Doctoral Final Projects--Strings (DM)
Permanent link for this collectionhttps://hdl.handle.net/2022/14090
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Item Path to effortlessness: Mauricio Fuks' pedagogical perspectives on the art of violin playing(2012-03-22) Cho, MinjungFor Mauricio Fuks, Rudy Professor of Violin at Indiana University Jacobs School of Music, effortlessness in violin playing has more implications than mere technical facility. It is the aesthetic ideal and the essence of the finest artisanship that may lead to true artistic freedom in playing. The concept of effortlessness in Professor Fuks’ teaching practice involves the paradoxical project of making an effort to play effortlessly, to obtain a degree of violin mastery in which playing is full of intensity and free of needless tension, and to achieve the technical virtuosity as nonchalance or Sprezzatura, an essential foundation in one’s endeavor to reach the highest level of artistry. His meticulous yet plainly elucidated instructions on the physiology of violin playing and its relationship to the mental process not only eradicate any hindrance to attaining technical effortlessness but also reveal the path to self-discovery and artistic identity. My project in this document is to describe how Professor Fuks’ teaching brings this technical and aesthetical ideal about.Item The Cello Works of Miklós Rózsa(2012-03-22) Ruck, JonathanItem The Historical Impact of William Walton's Concerto for Violin and Orchestra(2012-04-25) Scholtes, MarcusItem The ten cello concertos by Bernhard Heinrich Romberg(2012-12-13) Yun, Yeon-JiItem The role of Luigi Boccherini in the development of cello technique(2014-05-13) Micheletti, André Luis GiovaniniItem W. A. Mozart's treatment of the tonic triad in the first movement of the violin concerto in A major, K. 219(2014-10-02) Jung, Ji-WoonItem Double bass intonation: a systematic approach to solo and ensemble playing(2015-04-21) Priester, J. MichaelThis study uses an interdisciplinary approach to analyze double bass intonation as it occurs in a solo (i.e., without playing with any additional instruments) and ensemble contexts, develops a systematic approach to double bass intonation (subsequently referred to as “the system”), and applies that system to double bass literature to theoretically test its applicability. While the examples used come mostly from the orchestral literature, the material presents passages often heard in an orchestral audition context in which the bass is played by itself. Intonation generally is examined according to acoustics, psychoacoustics, cognition, historical and modern performance practice, and pedagogy. The salient principle extracted is that acceptable intonation is generated from the satisfaction of several factors, including clear categorical assignment of an interval’s size in a tonal context, highly rated timbral characteristics of the sound produced, and tone placement conforming to emotional schematic expectations, and a general model of acceptable intonation is thereby proposed. With this background, the particular intonation difficulties of the double bass are analyzed, including acoustic roughness, psychoacoustic roughness, and part-specific intonation expectations. The resonance system of double bass intonation proposed is intended to minimize acoustic and psychoacoustic roughness while staying within the categorical bounds of intonation and maximizing conformity to schematic expectations. The system’s efficacy is theoretically tested against examples from the double bass literature from various time periods, keys, and modes. It is found to conform in most cases to intonation expectations, and where not, alternative readings and tone placements are suggested. A possible course of study to implement the system is then suggested, as are extensions and ideas for further related research.Item Three unpublished works by Gustav Laska: Fantasie caprice, Fantasie, op. 4, and Fantasie pittorico(2015-05-15) Freeman, Tiffany S.Item Ma Si-Cong's violin concerto in F Major: western traditions and Chinese elements(2015-07-30) Wang, Yuan-Yuan (Violinist)Item Schumann's violin concerto: a neglected treasure?(2015-12-10) Neglia-Khachatryan, Dina MariaItem An analytical study of A string around autumn by Toru Takemitsu(2016-09-15) Wu, Tze-YingItem Erasing the color line: the violin concerto of Samuel Coleridge-Taylor(2016-10-06) Kim, HangyulSamuel Coleridge-Taylor’s mixed-black heritage, which easily could have remained a social handicap in 19th century Victorian England, may arguably have boosted his career during a time when African-heritage music and artists became fashionable amongst the European and American public. That is not to say that Samuel Coleridge-Taylor’s world was not imbued with racial prejudice – born a mere 43 years after England’s Slavery Abolition Act of 1833, his three visits to America brought him in contact with the segregation experienced daily by African Americans. Nevertheless, when Antonin Dvořák’s New World Symphony (1893) sought to establish an American school of music upon the melodies of Negro and Native American songs, black American musicians and composers rode on the tidal waves of Dvořák’s success. They were able, for the first time, to see the significance of their musical heritage. It is significant to note that while this black cultural revolution was brewing in America, Samuel Coleridge-Taylor was operating overseas in England. Nor was he, at first, transforming African and African American music into high art. Yet his career and rise to fame were intertwined with the ongoings in America, and without Dvořák and black activists giving a voice to African American musicians and composers, it is plausible that many of Samuel Coleridge-Taylor’s works would have never come into fruition. One of these works was his Violin Concerto op. 80, the last finished work before his untimely death at the age of 37. This project will argue that the African American musical and political scene between 1893 and 1920 helped the creation of Coleridge-Taylor’s Violin Concerto.Item Development sections in the string quintets of Mozart(2016-12-09) Baruch, YotamThis dissertation focuses on development sections in the first and last movements of the six string quintets by Mozart. All of these movements are either in sonata-allegro or sonata-rondo form (excluding the finale of K. 406, which is in variation form, and is therefore left out). The works of both William E. Caplin, and James Hepokoski and Warren Darcy are the main references for this dissertation. Each of the first three chapters is dedicated to a different aspect of the music—thematic/rhetoric organization, harmony, texture. The opening chapter presents a new concept for thematic choice: “Potential for Development.” In the third chapter (“texture”) one section is dedicated to the cello part. The fourth and concluding chapter features a detailed analysis of the finale of K.593, putting the concepts which had been previously discussed in the context of a complete movement, outlining the connections between the three large sections of sonata form movement. The chapter concludes with a discussion of Kant's concept of “the sublime,” and how it relates to K.593.Item A study of Unsuk Chin's violin concerto(2016-12-09) Seo, YoungsinItem The cello works of Ferdinand Ries(2016-12-09) Tutino, ColeItem Brahms's violin sonata in G major, op. 78 as the summation of the Regenlied tetralogy(2016-12-09) Paik, SusanItem A study of two versions of Carmen fantasies by Sarasate and Waxman(2016-12-12) Shin, Jung-Min
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