▼ The focus of this document is the collection of etudes known as Pierre Gaviniés’s Twenty-four Matinées. While not as challenging as Paganini’s Caprices, Gaviniés’s etudes are still quite capable of providing significant challenges for violin and viola students. Yet neither Ivan Galamian nor Carl Flesch (two of the most influential violin pedagogues of the twentieth century) refers to them in their pedagogical manual. Still published and known by many violinists, the Twenty-four Matinées are not often used by teachers and students, especially here in the United States. Having begun my violin studies in France, I was introduced to Gaviniés’s Matinées there, but curiously never got to practice them. It is only recently that I have been interested in exploring them and came to realize that many violin students are deprived of the challenges and joys of working with these etudes. By looking at the technical aspects that they cover and by comparing their melodic and technical interest to the more popular etudes studied today (Rode’s Twenty-Four Caprices, Kreutzer’s Forty-Two Etudes and Dont’s Twenty-Four Etudes and Caprices Opus 35), I intend to show that these Matinées deserve greater attention. The document is divided into three parts. The first part consists of a brief biography of the composer and describes his place in the French Violin School. The second part provides a comprehensive description of the Twenty-four Matinées and presents Kreutzer’s Forty-Two Etudes, Rode’s Twenty-Four Caprices, and Dont’s Twenty-Four Etudes and Caprices Opus 35. Finally I will approach each etude individually. I will analyze each etude from a violinistic point of view by explaining their technical content rather than providing a musical analysis, and compare some of the Matinées with some of Rode’s, Kreutzer’s, and Dont’s etudes. Advisors/Committee Members: Yim, Dr. Won-Bin.

▼ Ellen Taafe Zwilich’s music has had undeniable success with many audiences. This thesis first examines the musical qualities of Zwilich’s music that may be considered accessible. These same qualities are then combined with other characteristics to reveal the concepts of balance and duality as recurring patterns found in different layers of Zwilich’s music. This thesis does not assume that Zwilich is the first or likely last composer to exhibit all the qualities examined in this paper; instead, these elements are identified and discussed as part of her style. Both sections of this paper, accessibility and pervading balance and duality, deal with Zwilich’s more recent works of the last two decades (1979-2000). Advisors/Committee Members: Zierolf, Dr. Robert.

▼ Bach's Three Sonatas for Solo Violin (BWV 1001, 1003, and 1005; 1720) have a movement scheme of slow-fast-slow-fast in which the movements are organized in a united sense. Centering the intensive second fugal movement, the first serves as a prelude, the third as a tension-relieving movement, and the fourth as a brilliant finale. Most of the slow (first and third) movements suggest an analytical interest with their through-composed nature, while the fast ones are structurally more explicit. Furthermore, another distinction can be made between the first and third movements according to function and correspondingly different characters: the prelude movements are improvisatory and free, and the third movements are melodious and relaxing. These characterizations are supported through figural and formal aspects, thus on both surface and structural levels. This thesis is primarily concerned with the formal attributes of the slow movements for their functions. A closer observation reveals the structural frame of seemingly through-composed forms. The prelude movements show more ambiguity and complexity, yielding appropriate tension for the free virtuosity. On the contrary, the third movements exhibit more regularity with a binary concept for a comfortable and easy atmosphere. Each group of movements not only pursues its function, but also offers a contrast to the neighboring fugue movement that is strict and intensive. The contrast is achieved in opposite ways, however, resulting in considerable differences between the first and third movements. The content of this thesis is based on a detailed analysis of each slow movement, focusing on the functional contributions, organized by the first- and third-movement groups. Its chapter arrangement is: I. Introduction, II. First Movements, III. Third Movements, and IV. Summary and Conclusion. Advisors/Committee Members: Zierolf, Dr. Robert.

▼ Violinists usually start practice sessions with scale books, and they know the importance of them as a technical grounding. However, performers and students generally have little information on how scale books have been developed and what details are different among many scale books. An understanding of such differences, gained through the identification and comparison of scale books, can help each violinist and teacher approach each scale book more intelligently. This document offers historical and practical information for some of the more widely used basic scale studies in violin playing. Pedagogical materials for violin, responding to the technical demands and musical trends of the instrument, have increased in number. Among them, I will examine and compare the contributions to the scale book genre by three major teachers, chosen because their works are the staples in standard violin technique learning, and frequently required for international violin competitions and graduate school admission scale tests. Many other scale systems coordinate basic concepts from the scale systems by Otakar Ševčik, Carl Flesch, and Ivan Galamian. The scale books by Flesch (1873-1928) and Galamian (1903-1981), published in the twentieth-century, are currently regarded as the most prevalent and essential text books. The book by Ševčik (1852-1934), published around the turn of the century, revealing the use of tonal practices from the nineteenth-century, helped found the scale technique movement and served as the basis for other books. Along with these three, Kurt Sassmannshaus (1953- ) is worthy of being considered a future contributor to this canon with his violin scale book. Sassmannshaus’s method is the first that also includes a comprehensive multimedia web site. The scale books of the above four teachers are important for understanding the development of the scale book from the late nineteenth-century to the present. This document will present how Ševčik, Flesch, Galamian, and Sassmannshaus influenced and modified the demand for twentieth-century techniques and how they approached the fundamental technique problems. I will begin my document with a short background of the aforementioned authors for understanding their personality and philosophy. Second, I will compare similar and different aspects among their books in terms of contents, organizing, fingering, and practical guides. Finally, I will suggest guidelines for performers and students for the effective use of the scale system for each person. I will include musical examples to support any statement made by four teachers for clarification, which will give an idea of the inner logic to each of the methods. Such a course will simplify technical problems and help violinists concentrate for the next step of interpretation. Advisors/Committee Members: Adams, David.

