2020年6号(No.398)
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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: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ VIOLIN ETUDES: A PEDAGOGICAL GUIDE A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2006 by Semi Yang [email protected] B.M., Queensland Conservatorium of Music, Griffith University, Australia, 1995 M.M., Queensland Conservatorium of Music, Griffith University, Australia, 1999 Advisor: Dr. Won-bin Yim Reader: Prof. Kurt Sassmannshaus Reader: Dr. Robert Zierolf ABSTRACT Studying etudes is one of the most essential parts of learning a specific instrument. A violinist without a strong technical background meets many obstacles performing standard violin literature. This document provides detailed guidelines on how to practice selected etudes effectively from a pedagogical perspective, rather than a historical or analytical view. The criteria for selecting the individual etudes are for the goal of accomplishing certain technical aspects and how widely they are used in teaching; this is based partly on my experience and background. The body of the document is in three parts. The first consists of definitions, historical background, and introduces different of kinds of etudes. The second part describes etudes for strengthening technical aspects of violin playing with etudes by Rodolphe Kreutzer, Pierre Rode, and Jakob Dont. The third part explores concert etudes by Wieniawski and Paganini. -
Violin Repertoire List
Violin Repertoire List In reverse order of difficulty (beginner books at top). Please send suggestions / additions to [email protected]. Version 1.1, updated 27 Aug 2015 List A: (Pieces in 1st position & basic notation) Fiddle Time Starters Fiddle Time Joggers Fiddle Time Runners Fiddle Time Sprinters The ABCs of Violin Musicland Violin Books Musicland Lollipop Man (Violin Duets) Abracadabra - Book 1 Suzuki Book 1 ABRSM Grade Book 1 VIolinSchool Editions: Popular Tunes in First Position ● Twinkle Twinkle Little Star ● London Bridge is Falling Down ● Frère Jacques ● When the Saints Go Marching In ● Happy Birthday to You ● What Shall We Do With the Drunken Sailor ● Ode to Joy ● Largo from The New World ● Long Long Ago ● Old MacDonald Had a Farm ● Pop! Goes the Weasel ● Row Row Row Your Boat ● Greensleeves ● The Irish Washerwoman ● Yankee Doodle Stanley Fletcher, New Tunes for Strings, Book 1 2 Step by Step Violin Play Violin Today String Builder Violin Book One (Samuel Applebaum) A Tune a Day I Can Read Music Easy Classical Violin Solos Violin for Dummies The Essential String Method (Sheila Nelson) Robert Pracht, Album of Easy Pieces, Op. 12 Doflein, Violin Method, Book 1 Waggon Wheels Superstudies (Mary Cohen) The Classical Experience Suzuki Book 2 Stanley Fletcher, New Tunes for Strings, Book 2 Doflein, Violin Method, Book 2 Alfred Moffat, Old Masters for Young Players D. Kabalevsky, Album Pieces for 1 and 2 Violins and Piano *************************************** List B: (Pieces in multiple positions and varieties of bow strokes) Level 1: Tomaso Albinoni Adagio in G minor Johann Sebastian Bach: Air on the G string Bach Gavotte in D (Suzuki Book 3) Bach Gavotte in G minor (Suzuki Book 3) Béla Bartók: 44 Duos for two violins Karl Bohm www.ViolinSchool.org | [email protected] | +44 (0) 20 3051 0080 3 Perpetual Motion Frédéric Chopin Nocturne in C sharp minor (arranged) Charles Dancla 12 Easy Fantasies, Op.86 Antonín Dvořák Humoresque King Henry VIII Pastime with Good Company (ABRSM, Grade 3) Fritz Kreisler: Berceuse Romantique, Op. -
O Legado De Pablo De Sarasate
