Matching Items (25)
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- All Subjects: Violin and piano music
- All Subjects: performing arts
- All Subjects: Sonatas
- Creators: McLin, Katherine
Description
The two solo violin works by Carl Nielsen (1865-1931) have been largely overlooked since their composition in the 1920s. These pieces are representative of Nielsen's mature style, combining elements of classical form (the Theme and Variations) as well as processes more commonly found in the twentieth century (through-composition and non-tonal harmonic language). This paper is designed to bring these long-neglected works to light and make them more approachable for violin students, teachers and performers. As Denmark's leading composer, Nielsen was well regarded in his lifetime, although his isolation from mainland Europe created obstacles in his path toward international fame. Rather than following trends in post-romantic music, he remained true to his own musical ideals. This choice often isolated him further during his career, but his unique blend of chromatic harmony, driving rhythms and juxtapositions of character captivates modern listeners. Although small in scope compared to his symphonies and other large works, the enthusiastic spirit and indomitable energy of the solo violin works reflect Nielsen's character at its best. Combining a high level of virtuosity with solid structural integrity, textural variety and musical interest, these works deserve a much more prominent place in the standard violin repertoire.
ContributorsVallier, Michelle Mitchell (Author) / McLin, Katherine (Thesis advisor) / Rogers, Rodney (Committee member) / Jiang, Danwen (Committee member) / Bailey, Wayne (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / Ericson, John Q. (John Quincy), 1962- (Performer) / McLin/Campbell Duo (Performer) / ASU Library. Music Library (Publisher)
Created2018-09-23
Description
ABSTRACTViolin sonatas composed by male composers of the romantic era are widely studied and performed, yet there is far less focus on pieces of that era composed by women. Much of the research on women’s music of the era is scattered and difficult to find. The creation of the Violin Sonatas by Women website (www.violinsonatasbywomen.com) is to educate, promote, and make accessible these deserving but overlooked composers and their works.
Presently, the Violin Sonatas by Women website serves as a resource with detailed information on twenty-five sonatas for violin and piano composed by fifteen European female composers of the romantic era. Provided on this site is biographical information on each composer and access to editions, manuscripts, and recordings. This resource also contains historical information, supplemental exercises and études, and other pedagogical notes. Composers are listed in order of birth date.
This site offers a robust, accurate, and accessible resource for students and professionals. It also provides knowledge, enhances understanding, and identifies technical challenges in the pieces that could be incorporated into teaching curricula and performance repertoires. Finally, it serves to provide long-overdue credit to these female composers by giving their work more recognition.
This study is an ongoing project with more editions and recordings added as they are produced. Presently, the main portion of this website includes advanced published works written from 1863 to 1917. This website will soon be expanded to offer information on violin sonatas composed by women of other eras and origins.
ContributorsAbbott, Sarah (Author) / Swartz, Jonathan (Thesis advisor) / McLin, Katherine (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2022
Description
The aim of this paper is to empower musicians with the knowledge and tools to address the challenges of music performance anxiety (MPA) with confidence and efficacy. Three evidence-based concepts will be examined, beginning with neuroplasticity, which is the brain’s capacity to change both structurally and functionally. It is thus in a constant state of evolution. On the functional side, evidence demonstrates that it is possible for individuals to change the way they think in order to provide more positive outcomes in music performance. Secondly, existing literature on the cognitive side of learning and optimal performance will be examined; particularly, flow theory of Mihaly Csikszentmihalyi (1975) and Carol Dweck’s mindset theory (2006). Finally, a review of sports psychology research on mental imagery will be provided. For each area of research, I will suggest strategies with which musicians may incorporate these theories in their own practice and performance in order to develop a growth mindset, alter their negative thought patterns, and overcome MPA, achieving their optimal performance level.
ContributorsLee, Kah Yan (Author) / McLin, Katherine (Thesis advisor) / Norton, Kay (Committee member) / Meyer, Jeffery (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2022-09-16
Description
Research in learning has been conducted for decades, and an area that has received increasing attention since the mid-20th century is motor learning. Since then, new theories and experiments have been developed describing principles of motor learning with parameters that can improve or degrade the learning process. These principles have been applied to many different areas such as psychology, language, and especially sports. Although music involves motor skills, only relatively recently have there been attempts to link these scientific findings with music performance. Given the importance of this area, this document seeks to explore ways in which one may apply principles from motor learning theory to music and more specifically to violin pedagogy. The motor learning principles discussed are based mainly on the studies and theories of Robert Bjork, Cheryl A. Coker, Timothy Lee, Richard Magill, Richard A. Schmidt, and Gabrielle Wulf. The selected topics are focus of attention, practice schedules (discussing blocked and random practice schedules), and variable practice. There are two chapters dedicated to each area. The initial chapter of each topic (two, four, and six) contains a brief literature review that provide a base for application to violin pedagogy. The second chapter of each topic (three, five, and seven) explores those principles along with practical guidelines on how to apply them to violin pedagogy. While some research and experiments in motor learning support pedagogical approaches already used in music (based on the teacher’s intuition and common sense) other studies suggest approaches that are quite counterintuitive. Reviewing a wide variety of practice techniques through a scientific lens provides valuable insights to the field of violin pedagogy and musical performance in general.
ContributorsDa Rocha Unglaub, Alisson (Author) / McLin, Katherine (Thesis advisor) / Jiang, Danwen (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / Rotaru, Catalin (Performer) / Spring, Robert (Performer) / ASU Library. Music Library (Publisher)
Created2007-08-30
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2014-09-07
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / McLin/Campbell Duo (Performer) / ASU Library. Music Library (Publisher)
Created2017-09-24
ContributorsMcLin, Katherine (Performer) / Campbell, Andrew (Pianist) (Performer) / ASU Library. Music Library (Publisher)
Created2010-10-22