The Contemporary Violin Technique

There are 3 chapters in the dissetation: Bowing, The fingers, PercussionTechnique.Chapter One. BowingThe meaning of words have changed and the contemporary musician's definition of warm or lyrical is somewhat different from the models accepted by nineteenth-century thought. At the same time, qualities best described as "rough," "clangorous," "silly",and "transparent" have been added to the composer's arsenal of sonic adjectives. Production of a "big, beautiful sound"with the bow is no longer the only preferred mode of expression.The bow presents many possibilities that have yet to be fully explored, and it is up to the performer and the composer to explore the potential. Chapter Two. The FingersThe category "stringed instruments"of ten bears the accompanying adjective "bowed": if one has a violin then one also logically has a bow lstringed instruments,however,were picked,plucked,and snapped long before the invention and application of the bow. The remarkable sustaining power afforded by the bow redefined the functions of the viol and violin families. For a time in the instruments' history, picking, pluching, and snapping became foreign performance techniques. This chapter will explore right-and left-hand techniques executed without the bow. Chapter Three. Percussion TechniqueTwo criteria can be used to distinguish a percussive technique from a non-percussive technique: the nature of the sound produced,and the manner of execution. If the first criterion is used, the definition of a percussive technique will include all events characterized by a short, non-pitched sound. If the second criterion is used, percussive technique will include all those that are played by striking or hitting an object.