A study of the Violin Concerto in D Minor by Ralph Vaughan Williams

A study of the Violin Concerto in D Minor by Ralph Vaughan Williams

Date: May 2010
Creator: Kim, Si Hyung
Description: The focus of this study is to provide a clear understanding of Vaughan Williams' Violin Concerto in D Minor. In terms of form and compositional technique, this concerto is particularly challenging, because of Vaughan Williams' use of rhythmic motives and modes. This study is undertaken through an analysis. For a better understanding, a historical background, including overall form of each movement and key relationships, is explored and discussed. Then, Vaughan Williams' use of a ritornello-like motive, melody and modality as unifying elements is also identified and examined. In identifying the major features of Vaughan Williams' compositional style of this violin concerto, musicians will be able to understand better his unique musical expression. This study may serve as an introduction to the music of Vaughan Williams for musicians and society worldwide. It is hoped that it will motivate all violinists to perform this concerto more frequently.
Contributing Partner: UNT Libraries
A comparison of Petar Christoskov’s Op. 1 and Op. 24 Caprices for Solo Violin: The effect of the changing Bulgarian political climate on his compositional style.

A comparison of Petar Christoskov’s Op. 1 and Op. 24 Caprices for Solo Violin: The effect of the changing Bulgarian political climate on his compositional style.

Date: May 2016
Creator: Vassileva, Veronika
Description: Bulgaria, though a fairly small Eastern European country, boasts an ancient history of folk traditions and music; however, very few notated works exist due to the people's primitive lifestyle throughout Bulgaria's history. Singing and dancing as well as creating instruments from wood and animal skin were considered an integral part of everyday life, equal to cooking, sewing, herding, or farming; in fact, one almost always accompanied the other. Thus, more than 1500 years of folklore was orally passed on and preserved generation after generation; however, nothing was notated until only very recently when Bulgarians realized the cultural and national value of their history. After the liberation from Ottoman Rule (1453-1877) a nationalist movement spread throughout the Balkan countries, which resulted in the emergence of Bulgarian composers. Music and songs from the local folk traditions evolved, developed, and - with notation - became the foundation for the vocal and instrumental music of the so-called first generation of Bulgarian composers. Around the turn of the century, many Bulgarian artists and musicians traveled to Western Europe (mostly Austria, Germany, and Russia) and upon their return, their artistic output created an original mixture of Bulgarian national folk with influences from Western classical music. After ...
Contributing Partner: UNT Libraries
A Performer's Guide to Béla Bartók's Violin Concerto No 1, Opus Posthumous, 1907–1908

A Performer's Guide to Béla Bartók's Violin Concerto No 1, Opus Posthumous, 1907–1908

Date: August 2013
Creator: Jobbágy, Szemoke
Description: Despite Bartók's lasting international fame, some of his works remain unjustly lesser-known. One of the pieces that still resides in relative obscurity is his Violin Concerto No.1—a gem of the violin repertoire that must be brought to the broader public's attention. The fact that the concerto was hidden definitely contributed to its little–known status at first. However, the most important cause for the lack of enthusiasm to tackle this terrific work lies in the unorthodox demands it puts on the violinist. The purpose of this paper is to provide musical and technical suggestions based on Bartók's performing style and on his requirements for performer, which will help to create a more persuasive interpretation of the piece. The guide covers the questions of character, articulation, dynamics, and other performance aspects, and also provides practical suggestions, such as fingerings and bowings. It is hoped that this study will help violin performers to gain additional knowledge and insight into this composition and encourage more frequent performances of it.
Contributing Partner: UNT Libraries
A Philosophy and an Approach to Teaching Non-professional-track Violin Students

A Philosophy and an Approach to Teaching Non-professional-track Violin Students

Date: May 2014
Creator: Bard-Schwarz, Anna Ewa
Description: The aim of this dissertation is to lay the groundwork for an integrated approach to violin instruction for children who are not being groomed explicitly for professional careers as instrumentalists. The study presents a particular focus on the age of middle school children, in order to showcase a more specialized and definitive result of research without, however, distinguishing between advantages and limitations of different age groups of children who study music and learn to play the violin. My first goal is to craft a sample method of teaching with a premise that not all students studying music must or need to become professional musicians in their future. I promote an approach based on the premise that music has universal value available to all and that any kind of music education encourages the growth, personality development, and imagination of children. My second goal is to explore how music education functions in 21st century western culture. Research is based on teachings and methods established by Suzuki, Kodaly, Jaques-Dalcroze, and Orff, among others.
Contributing Partner: UNT Libraries
Combining of Korean Traditional Performance and Recent German Techniques in Isang Yun's Kontraste: Zwei Stücke für Violine Solo (1987)

