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"Violinists"
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The nightingale's sonata : the musical odyssey of Lea Luboshutz
\"A moving and uplifting history set to music that reveals the rich life of one of the first internationally renowned female violinists.\" --Jacket flap.
Book
Sounds like Titanic : a memoir
When aspiring violinist Jessica Chiccehitto Hindman lands a job with a professional ensemble in New York City, she imagines she has achieved her lifelong dream. But the ensemble proves to be a sham. When the group \"performs,\" the microphones are never on. Instead, the music blares from a CD. The mastermind behind this scheme is a peculiar and mysterious figure known as The Composer, who is gaslighting his audiences with music that sounds suspiciously like the Titanic movie soundtrack. On tour with his chaotic ensemble, Hindman spirals into crises of identity and disillusionment as she \"plays\" for audiences genuinely moved by the performance, unable to differentiate real from fake. Sounds Like Titanic is a surreal, often hilarious coming-of-age story. Hindman writes with precise, candid prose and sharp insight into ambition and gender, especially when it comes to the difficulties young women face in a world that views them as silly, shallow, and stupid. As the story swells to a crescendo, it gives voice to the anxieties and illusions of a generation of women, and reveals the failed promises of a nation that takes comfort in false realities.
Book
Lived experiences of musicians with pain: an interpretative phenomenological analysis of performance-related pain of professional violinists
The purpose of this interpretative phenomenological analysis (IPA) is to explore how five professional South African violinists make sense of their lived experiences of performance-related pain. The research problem this study investigates is multifaceted. It includes examining the career implications for violinists who play despite experiencing pain and are afraid to speak up because of the stigma associated with being injured. There is a lack of support and understanding from fellow musicians, doctors and other specialists when faced with diagnosing injuries and recommending treatment options. In South Africa, there is limited research on these aspects. In this IPA study, the data were collected through semi-structured interviews with five professional South African violinists with performance-related pain.
The six subordinate themes that emerged from the data analysis were: (i) Playing through the pain; (ii) Lack of identity; (iii) Depression when unable to play because of pain; (iv) Growth through faith and spirituality; (v) Support and lack of support from family, friends, management, doctors and other experts; and (vi) Lack of awareness and understanding of performance-related injuries. Heightened awareness of musicians' lived experience of performance-related pain could bring about much-needed change and support advocacy for pain-prevention initiatives and assistance for violinists.
Journal Article
Gone : a girl, a violin, a life unstrung
At seven years old Min Kym was a prodigy, the youngest ever student at the famed Purcell School of Music. At eleven she won her first international prize. And at twenty-one, she found \"the one,\" the violin that would transform her life: a rare 1696 Stradivarius. Her career soared. She recorded the Brahms concerto and a world tour was planned.
Book
Bronislaw Huberman und das Vaterland Europa
Bronislaw Huberman (1882-1947), einer der groen Violinvirtuosen in der ersten Halfte des 20. Jahrhunderts und bekannt als ein Kunstler, der sich dem Nationalsozialismus entgegenstellte und bedrohten judischen Musikern zum Uberleben verhalf, war auch ein bedeutender Vordenker und Botschafter eines vereinten Europa. Diesem kaum bekannten Engagement Hubermans in der europaischen Einigungsbewegung nach dem Ersten Weltkrieg widmet sich dieses Buch. Es stellt anhand seiner Schriften und seines Briefverkehrs einen politisch weitsichtigen Kunstler vor, der sich mit originellen Gedanken und unermudlichem Elan fur ein Vaterland Europa einsetzte. Mehrere Kernelemente der Huberman'schen Europakonzeption haben nach dem Zweiten Weltkrieg mageblich den Einigungsprozess bestimmt: die politisch eingebettete Zollunion als Ausgangsprojekt, der Utilitarismus als Triebfeder und die Okonomie als strategische Entwicklungsachse. Die heutige Europaische Union weist in einer Reihe wichtiger Politikfelder Integrationsleistungen auf, die Huberman ein knappes Jahrhundert zuvor beschrieben und gefordert hat. Auch lebt der normative Gehalt seiner auf Volkerfrieden und gesellschaftliche Wohlfahrt gerichteten Botschaften in gegenwartigen Europa-Diskursen fort. Der Bruckenschlag zur heutigen Europaischen Union zeigt, wie aktuell Hubermans Denken in einer Zeit ist, in der in einem krisengeschuttelten Europa eine bedenkliche Geschichtsvergessenheit um sich greift.
eBook
Method for Using Functional Near-Infrared Spectroscopy (fNIRS) to Explore Music-Induced Brain Activation in Orchestral Musicians in Concert
The act of performing music may induce a specific state of mind, musicians potentially becoming immersed and detached from the rest of the world. May this be measured? Does this state of mind change based on repetition? In collaboration with Stavanger Symphony Orchestra (SSO), we developed protocols to investigate ongoing changes in the brain activation of a first violinist and a second violinist in real time during seven sequential, public concerts using functional near-infrared spectroscopy (fNIRS). Using wireless fNIRS systems (Brite MKII) from Artinis, we measured ongoing hemodynamic changes and projected the brain activation to the audience through the software OxySoft 3.5.15.2. We subsequently developed protocols for further analyses through the Matlab toolboxes Brainstorm and Homer2/Homer3. Our developed protocols demonstrate how one may use “functional dissection” to imply how the state of mind of musicians may alter while performing their art. We focused on a subset of cortical regions in the right hemisphere, but the current study demonstrates how fNIRS may be used to shed light on brain dynamics related to producing art in ecological and natural contexts on a general level, neither restricted to the use of musical instrument nor art form.
Journal Article
At ease
At fifteen, Will already knows he wants to spend his life playing classical violin. And when he is invited to take part in a summer program for young musicians, he realizes it is a chance to make his dream a reality. But years of playing only for Mr. Jorgensen, his elderly neighbor and mentor, haven't prepared Will for what will happen when he steps onto the stage. He never expected the self-doubt that takes over his thoughts, or the fear of failure that makes his hands shake and his heart race. What happens when the one thing you need to achieve your dreams is something you find utterly terrifying?
Book
Soloist evaluations of six Old Italian and six new violins
Many researchers have sought explanations for the purported tonal superiority of Old Italian violins by investigating varnish and wood properties, plate tuning systems, and the spectral balance of the radiated sound. Nevertheless, the fundamental premise of tonal superiority has been investigated scientifically only once very recently, and results showed a general preference for new violins and that players were unable to reliably distinguish new violins from old. The study was, however, relatively small in terms of the number of violins tested (six), the time allotted to each player (an hour), and the size of the test space (a hotel room). In this study, 10 renowned soloists each blind-tested six Old Italian violins (including five by Stradivari) and six new during two 75-min sessions—the first in a rehearsal room, the second in a 300-seat concert hall. When asked to choose a violin to replace their own for a hypothetical concert tour, 6 of the 10 soloists chose a new instrument. A single new violin was easily the most-preferred of the 12. On average, soloists rated their favorite new violins more highly than their favorite old for playability, articulation, and projection, and at least equal to old in terms of timbre. Soloists failed to distinguish new from old at better than chance levels. These results confirm and extend those of the earlier study and present a striking challenge to near-canonical beliefs about Old Italian violins.
Journal Article