Doctoral Final Projects--Strings (DM)
Permanent link for this collectionhttps://hdl.handle.net/2022/14090
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Item A comparative analysis of the six duets for violin and viola by Michael Haydn and Wolfgang Amadeus Mozart(Indiana University, 2021-05-12) Na, EunaItem A curriculum on mental skills and concepts for effective practice and performance(Indiana University, 2019-04-17) Ledesma, Clara VázquezThe following project is a college-level curriculum on mental training for musicians. Based on the understanding, discussion, study, and practice of several mental skills, the class is intended to provide psychological strategies and specific exercises for improving practice, performance, and overall student well-being. Mental skills do not replace physical practice but are crucial, nevertheless, for consistently managing the demands of the music field. In addition to receiving mental-skills training, students should revise those skills daily until their application becomes automatic.Item A musician's guide to focal dystonia : devastation and rehabilitation(Indiana University, 2020-12-21) Huh, Sun (Violinist)Item A performance guide to suite I per contrabbasso (1983/2005) by Fernando Grillo(Indiana University, 2020-05-07) Jackman, DorianItem A STUDY OF ADRIEN-FRANÇOIS SERVAIS’ PEDAGOGICAL WORKS AND STYLISTIC TRAITS: TOWARD AN UNDERSTANDING OF THE BELGIAN CELLO SCHOOL(Indiana University, 2024-05-01) Flynn, KevinPart One deals with Servais’ biography and impact on the Belgian School of Cello playing: Chapter One presents a summary of Servais’ extant biographical materials with emphasis on Peter Francois’ new critical biography; Chapter Two provides a timeline of professors at the Royal Conservatory of Brussels from its inception until 1920 including each professor’s contributions to the Belgian Cello School. Part Two breaks down Servais’ Etudes and Caprices with descriptive analyses and discussions of relevant technical concepts/challenges; the Etudes are studied in Chapter Three for their applications in Servais’ repertoire and the standard cello repertoire, and the Caprices are studied in Chapter Four as standalone concert works and as fulfillment of Belgian pedagogical priorities. The appendices include presently-unavailable pedagogical works that are critical to a comprehensive study of the Belgian School of cello pedagogy: those of Servais’ teacher Nicolas Platel and Servais’ colleague at the Conservatory Constant-Adolphe Warot. While outside the scope of this present paper, these works are included to spark further discussion and study of this body of work.Item A study of two versions of Carmen fantasies by Sarasate and Waxman(2016-12-12) Shin, Jung-MinItem A study of Unsuk Chin's violin concerto(2016-12-09) Seo, YoungsinItem A two-part exploration of effective teaching and violin-performance major curriculum at the undergraduate level(Indiana University, 2022-04-12) Kim, Christina Myung JinItem An analysis of string quartets by Caroline Shaw(Indiana University, 2019-05-13) Kim, MinjuItem An analytical study of A string around autumn by Toru Takemitsu(2016-09-15) Wu, Tze-YingItem AN ANALYTICAL STUDY OF STRING QUARTETS BY MIECZYSŁAW WEINBERG AND DMITRI SHOSTAKOVICH(Indiana University, 2025-05-07) Chao, Ju-MinThis dissertation investigates the complex artistic relationship between Soviet composers Mieczysław Weinberg and Dmitri Shostakovich through a comparative analysis of their string quartets. Spanning three stylistic periods—early, middle, and late—the study reveals how their friendship fostered mutual influence while allowing each to cultivate a distinct musical identity. The early period (1939–1956) highlights their shared incorporation of Jewish musical elements, with Weinberg expressing cultural heritage and Shostakovich embedding covert political critique. The middle period (1957–1970) demonstrates Weinberg’s shift from direct borrowing to broader stylistic synthesis, blending Shostakovich’s techniques with influences like Bartók, while their “friendly competition” spurred structural innovation. The late period (1973–1986) explores their divergent engagement with twelve-tone methods: Shostakovich integrated rows within tonal frameworks, whereas Weinberg embraced harmonic ambiguity and fluid transitions. Drawing on score analysis, historical documents, and secondary scholarship, the study underscores how both composers navigated Soviet cultural constraints. The dissertation concludes that their artistic exchange evolved from intimate collaboration to independent innovation, enriching twentieth-century chamber music. By contextualizing their works within political and cultural dynamics, this research contributes to understanding how creative dialogue coexists with individuality in oppressive regimes.Item ANOTHER ‘WAR SONATA’ BY SERGEI PROKOFIEV: VIOLIN SONATA NO.1 IN F MINOR, OP.80 (1938-1946)(Indiana University, 2024-05-01) Kim, YeongleeItem Balancing the scales: a practical viola scale methodWollman, RoseItem Benjamin Britten's violin concerto, op. 15: a critical approach to composition(Indiana University, 2020-12-11) Hong, ArmeeItem Brahms's violin sonata in G major, op. 78 as the summation of the Regenlied tetralogy(2016-12-09) Paik, SusanItem Cello pedagogy and the avant-garde : an analysis of Claude Ledoux's first book of 12 studies for cello(Indiana University, 2022-10-21) Murphy, Sally (Cellist)Item Classical music in the United States during the influenza pandemic of 1918-1920(Indiana University, 2021-12-17) Kim, SofiaItem Collaboration between a composer and a performer in the creation of the violin concerto κένωσις (Kenosis) by Elliott Bark(Indiana University, 2019-12-09) Chae, LeahItem Desenne, Vivaldi, and Carpentier : intertextuality in The two seasons (of the Caribbean tropics)(Indiana University, 2021-05-02) Romero Ramos, María José
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