Combining of Korean Traditional Performance and Recent German Techniques in Isang Yun's Kontraste: Zwei Stücke für Violine Solo (1987)

Date: December 2010
Creator: Kim, Hyo Jung
Description: Isang Yun (1917-1995) embraced a masterful combination of two elements derived from his life: his Korean cultural upbringing and Western musical traditions. This dissertation explores Yun's distinctive style through an analysis of his Kontraste: Zwei Stücke für Violine Solo. Following the introduction (Chapter 1), Chapter 2 contains a brief biography of Isang Yun, and explores the compositions of his Korean period (1917-1955) and his European period (1956-1995). It also discusses how Yun's musical styles changed during these two periods as a result of important life events and due to cultural and political influences. Chapter 3 examines Korean instruments such as Kayakem, Hae-Kem, and Pak; discusses Nonghyun (traditional string techniques of ornamentation in Korean music); and introduces Korean performance techniques. This chapter also provides explanations of these concepts, illustrated through various examples. A subsequent discussion illuminates Yin-Yang theory and Jeong-Jung-Dong, both elements of Taoist philosophy that influenced Yun's compositional style. This is followed by explanations of Hauptton and Umspielung, two compositional techniques that Yun developed and employed in Kontraste. Yun created the idea of Hauptton to reflect the Korean traditional concept of a single note. He used the term Umspielung ("playing around" in German) to describe his interpretation of the four ...
Contributing Partner: UNT Libraries
Reading Isang Yun’s Concerto No 3 Beyond Western Notational Norms

Reading Isang Yun’s Concerto No 3 Beyond Western Notational Norms

Date: December 2014
Creator: Ro, Sophia M
Description: Korean-German composer Isang Yun received international recognition as one of the successful and leading twentieth-century composers. Despite Yun’s lasting fame, some of his works remain lesser known such as all three of his violin concerti. Yun’s main compositional techniques in his violin concerti are abundant ornamentations and articulations that imitate the sound of Korean folk instruments but played on the violin. Without acknowledging Korean folk music performance practices and folk instruments, a violinist cannot accurately deliver what Yun’s music expressed. The fact that Yun’s Violin Concerto No. 3 imitates Korean string instruments, haegeum or komungo, it must be explained how Korean ornamentations are played and can be incorporated on the violin. The purpose of this paper is to provide these answers as well as technical suggestions regarding abundant ornamentations, frequent dynamic and articulation changes, as well as fingerings and bowings. It is hoped that this study will help violin performers to understand Yun’s Concerto No. 3 and encourage more frequent performances of it.
Contributing Partner: UNT Libraries
Ensemble: 2004-11-17 - UNT Symphony Orchestra

Ensemble: 2004-11-17 - UNT Symphony Orchestra

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Date: November 17, 2004
Creator: UNT Symphony Orchestra
Description: Concert presented at Winspear Hall at the Murchison Performing Arts Center.
Contributing Partner: UNT Music Library
Ensemble: 2001-02-08 - Faculty Chamber Music

Ensemble: 2001-02-08 - Faculty Chamber Music

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Date: February 8, 2002
Creator: Faculty Chamber Music
Description: Faculty performance at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Ensemble: 2002-10-07 - Faculty Chamber Music

Ensemble: 2002-10-07 - Faculty Chamber Music

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Date: October 7, 2002
Creator: Brahms, Johannes, 1833-1897 & Brahms, Johannes, 1833-1897
Description: Concert presented at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Ensemble: 2007-10-19 - UNT Symphony Orchestra

Ensemble: 2007-10-19 - UNT Symphony Orchestra

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Date: October 19, 2007
Creator: UNT Symphony Orchestra
Description: Concert presented at the UNT College of Music Winspear Performance Hall.
Contributing Partner: UNT Music Library
Physical Problems in Vibrato Amongst First-year College Violinists: a Descriptive Study

