giuseppe Tartini provide additional insight into the string diameters used at this time. The Neck 7KHEDURTXHYLROLQ¶VWDSHUHGQHFNDQGZHGJH-shaped fingerboard became increasingly thick as one shifted from the nut to the heel of the neck, which required the player to change the shape of his or her hand while moving up and down the neck. -
STRADIVARI VIOLIN Manual
3 Table of Contents 1. Disclaimer ............................................................................................................... 1 2. Welcome to STRADIVARI VIOLIN ............................................................................... 2 3. Document Conventions ............................................................................................ 4 4. Installation and Setup .............................................................................................. 5 5. About STRADIVARI VIOLIN ....................................................................................... 7 5.1. Key Features ................................................................................................... 7 6. Main Page ............................................................................................................... 9 7. Snapshots .............................................................................................................. 11 7.1. Overview of Snapshots ................................................................................... 11 7.2. Saving a User Snapshot ................................................................................. 11 7.3. Loading a Snapshot ....................................................................................... 12 7.4. Deleting a User Snapshot ............................................................................... 13 8. Articulation ............................................................................................................ -
The Application of Ivan Galamian's Violin Pedagogy to T
UNIVERSITY OF CALIFORNIA SAN DIEGO An Adaptable Approach to Expertise: The Application of Ivan Galamian’s Violin Pedagogy to Trumpet Practice and Teaching A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Rachel Allen Committee in charge: Professor Stephanie Richards, Chair Professor Amy Cimini Professor Gedeon Deák Professor Mark Dresser Professor Wilfrido Terrazas 2020 The dissertation of Rachel Allen is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Chair University of California San Diego 2020 iii Dedication To my teachers and students, past and present, who inspired my interest in learning about learning. iv Table of Contents Signature Page…………………………………………………………………….…………..iii Dedication……………………………………………………………………………………..iv Table of Contents………………………………………………………………………………v List of Figures…………………………………………………………………………………vi Acknowledgements…………………………………………………………………………..vii Vita…………………………………………………………………………………………..viii Abstract of the Dissertation…………………………………………………………………...ix Chapter 1 Introduction………………...……………………………………………...………..1 Chapter 2 Development of Expertise…………………………………………………………12