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dc.contributor.authorLouhivuori, Sini
dc.date.accessioned2020-04-21T11:28:56Z
dc.date.available2020-04-21T11:28:56Z
dc.date.issued1998
dc.identifier.isbn978-951-39-8144-0
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/68621
dc.description.abstractThe purpose of my study has been to clarify how the teaching of violin playing has changed since the 1750's and what are the general guidelines of the development. I have described the content of violin pedagogy during this period by comparing with each other the major violin schools that were written between 1751 and 1977. I have also looked for reasons for why violin pedagogy has changed over time. The key hypothesis of my study is that musical aesthetic thinking and the general musical taste have had a significant influence on instrument pedagogy, which again has led to changes in its focus. The first part provides the historical background for the study by dealing with the history of violin pedagogy and musical aesthetics. The second part comprises the content analysis of fourteen most significant violin schools and pedagogical works from different historical periods. This part includes both quantitative and qualitative analysis. In the third part the main Iines of the development between violin pedagogy and musical aesthetics are compared, and conclusions are drawn on the common features of violin pedagogy and on the effects of musical aesthetics on violin pedagogy at different periods of time. Both quantitative and qualitative analysis showed that the main topics of violin pedagogy have changed during the time period of my study. The violin pedagogy of the 18th century concentrated on diminution technique and on the rules of using the bow. In the 19th century the pedagogues began to pay more attention to the style and interpretation of music, and gradually the idea of a personal subjective taste was accepted. In the 20th century the teaching of the problems of the bow hand began to gain ground. The musical aesthetic thinking, especially the questions concerning musical taste, style and ideas of the value of music seem to have been reflected in a significant way in violin pedagogy.en
dc.relation.ispartofseriesJyväskylä Studies in the Arts
dc.subjectAuer, Leopold,
dc.subjectBaillot, Pierre,
dc.subjectBériot, Charles-Auguste de,
dc.subjectCampagnoli, Bartolomeo,
dc.subjectFlesch, Carl,
dc.subjectGalamian, Ivan,
dc.subjectGeminiani, Francesco,
dc.subjectGreen, E. A. H.
dc.subjectJoachim, Joseph,
dc.subjectL'abbé le fils,
dc.subjectMoser, Andreas,
dc.subjectMozart, Leopold,
dc.subjectSeling, Hugo.
dc.subjectSpohr, Louis,
dc.subjectSzende, Ottó.
dc.subjecthistoria
dc.subjectkasvatushistoria
dc.subjectmusiikin estetiikka
dc.subjectmusiikinhistoria
dc.subjectmusiikki
dc.subjectmusiikkifilosofia
dc.subjectmusiikkikasvatus
dc.subjectopetus
dc.subjectpedagogiikka
dc.subjectsoitonoppaat
dc.subjectsoittaminen
dc.subjectsoittimet
dc.subjectviulu
dc.subjectMusic
dc.subjectViolin
dc.titleViulupedagogiikan vaiheet : musiikkiesteettisen ajattelun heijastuminen viulunsoitonopetukseen 1750-luvulta 1970-luvulle
dc.identifier.urnURN:ISBN:978-951-39-8144-0
dc.date.digitised2020


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