O LEGADO DE PABLO DE SARASATE Lígia Maria Leitão Soares Silva Tese apresentada à Universidade de Évora para obtenção do Grau de Doutor em Música e Musicologia Especialidade: Interpretação ORIENTADORA: Professora Doutora Vanda de Sá ÉVORA, NOVEMBRO DE 2018 INSTITUTO DE INVESTIGAÇÃO E FORMAÇÃO AVANÇADA ¡Un genio! ¡He practicado catorce horas diarias durante treinta y siete años, y ahora me llaman genio! Pablo de Sarasate ~ iii ~ ~ iv ~ À memória dos meus pais ~ v ~ ~ vi ~ Agradecimentos Concluir um doutoramento em Música e Musicologia na especialidade de Interpretação implica uma longa trajectória em que a conciliação do trabalho escrito com a prática do instrumento dificilmente se consegue fazer de modo regular e constante. Este trabalho não teria sido possível sem o apoio de diversas pessoas às quais deixo aqui os meus sinceros agradecimentos. Começo por agradecer à Professora Doutora Vanda de Sá, orientadora deste trabalho, a disponibilidade e o interesse, as sugestões que fez e a generosidade com que disponibilizou algumas fontes. Agradeço ainda a forma estimulante como contribuiu para o alargamento de algumas problemáticas iniciais, a amizade demonstrada e a disponibilidade para ler e aconselhar sobre o conteúdo das notas aos programas que elaborei para os recitais que realizei como parte deste doutoramento. Agradeço ao Professor Doutor Félix Andrievsky todos os conhecimentos que me transmitiu ao longo dos anos em que trabalhei com ele e sem os quais não teria sido possível realizar este trabalho. Agradeço também a disponibilidade que continua a ter para mim, cerca de trinta anos após o primeiro contacto, o estímulo, os conselhos e o interesse com que ouviu grande parte do repertório que interpretei nos recitais. -
Chronologie Des Compositeurs Et Des
1808-1869 : Albert Grisar CHRONOLOGIE DES COMPOSITEURS 1801-1854 : Albert Guillon ET DES PRINCIPAUX ÉCRIVAINS 1883-1946 : Albert Gumble ARTISTES SAVANTS LIBRETTISTES 1885-1978 : Albert Laurent 1897-1985 : Albert Moeschinger 1869-1937 : Albert Roussel 1875-1965 : Albert Schweitzer Classement alphabétique 1846-1918 : Albert Soubies 1941-____ : Albert Stephen 1807-1864 : A. de Rovray (Pier Angelo Fiorentino) 1841-1906 : Albert Vizentini 1764-1821 : A.F. Eler 1875-1959 : Albert William Ketelbey 1976-____ : Aaron Cassidy 1916-1996 : Alberto Bruni-Tedeschi 1900-1990 : Aaron Copland 1916-1983 : Alberto Ginastera 1960-____ : Aaron Jay Kernis 1897-1975 : Alberto Hemsi 1893-1958 : Aarre Merikanto 1813-1877 : Alberto Mazuccato 1749-1814 : abbé Georg Joseph Vogler 1864-1920 : Alberto Nepomuceno 1915-2003 : Abel Ehrlich 1967-____ : Alberto Posadas 1612-1686 : Abraham Calov 1471-1528 : Albrecht Dürer 1791-1868 : Achille d'Artois (Charles A. d'Artois de Bournonville) 735- 804 : Alcuin 1805-1868 : Adalbert Stifter 1940-____ : Alden Jenks 1220-1270 : Adam de Givenchy 1960-____ : Aldo Brizzi 1230-1286 : Adam de La Halle 1925-____ : Aldo Clementi 1445-1505 : Adam von Fulda 1951-____ : Alejandro Vinão 1843-1919 : Adelina Patti 1951-____ : Aleksander Lason 1814-1889 : Adolf von Henselt 1906-1995 : Alessandro Cicognini 1954-____ : Adolfo Nunez 1770-1834 : Alessandro Grazidi 1897-1980 : Adolph Deutsch 1669-1747 : Alessandro Marcello 1891-1971 : Adolph Weiss 1951-____ : Alessandro Melchiorre 1803-1856 : Adolphe Adam 1566-1638 : Alessandro Piccinini 1871-1955 -
Proquest Document 5/5 Eva Lundell
The Ensemble Étude for Violins: An Examination with an Annotated Survey of Violin Trios and Quartets and an Original Étude for Four Violins by Eva Lundell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2011 by the Graduate Supervisory Committee: Jonathan Swartz, Chair Jody Rockmaker Nancy Buck Frank Koonce Kay Norton ARIZONA STATE UNIVERSITY May 2011 ABSTRACT Études written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études. These works rarely go by the title “étude,” and have not been the focus of much scholarly research. Ensemble études have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études in a group, this document introduces creative ways that works for violin ensemble can be used as both études and performance pieces. The first two chapters explore the history and philosophy of the violin étude and multiple-violin works, the practice of arranging of solo études for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude study from solo étude study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. -
