View of the Hand

Florida State University Libraries 2015 The Modern Romanian Violin School: An Analytical Introduction to Manual De Vioara by Ionel Geanta and George Manoliu Tania Aniela Moldovan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MODERN ROMANIAN VIOLIN SCHOOL: AN ANALYTICAL INTRODUCTION TO MANUAL DE VIOARA BY IONEL GEANTA AND GEORGE MANOLIU By TANIA ANIELA MOLDOVAN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music © 2015 Tania Aniela Moldovan defended this treatise on November 6, 2015. The members of the supervisory committee were: Ben Sung Professor Directing Dissertation Alice-Ann Darrow University Representative Bruce Holzman Committee Member Greg Sauer Committee Member The Graduate School had verified and approved the above named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii I would like to dedicate this treatise to my family for their continuous support through difficult times and unconditional love. iii AKNOWLEDGMENTS I would like to express my profound gratitude and thanks to my professor Ben Sung for his support and guidance in the completion of the treatise. Many thanks to my committee members Professor Bruce Holzman, Professor Gregory Sauer, and Dr. Alice-Ann Darrow for their time, support, and advice. Special gratitude is extended to Anca Manoliu, daughter of George Manoliu, and Ilarion Ionescu-Galati, former student of Prof. Manoliu, who assisted me in this long and challenging journey with immeasurable patience and devotion, and helped me shape the present paper. I owe my greatest acknowledgments to my family, and my violin professor Liliana Fagarasan, who discovered my talent and helped me follow my dreams. Finally, I am most thankful for my husband, who has given me unconditional love, supported me every step of the way, and believed in me even when I did not. iv TABLE OF CONTENTS List of Figures ............................................................................................................................... vii Abstract ........................................................................................................................................ viii 1. ARTISTIC DEVELOPMENT IN ROMANIA UNDER THE COMMUNIST REGIME .........1 2. GEORGE MANOLIU AND IONEL GEANTA. THEIR LIVES, INFLUENCES, AND CONTRIBUTION TO THE ROMANIAN SCHOOL OF VIOLIN..............................................12 3. MANUAL DE VIOARA. A VIOLIN METHOD BY IONEL GEANTA AND GEORGE MANOLIU: THE SIX PRINCIPLES ............................................................................................23 3.1 The Principle of Coordination and Instrumental Education Interweaving with Music Theory Instruction and Artistic Education............................................................................25 3.2 The Principle of Orientation and Fundamental Science .......................................................26 3.3 The Principle of Gradual Progression ...................................................................................29 3.4 The Principle of Proportioning and Selecting the Material ..................................................30 3.5 The Principle of Intuition ......................................................................................................32 3.6 The Principle of Respecting the Particularities of Age.........................................................34 4. MANUAL DE VIOARA. ANALYSIS OF STRUCTURE ..........................................................37 4.1 Volume 1 ..............................................................................................................................38 4.2 Volume 2 ..............................................................................................................................41 4.3 Volume 3 ..............................................................................................................................43 4.4 Volume 4 ..............................................................................................................................47 CONCLUSION ..............................................................................................................................50 APPENDICES ...............................................................................................................................53 A. EXAMPLES OF LESSONS. VOLUME 4 ...........................................................................53 B. ROMANIAN VIOLINISTS WHO LIVED DURING THE COMMUNISM AGE ............67 B.1 Eugen Sarbu ................................................................................................................67 B.2 Modest Iftinchi ............................................................................................................69 B.3 Stefan Ruha .................................................................................................................70 B.4 Leonora Geanta ...........................................................................................................72 B.5 Silvia Marcovici ..........................................................................................................73 v B.6 Mihaela Martin ............................................................................................................74 B.7 Serban Lupu ................................................................................................................76 C. COPYRIGHT PERMISSION ...............................................................................................78 Bibliography ..................................................................................................................................80 Biographical Sketch ......................................................................................................................84 vi LIST OF FIGURES Figure 3.1 Subdivision of the values of the notes ..........................................................................26 Figure 3.2 Placement of the first finger on the G string. View of the hand ...................................28 Figure 3.3 Placement of the first finger on the G string as seen from above ................................28 Figure 3.4 Placement of the first three fingers on the G string .....................................................28 Figure 3.5 Technical exercise for the right hand ..........................................................................30 Figure 3.6 Technical exercise for the right hand with different bow combinations .....................30 Figure 3.7 Cantec de Leagan, focuses on shifting among two bow changes between the first and third positions.................................................................................................................................32 Figure 3.8 Placement of all fingers on all strings. New note on the E string (B natural) .............33 Figure 3.9 New note on the E string (B natural) as written on the staff ........................................34 Figure 3.10 Placement of all fingers on all strings .......................................................................34 Figure 3.11 Shifts with double-stops ............................................................................................36 Figure 4.1 Placement of the fingers on all strings and analysis of whole and half steps ..............40 Figure 4.2 Example of a passage in the first position and then in the second position ................45 Figure 4.3 Example of the same passage combining the first and second position ......................46 Figure 4.4 Beginner exercises for vibrato executed through shifting ...........................................48 vii ABSTRACT This treatise examines the importance of the Manual de Vioara, written by Romanian violinists and professors Ionel Geanta and George Manoliu, and its influence for the Romanian violin school during Communist rule. A particular challenge during this time was the political situation of Romania which greatly affected the music scene, inspiring the authors to develop a violin method that was more accessible to beginner violinists. This paper provides a historical background of Romania’s situation under Communist rule, and why the development of such a method was necessary and ultimately benefited the violin school. While little information has been written about the authors, the development of the Romanian violin school, and the impact of the Manual de Vioara, this survey is meant to be used as a guide for understanding the method’s structure, and its potential. Intended to prepare the beginner student for the intermediate level, the four volumes of the Manual de Vioara cover a large variety of violin techniques and music history, information all presented in highly detailed and structured lesson plans. Ultimately, this analysis highlights the impact of the method, one that has shaped many generations of violinists in Romania. viii CHAPTER 1 ARTISTIC DEVELOPMENT IN ROMANIAN UNDER THE COMMUNIST REGIME The history of the Romanian people would have been very different if it were not for the oppression exerted by the Communist Party. The Party took the initiatives designed to reduce Romania to subservience to the Soviet Union. “It did so through the political system, the trade unions, and the education system. Internally, the aim

Load more