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This article applies the concept of isotopy to music to trace the dynamic appearances and interactions of topics in three works by György Ligeti and Thomas Adès. In contrast to previous applications of isotopy to music, the model I propose here is explicitly topic-centered, leading me to a complementary reconfiguring of Johanna Frymoyer's hierarchy of topical characteristics. My theoretical adaptions are motivated by the observations that: (1) a topic's identity is often unclear (Frymoyer 2017, Sánchez-Kisielewska 2023), an ambiguity which can be exploited compositionally; (2) the same topic can recur at different degrees of clarity in a single work, leading the listener to draw out a larger structural role for the topic (isotopy) in lieu of clear formal processes in other parameters in this repertoire (harmony, rhythm, etc.); and (3) if multiple topics are engaged, they can relate to one another in formally significant ways. Using the Chorale topic as a case study, I first demonstrate a simple closed isotopy in the second movement of Ligeti's Violin Concerto, followed by open isotopies of the Chorale and Sound Mass topics in Ligeti's Hamburg Concerto. Finally, in applying this approach to Thomas Adès's Piano Quintet I demonstrate how an isotopic analysis can work in dialogue with the familiar trajectory of sonata form. This approach aims to draw out semantic aspects of Ligeti's and Adès's highly referential style, which is representative of late-twentieth century, semantically dense, post-collage compositions, filled with familiar topics shifting in and out of focus kaleidoscopically. [ABSTRACT FROM AUTHOR]

Music emotion recognition has garnered significant interest in recent years, as the emotions expressed through music can profoundly enhance our understanding of its deeper meanings. The violin, with its distinctive emotional expressiveness, has become a focal point in this field of research. To address the scarcity of specialized data, we developed a dataset specifically for violin music emotion recognition named VioMusic. This dataset offers a precise and comprehensive platform for the analysis of emotional expressions in violin music, featuring specialized samples and evaluations. Moreover, we implemented the CNN–BiGRU–Attention (CBA) model to establish a baseline system for music emotion recognition. Our experimental findings show that the CBA model effectively captures the emotional nuances in violin music, achieving mean absolute errors (MAE) of 0.124 and 0.129. The VioMusic dataset proves to be highly practical for advancing the study of emotion recognition in violin music, providing valuable insights and a robust framework for future research. [ABSTRACT FROM AUTHOR]

Copyright of Vínculos de Historia is the property of Vinculos de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research examines the comments on violin instruction videos on YouTube in the context of practice challenges encountered by learners while playing the violin and solutions provided by instructors to these challenges. 205 comments related to the research context were included in the analysis among a total of 4934 comments from 398 violin instruction videos in Turkish and they were examined through qualitative content analysis. It has been observed that all of the practice challenges experienced by learners while playing the violin are at the beginner level. Furthermore, instructors offer solutions to these challenges by providing short instructions, mainly through the comments section. They also emphasise patience and perseverance for learners. In some cases, it has been noticed that instructors assist learners by suggesting off-site communication, encouraging them to watch instructors' videos again, and recommending taking private lessons to address their specific problems. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Florence Price (1887–1953) was instrumental in establishing a "black musical idiom" in the twentieth century (Samantha Ege, 2020) by embedding vernacular songs into her works, including Violin Fantasy No. 2 in F-sharp minor, built on "I'm workin' on my Buildin.'" In 1940 she arranged the melody as the second of the Two Traditional Negro Spirituals , finished on March 26, 1940. On March 29 and 30, 1940, she quickly dispatched Fantasy No. 2. Price often performed the piano part of her works herself. The performative act of playing Fantasy No. 2 with its embedded spiritual "I'm workin' on my Buildin' [...] All for my Lord" would have solidified her faith, which rested in part in her own interpretation of its lyrics: Her "work" on her "buildin" and foundations, in composition and in life. Furthermore, each performance of Fantasy No. 2 would have created an embodied performed commemoration, from her perspective, of historical events of injustice and oppression in the Jim Crow South, which she abandoned in 1927 for Chicago. By engaging with Price's fantasies through the lens of performance studies and genre theory, and by drawing on Ege (2020), Rae Linda Brown (2020), Cooper (2019, 2020), and Douglas Shadle (2021), this article examines Price's vernacular foundation and sonic foundation-building symbolically. Meanings of freedom emerge on several levels, which we relate to creative freedom and to "freedoms in the most oppressive of social environments," such as Price's environment, to which she responded with "a powerful musical language" (Ege, 2020). [ABSTRACT FROM AUTHOR]

This article discusses various recordings of Austro-German music, including Handel's Lenten oratorio La resurrezione, Handel's opera Amadigi, Mozart's 40th symphony, Schubert's 5th symphony, and Johann Pisendel's violin sonatas. The recordings feature talented musicians and offer fresh interpretations of these works. The article also provides historical and contextual information about the compositions and the performers. Overall, these recordings provide a valuable contribution to the understanding and appreciation of Austro-German music. [Extracted from the article]