O Dowland! Sla Ery & La
PRICELESS! Vol 20 No 6 CONCERT LISTINGS MARCH 1- APRIL 7 2015 O Dowland! Slaery & La Nef “...she has chops that Eric Clapton would wish for “A testament to his faith, on a good day.” BOSTON MUSICAL Bach’s Passions speak to us INTELLIGENCER of the greater human experience through music of powerful drama and profound beauty.” IVARS TAURINS BAROQUE MISBEHAVING BACH ST. JOHN AISSLINN NOSKY PASSION VIOLINIST AND GUEST DIRECTOR Musical Misdemeanours and Mayhem. DIRECTED BY Apr 23-26 Trinity-St. Paul’s Centre, Jeanne Lamon Hall IVARS TAURINS Apr 28 George Weston Recital Hall Powerful Drama. An orchestral romp featuring music by Purcell, Profound Beauty. Telemann, Charpentier, and and Snow White, a new work by Canadian composer Michael Oesterle. Mar 19-22 Trinity-St. Paul’s Centre, Jeanne Lamon Hall APR 23 SPONSORED BY Tafelmusik Baroque Orchestra and Chamber Choir GWRH CONCERT SUPPORTED BY Margaret and Jim Fleck Julia Doyle, soprano Daniel Taylor, countertenor Charles Daniels, tenor TSP: 416.964.6337 Peter Harvey, baritone GWRH: 1.855.985.2787 tafelmusik.org SEASON PRESENTING SPONSOR Baroque Orchestra and Chamber Choir SEASON PRESENTING SPONSOR “...she has chops LET THE TSO that Eric Clapton would wish for “A testament to his faith, on a good day.” Bach’s Passions speak to us BOSTON MUSICAL INTELLIGENCER INSPIRE YOU of the greater human experience through music of powerful Beethoven Symphony 7 Stravinsky The Rite of Spring Tchaikovsky Symphony 4 drama and profound beauty.” WED, MAR 11 AT 8pm FRI, MAR 27 AT 7:30pm WED, APR 1 AT 8pm IVARS TAURINS THU, MAR 12 AT 8pm SAT, MAR 28 AT 7:30pm THU, APR 2 AT 2pm SAT, MAR 14 AT 8pm Krzysztof Urbański, conductor James Conlon, conductor Gianandrea Noseda, conductor Sol Gabetta, cello Vilde Frang, violin Adrianne Pieczonka, soprano Kilar: Orawa (MAR 27 ONLY) Wagner: Preludes to Acts I & III from Casella: Italia Dvořák: Cello Concerto Lohengrin BAROQUE R. -
Selected Students of Leopold Auer: a Study in Violin Performance-Practice
SELECTED STUDENTS OF LEOPOLD AUER – A STUDY IN VIOLIN PERFORMANCE-PRACTICE by RUTH ELIZABETH RODRIGUES A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities 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 This thesis investigates the teaching and legacy of Leopold Auer; it addresses, in particular to what extent his promulgation of the ‘German’ School of Violin Playing was instrumental in establishing the ‘Russian’ and ‘American’ Schools. Recent research in late 19th-century violin performance-practice has focused mainly on the ‘German’ and ‘Franco-Belgian’ Schools, and on tracing ‘genealogies’ of violin playing, especially within the ‘German’ school itself. Auer, however, has been little studied, as remarkably is also true for descendents of the German school such as Ossip Schnirlin, Benno Rabinof, and Mischa Weisbord. This research will also briefly examine the authority of Joachim and Auer (who were both native Hungarians) on their students with regards to Hungarian musical gestures and Gypsy performance styles, in an era where violin playing was more uniform and the style hongrois gradually disappearing from Western music altogether. -
Gwendolyn Masin, Violin Teaching in the New Millennium