▼ This document examines four violin compositions by Sergei Prokofiev (1891–1953): his Five Melodies for Violin and Piano, Op. 35bis (1925), Sonata for Two Violins in C Major, Op. 56 (1932), Sonata for Violin and Piano No. 2 in D Major, Op. 94bis (1943), and Sonata for Solo Violin, Op. 115 (1947). Although each work features unique attributes and distinctive timbral qualities, this study demonstrates that these four violin compositions share the underlying concept of stylistic symbiosis, precisely the blending of traditional and modernist techniques. From this perspective, a comparative study of these four violin compositions contributes to our understanding of how Prokofiev's neo-classical approach to composition—so pronounced in his large-scale works—operates in the intimate arena of his chamber music. Advisors/Committee Members: mcclung, bruce.

▼ This project explores strategies for the study and performance of specific twelve-tone violin compositions: Phantasy, op. 47 (1949) by Arnold Schoenberg, Solo Sonata (1953) by Roger Sessions, Violin Concerto (1963) by Alberto Ginastera and Melismata (1982) by Milton Babbitt. Special attention is placed on interpretational philosophy, salient musical constructs and performance challenges of the pieces. Chapter One's three sections provide background information on the selected composers and compositions. The first section explores each composer's view of and approach to dodecaphony and discusses their common aesthetic as twelve-tone composers. The second section describes the relationships among the composers and performers who premiered the pieces, an element which may be critical to the compositional processes. Audience reactions to early performances of the pieces are also characterized. Finally, the author provides a discussion of selected recordings and performances, and provides a guide to listening to those performances as a strategy for developing a personal, but informed interpretation. In Chapter Two, the author examines twelve-tone compositional features of each composition that would be most salient in the quest to arrive at a coherent and convincing performance. This chapter also discusses both similarities and differences of styles and structures among the featured pieces, based on specific compositional characteristics including both broader structural elements and small motives. In Chapter Three the author provides strategies on how violinists can overcome the technical challenges of the instrument. Twelve-tone compositions are well suited for the violin, in that the instrument can handle large leaps and sudden contrasts in dynamics, register and range. However, the demands on the performer require an unusual degree of control. This chapter features discussions on violin techniques that focus on coordination between the ears, fingerboard, and arms as well as sections on locating and pre-hearing pitches, deciphering rhythms, and extended violin techniques. Practical advice about printed instructions, color-enhancing notation, and displaying pages in a performance is also included. This paper is intended to offer a foundation that is both appropriate and useful for violinists studying these works. Preparing modern music for performance is an experience of constant revelation that is both challenging and rewarding. With this research the author strives to provide the context in which the performer understands the compositional constructs and the performance practices specific to a successful performance. Advisors/Committee Members: Cahn, Steven.

▼ William Bolcom (b. 1938) is one of the best-known and prolific contemporary composers. He has produced numerous works in different genres, ranging from instrumental music for various instruments and ensembles to vocal music and operas. Among his impressive compositional output are nine works for violin and piano, which were written over the span of thirty-nine years. Although his compositions in this genre are relatively few, they are excellent examples of the different stages of his musical style. This thesis focuses on the evolution of Bolcom’s musical style, from the earliest to the latest works, as seen in the pieces for violin and piano. His works can be divided into three stylistic periods: early works, rags, and postmodern works. The thesis also explores how Bolcom arrives at his prominent use of eclecticism as demonstrated in many of his postmodern works. His earlier works are examined for evidence of tendencies that influence the more recent ones. Another goal of the thesis is to introduce Bolcom’s often-neglected works for violin and piano. His musical style, as found in these works, resembles a kaleidoscope of musical wealth that is rewarding for the performers and captivating to the audience. Advisors/Committee Members: Hoffman, Dr. Joel.

▼ This thesis argues that the thoughtful consideration of musical elements in a piece of music enhances the experience for the primary listener, the performer. Using the score of Brahms's concerto as the primary reference source, I have studied the large scale form as well as connections between themes, and between the elements of harmony, rhythm, melody, and dynamics. I have used my analysis to make performance points for selected passages in the first movement of the concerto. Included is a selected discography for Brahms's concerto. Advisors/Committee Members: Yim, Dr. Won Bin.

▼ 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. I have introduced the general background of each etude book, the composer, the time of the composition, and some characteristics, then selected etudes are described in depth with their specific technical aspects including practice methods. Advisors/Committee Members: Yim, Dr. Won-Bin.

▼ This study examines three twentieth-century violin chaconnes by John Adams (b. 1947), Moses Pergament (1893–1977), and Hans Werner Henze (b. 1926). Although each composer devised and manipulated ostinato procedures in a unique manner, this document demonstrates that these three violin chaconnes share the underlying concepts of musical borrowing and constructivism. The latter stems not only from the continuous variation technique closely associated with the ostinato genre, but also aspects of rhythmic and harmonic mutation. Musical borrowing takes the form of direct quotations or subtle allusions to Baroque masterpieces, virtuosic violin compositions, and other eclectic, yet well-known melodies, such as the emotionally powerful Jewish prayer Kol Nidrei. The combined utilization of an unceasing basso ostinato with external, pre-existing musical material implies a certain degree of architectural constructivism, at the sub and/or supra level. From this particular perspective, this comparative study of three twentieth-century violin chaconnes contributes to our understanding of modern conceptualizations of the chaconne genre. Advisors/Committee Members: mcclung, bruce.