Physical Problems in Vibrato Amongst First-year College Violinists: a Descriptive Study

Date: August 2015
Creator: Manfredi, Zo Hurd
Description: The purpose of this descriptive study was to first identify to what extent first-year college violinists physically struggle with the vibrato motion, and further, to identify physical problems within the motion that are contributing to their challenges during the learning process. The 16 participants in this study were chosen randomly from the College Music Society Directory of Music Faculties in Colleges and Universities (2013-2014 edition). Participants completed a questionnaire of 32 quantitative and qualitative questions addressing the vibrato of their 2013-2014 first-year violinists. 62% of participants’ first-year students had a physical problem with vibrato, 70% of participants’ students were working on correcting physical problems in vibrato during lessons. Participants also reported that 15% of their students were not able to create a vibrato motion at all. Almost all professors (n=15) indicated that students with a problematic vibrato were too tense in parts of the arm or hand and this negatively affected the motion and thus, the sound. Specific problems also included vibrato being too narrow, but rarely too wide, vibrato being too fast or too slow caused by tension, problems with when and how vibrato was being applied, problems with maintaining intonation before or during use of vibrato, and problems ...
Contributing Partner: UNT Libraries
Faculty Recital: 2006-10-17 - John Holt, trumpet

Faculty Recital: 2006-10-17 - John Holt, trumpet

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Date: October 17, 2006
Creator: Holt, John, 1959-
Description: Faculty and student recital performed at the UNT College of Music Concert Hall
Contributing Partner: UNT Music Library
Ensemble: 2012-03-14 - UNT Concert Orchestra and Chamber Choir

Ensemble: 2012-03-14 - UNT Concert Orchestra and Chamber Choir

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Date: March 14, 2012
Creator: UNT Concert Orchestra
Description: A symphonic orchestra concert at the UNT College of Music Winspear Hall
Contributing Partner: UNT Music Library
Faculty Recital: 2009-10-14 - Rossitza Goza, violin

Faculty Recital: 2009-10-14 - Rossitza Goza, violin

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Date: October 14, 2009
Creator: Goza, Rossitza
Description: Faculty recital performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Faculty Recital: 2005-10-17 - Gustavo Romero, piano

Faculty Recital: 2005-10-17 - Gustavo Romero, piano

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Date: October 17, 2005
Creator: Romero, Gustavo
Description: Recital performed at UNT College of Music Concert Hall.
Contributing Partner: UNT Music Library
Guest Artist Recital: 2003-11-13 - Perche No?

Guest Artist Recital: 2003-11-13 - Perche No?

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Date: November 13, 2003
Creator: Perche No?
Description: Concert presented at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Faculty Recital: 2008-01-29 - Winspear Faculty Concert Series

Faculty Recital: 2008-01-29 - Winspear Faculty Concert Series

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Date: January 29, 2008
Creator: Winspear Faculty Concert Series
Description: Faculty and guest artist concert presented at the UNT College of Music Winspear Performance Hall.
Contributing Partner: UNT Music Library
Guest Artist and Faculty Recital: 2006-01-25 - Cary Lewis, piano

Guest Artist and Faculty Recital: 2006-01-25 - Cary Lewis, piano

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Date: January 25, 2006
Creator: Lewis, Cary
Description: A guest artist and faculty recital performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Student Recital: 2012-02-08 - Julia Bushkova Violin Studio Showcase

Student Recital: 2012-02-08 - Julia Bushkova Violin Studio Showcase

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Date: February 8, 2012
Creator: Park, Sungha; Schaller, Lindsey; Cao, Mengyi; Whitehouse, Caitlin; Huynh, Thao; Hong, Dayeon et al.
Description: A student recital preformed at the UNT College of Music Voertman Hall.
Contributing Partner: UNT Music Library
Ensemble: 2006-04-24 - Center for Chamber Music Studies

Ensemble: 2006-04-24 - Center for Chamber Music Studies

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Date: April 24, 2006
Creator: Center for Chamber Music Studies
Description: Student recital presented at the UNT Murchison Performing Arts Center Winspear Hall.
Contributing Partner: UNT Music Library