VIOLIN TEACHING IN THE NEW MILLENNIUM In Search of the Lost Instructions of Great Masters — an Examination of Similarities and Differences Between Schools of Playing and How These Have Evolved OR Remembering the Future of Violin Performance Gwendolyn Masin Thesis submitted for the degree of DoCtor in Philosophy, August 2012. School of MusiC 42145 ii Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. Signed:____________________________ Date: ___________________________ iii ABSTRACT Violin Teaching in the New Millennium In Search of the Lost Instructions of Great Masters — an Examination of Similarities and Differences Between Schools of Playing and How These Have Evolved or Remembering the Future of Violin Performance by Gwendolyn Masin Doctor in Philosophy, Music Trinity College, Dublin, August 2012 This thesis addresses a number of issues that have developed in the concepts and practices of violin pedagogy and performance since World War II. In particular it identifies the ways in which cultural transnationality has diminished the distinctiveness of various historic schools of violin playing and pedagogy, and has led to practices and concepts within teaching that threaten a historically and artistically informed view of what it means to learn the instrument. It compares current practice with those that prevailed between the middle of the 18th century and the decades immediately after World War II, and identifies a lack of published treatises by contemporary pedagogues. -
Avrahm Galper's Influence on Clarinet Pedagogy
Avrahm Galper’s Influence on Clarinet Pedagogy by Jessica Carling Tse A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Jessica Carling Tse 2018 Avrahm Galper’s Influence on Clarinet Pedagogy Jessica Carling Tse Doctor of Musical Arts Faculty of Music University of Toronto 2018 Abstract The purpose of this study is to explore the pedagogical method and approach of clarinetist Avrahm Galper (1921-2004), the former principal clarinetist of the Toronto Symphony Orchestra and author of clarinet method and study books. Galper was an esteemed pedagogue with numerous students who are members of professional orchestras, faculty members at distinguished institutions across Canada and the United States of America, and innovators in the music field. This study strives to answer this question: How has Avrahm Galper influenced and contributed to the field of clarinet pedagogy as a teacher? An examination of his teaching provides insight on the impact private instructors can have on students as individuals and on his impact on the clarinet community. This is a case study of the individual practice of a significant figure in the development of music education in Canada. The study includes an overview of Avrahm Galper’s pedagogical methods based on his own published materials in conjunction with the interviews with his students. A literature review of standard clarinet repertoire and pedagogical materials provides the foundation to this study. Through the transcription and analysis of semi-structured interviews, the documentation reveals the unique personal relationship between teacher and student. -
Compositeurs Et Principaux Écrivains, Artistes, Savants, Librettistes
COMPOSITEURS ET PRINCIPAUX ÉCRIVAINS, ARTISTES, SAVANTS, LIBRETTISTES Liste alphabétique Albert Camus (1913-1960) A Albert Einstein (1880-1955) A. de Rovray (Pier Angelo Fiorentino) (1807-1864) Albert Grisar (1808-1869) A.F. Eler (1764-1821) Albert Guillon (1801-1854) Aaron Cassidy (1976-____) Albert Gumble (1883-1946) Aaron Copland (1900-1990) Albert Laurent (1885-1978) Aaron Jay Kernis (1960-____) Albert Moeschinger (1897-1985) Aarre Merikanto (1893-1958) Albert Roussel (1869-1937) abbé Georg Joseph Vogler (1749-1814) Albert Schweitzer (1875-1965) Abel Ehrlich (1915-2003) Albert Soubies (1846-1918) Abraham Calov (1612-1686) Albert Stephen (1941-____) Achille d'Artois (Charles A. d'Artois de Bournonvi (1791-1868) Albert