BLACK VIOLIN STUDY GUIDE • November 1-December 15, 2020
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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 -
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. -
Acoustical Studies on the Flat-Backed and Round- Backed Double Bass
Acoustical Studies on the Flat-backed and Round- backed Double Bass Dissertation zur Erlangung des Doktorats der Philosophie eingereicht an der Universität für Musik und darstellende Kunst Wien von Mag. Andrew William Brown Betreuer: O. Prof. Mag. Gregor Widholm emer. O. Univ.-Prof. Mag. Dr. Franz Födermayr Wien, April 2004 “Nearer confidences of the gods did Sisyphus covet; his work was his reward” i Table of Contents List of Figures iii List of Tables ix Forward x 1 The Back Plate of the Double Bass 1 1.1 Introduction 1 1.2 The Form of the Double Bass 2 1.3 The Form of Other Bowed Instruments 4 2 Surveys and Literature on the Flat-backed and Round-backed Double Bass 12 2.1 Surveys of Instrument Makers 12 2.2 Surveys Among Musicians 20 2.3 Literature on the Acoustics of the Flat-backed Bass and 25 the Round-Backed Double Bass 3 Experimental Techniques in Bowed Instrument Research 31 3.1 Frequency Response Curves of Radiated Sound 32 3.2 Near-Field Acoustical Holography 33 3.3 Input Admittance 34 3.4 Modal Analysis 36 3.5 Finite Element Analysis 38 3.6 Laser Optical Methods 39 3.7 Combined Methods 41 3.8 Summary 42 ii 4 The Double Bass Under Acoustical Study 46 4.1 The Double Bass as a Static Structure 48 4.2 The Double Bass as a Sound Source 53 5 Experiments 56 5.1 Test Instruments 56 5.2 Setup of Frequency Response Measurements 58 5.3 Setup of Input Admittance Measurements 66 5.4 Setup of Laser Vibrometry Measurements 68 5.5 Setup of Listening Tests 69 6 Results 73 6.1 Results of Radiated Frequency Response Measurements 73 6.2 Results of Input Admittance Measurements 79 6.3 Results of Laser Vibrometry Measurements. -
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. -
A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia
University of South Carolina Scholar Commons Theses and Dissertations 2018 A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, C.(2018). A Guide for Playing the Viola Without a Shoulder Rest. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5036 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Guide for Playing the Viola Without a Shoulder Rest by Chin Wei Chang Bachelor of Music National Sun Yat- sen University, 2010 Master of Music University of South Carolina, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Daniel Sweaney, Major Professor Kunio Hara, Committee Member Craig Butterfield, Committee Member Ari Streisfeld, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Chin Wei Chang, 2018 All Rights Reserved ii DEDICATION This dissertation is dedicated to my dearest parents, San-Kuei Chang and Ching-Hua Lai. Thank you for all your support and love while I have pursued my degree over the past six years. iii ACKNOWLEDGMENTS I truly appreciate the director of the dissertation, Dr. Daniel Sweaney, for his advice, inspiration, and continuous encouragement over the past four years. -
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 ............................................................................................................ -
Meet the String Family
Quapaw Quartet Presents Meet the String Family Instruments of the String Family There are three string instruments played by the four members of the Quapaw Quartet: Two violins, one viola, and one cello. The full orchestra includes two additional string instruments, the double bass and the harp. Except for the harp, these instruments are played by the right hand, either with a bow or plucking the strings with your fingers. [See short examples of all five instruments on YouTube played by college students at the University of Texas: String instruments of the orchestra www.youtube.com/watch?v=RxFNHeXKmrY May 22, 2011.] The violin, sometimes called the fiddle, is the smallest of the instruments in the The String Family string quartet. It is played by resting the belly of the instrument on your left shoulder, placing your chin on the chinrest, and holding the neck, or the skinnier part, of the violin in your left hand. Violins play the highest notes because its strings are the shortest and thinnest of all string instruments. The viola is the medium-sized instrument endpin in the string quartet and plays lower notes than the violin. This is because its strings The cello and double bass are actually much larger are longer and thicker than those on the compared to the violin and viola than it looks like in this violin. It is held the same way as a violin illustration. and looks exactly like a violin except for that fact that it is slightly larger. The cello (also called the violincello) is the largest instrument in the string quartet and plays the lowest notes. -
On Behalf of Teachers, Violin Shops, and Beginning Players Across The
BEWARE OF THE V.S.O. „VIOLIN SHAPED OBJECT‟ On behalf of Teachers, Violin Shops, Beware! The $99.00 violin and Beginning Players across the country, we encourage parents to Welcome to Frank's Violins‟ Comedy avoid the temptation to buy a cheap Corner, a little laugh and a little lesson! internet-auction violin outfit, The $99.00 violin outfit usually features: commonly known as a V.S.O. – Violin • Heavily sprayed lacquer finish, almost Shaped Object. "dipped" in appearance, shiny but not an V.S.O.’s look like violins, but a very high open sound, unusually heavy instrument percentage are virtually unplayable due to weight, sometimes an airbrushed faux finish innumerable structural and set-up problems. that appears to be a highly flamed piece of Many well-meaning parents bring in their wood, also know as "photo flame" V.S.O.’s to violin shops around the country and • Unseasoned or improperly seasoned wood of are disappointed to find out that the repairs questionable origin needed to make their instrument playable far • Stained hardwood fittings (in lieu of solid exceed both the price they paid for the ebony) for the fingerboard, nut, saddle. instrument and the price of a properly made and Often called ebonized or ebonite set up instrument without any of the problems of • Plastic fittings which may include the a V.S.O. tailpiece, chinrest, end button and saddle Common V.S.O. Problems • Poorly fitted thick bridge and sound post Frustrating pegs that are very hard to turn made of soft, unseasoned woods, improper making tuning difficult even for an experienced arching of the bridge makes playing one player or they “slip” causing frustration when string difficult instrument constantly goes out of tune.