Copyright of Social Sciences Studies is the property of Social Sciences Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Katharina Uhde, vln, Dennis Friesen-Carper conductor, Polish Radio Orchestra Warsaw Soundset Recordings, SR1122; 2021 (1 CD: 49 minutes) $16.99 This illuminating release is the brainchild of violinist-musicologist Katharina Uhde, who has established herself in recent years as an avid and multifaceted advocate of Joseph Joachim (1831-1907), the Austro-Hungarian violinist and composer. See also Robert W. Eshbach, ' Joachim's Youth - Joachim's Jewishness ', The Musical Quarterly 94 / 4 (2011): 548-92. 20 Uhde, The Music of Joseph Joachim, 21-4. While Moser is the author, Joachim was presumably involved with developing and approving them (see Joachim and Moser, Violinschule, 1: 3-4 for Joachim's comments on the nature of their collaboration). [Extracted from the article]

The violin has undergone many physical changes since the 1700s. With these changes, violinists and teachers developed new positioning techniques and bow techniques. These developed techniques have facilitated the performance of works with high difficulty levels. From the 16th century, European performers, who came by European performers for ceremonies and entertainment, introduced the violin to Turkish culture. As a province, Viola D'amore, one of the Viol varieties, was used in Turkish music and was called Sine violin. Although the violin used in our music in its most recent form was added to Turkish music later than our classical instruments, it has an important place in Turkish music. It can be thought that it has an important place in our music due to the bow and other violin techniques developed for centuries. A violin method has not been written on the technical development of Turkish music violin performance. However, Western music violin methods were used. In order to further develop the bow techniques used in Turkish music violin performance, violin performances should be examined. However, there are not many sources where we can visually examine the right and left hand techniques of our old violinists. In this study, the bow usage analysis of Cevdet Çağla's performance in the video video of the Hicaz Hümâyûn taksim in the TRT archive will be made. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Studies - Educational Sciences is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this study was to investigate the potential and limitations of peer tutoring in the development of the intonation of violin and viola students in elementary music education. Researchers have found that peer tutoring is a highly beneficial learning strategy. Peer tutoring is defined as the pairing of learners in an asymmetric relationship, who learn by teaching and start with a common, known, shared goal and an interaction framework previously structured by the teacher. After presenting a didactic proposal based on peer tutoring for the development of intonation, this research adopted a mixed-method approach to present quantitative improvements in intonation. The analysis of the pairs' interaction explains these improvements as coming from the framework fostered by the pairs and the opportunities to learn through teaching. It is concluded that peer tutoring is a very effective tool for improving the intonation of string students. [ABSTRACT FROM AUTHOR]

Classifying music pieces based on their instrument sounds is pivotal for analysis and application purposes. Given its importance, techniques using machine learning have been proposed to classify violin and viola music pieces. The violin and viola are two different instruments with three overlapping strings of the same notes, and it is challenging for ordinary people or even musicians to distinguish the sound produced by these instruments. However, the classification of musical instrument pieces was barely performed by prior research. To solve this problem, we propose a technique using descriptive statistics to reliably distinguish between violin and viola music pieces. Likewise, a similar technique on the basis of histogram is introduced alongside the main descriptive statistics approach. These approaches are derived based on the nature of the instruments’ strings and the range of their pieces. We also solve the problem in the current literature which divide the audio into segments for processing instead of managing the whole song. Thereby, we compile a dataset of recordings that comprises of violin and viola solo pieces from the Baroque, Classical, Romantic, and Modern eras. Experiment results suggest that our approach achieves high accuracy on solo pieces as compared to other methods with 0.97 accuracy on Baroque pieces. Classifying music pieces based on their instrument sounds is pivotal for analysis and application purposes. Given its importance, techniques using machine learning have been proposed to classify violin and viola music pieces. The violin and viola are two different instruments with three overlapping strings of the same notes, and it is challenging for ordinary people or even musicians to distinguish the sound produced by these instruments. However, the classification of musical instrument pieces was barely performed by prior research. To solve this problem, we propose a technique using descriptive statistics to reliably distinguish between violin and viola music pieces. Likewise, a similar technique on the basis of histogram is introduced alongside the main descriptive statistics approach. These approaches are derived based on the nature of the instruments’ strings and the range of their pieces. We also solve the problem in the current literature which divide the audio into segments for processing instead of managing the whole song. Thereby, we compile a dataset of recordings that comprises of violin and viola solo pieces from the Baroque, Classical, Romantic, and Modern eras. Experiment results suggest that our approach achieves high accuracy on solo pieces as compared to other methods with 0.97 accuracy on Baroque pieces. [ABSTRACT FROM AUTHOR]