Vizentini (1841-1906) Adalbert Stifter (1805-1868) Albert William Ketelbey (1875-1959) Adam de Givenchy (1220-1270) Alberto Bruni-Tedeschi (1916-1996) Adam de La Halle (1230-1286) Alberto Ginastera (1916-1983) Adam von Fulda (1445-1505) Alberto Hemsi (1897-1975) Adelina Patti (1843-1919) Alberto Mazuccato (1813-1877) Adolf von Henselt (1814-1889) Alberto Nepomuceno (1864-1920) Adolfo Nunez (1954-____) Alberto Posadas (1967-____) Adolph Deutsch (1897-1980) Albrecht Dürer (1471-1528) Adolph Weiss (1891-1971) Alcuin ( 735- 804) Adolphe Adam (1803-1856) Alden Jenks (1940-____) Adolphe Boschot (1871-1955) Aldo Brizzi (1960-____) Adolphe de Leuven (comte Ribbing) (1800-1884) Aldo Clementi (1925-____) Adolphe d'Ennery (1811-1899) Alejandro Vinão (1951-____) Adolphe Deslandres (1840-1911) Aleksander Lason (1951-____) Adolphe -
Vorwort Ger Anspruchsvollen 24 Vorübungen Zu St
III Vorwort ger anspruchsvollen 24 Vorübungen zu St. Peters burger Konservatorium als ver R. Kreutzers und P. Rodes Etüden op. 37. pflichtende Lehrwerke einführte. Wenn Dont bezieht sich mit dem letztge man den Werbeanzeigen Leu ckarts folgt, nannten Titel auf die beiden maßgebli sprachen sich auch viele weitere berühmte Jakob Dont (1815 – 88) zählt zu den be chen Etüdensammlungen der französi Geiger für Donts Etüden aus, darunter deutenden Violinpädagogen des 19. Jahr schen Geiger Rodolphe Kreutzer (Études Joseph Joachim, Henryk Wieniawski, hunderts. Er verbrachte sein ganzes Le ou Caprices) und Pierre Rode (24 Ca Pablo de Sarasate und Adolph D. Brodsky. ben in seiner Heimatstadt Wien und ver prices en forme d’études) aus dem frü Wie etabliert und gut verkäuflich die zichtete trotz herausragender geigerischer hen 19. Jahrhundert. Allerdings ist Donts 24 Vorübungen ganz offensichtlich wa Fähigkeiten auf eine mögliche interna Begriff der „Vorübung“ hier nur sehr ren, zeigt sich an der Reaktion der Kon tionale Solistenkarriere, um sich dem allgemein zu verstehen, denn es lassen kurrenzverlage, als 30 Jahre nach Donts Orchesterspiel und dem Unterrichten zu sich in Opus 37 keine konkreten Bezüge Tod seine Werke ab dem 1. Januar 1919 widmen. Bereits als 16Jähriger kam er auf bestimmte Stücke Rodes oder Kreut urheberrechtsfrei wurden. Umgehend er ins Orchester des Wiener Hofburgtheaters zers feststellen, sondern es sollen – als schienen zahlreiche Neuausgaben, meist (zu dessen Vizedirektor man ihn später er Heranführung an das nötige Niveau – in Überarbeitungen namhafter Violin nannte), 1834 wurde er in die k. k. Hof grundsätzliche technische Fähigkeiten pädagogen. Zu nennen sind vor allem kapelle aufgenommen. -
The Gustav Mahler-Alfred Rosé Collection
WESTERN ARCHIVES FINDING AID FOR The Gustav Mahler-Alfred Rosé Collection AFC 382 Prepared by Astrid Ramos under the supervision of University Archivist Robin Keirstead and with the assistance of Music Library Director Brian McMillan. Table of Contents ........................................................................................................................Biographical Sketch/Administrative History .........................................................................................................................4 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................Scope and Content .........................................................................................................................4 .........................................................................................................................................................................................................................................................................................................................................................................................................................