Violin Portamento
An analysis of its use by master violinists in selected nineteenth-century concerti
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As one of the most difficult and intricate aspects of violin playing, portamento is very individualistic in nature. No pedagogical sources are available to generate critical thinking about when, why, and how violinists might employ portamento. This study provides an image record of sound in time which allows this abstract phenomenon to become more accessible for both technical inquiry and instructional conversation. Portamento styles were examined in performances by Heifetz, Huberman, Kreisler, Mutter, Oistrakh, Perlman, Shaham, and Vengerov. Target Intervals (TIs) that contain portamenti were...
As one of the most difficult and intricate aspects
of violin playing, portamento is very
individualistic in nature. No pedagogical sources
are available to generate critical thinking about
when, why, and how violinists might employ
portamento. This study provides an image record of
sound in time which allows this abstract phenomenon
to become more accessible for both technical inquiry
and instructional conversation. Portamento styles
were examined in performances by Heifetz, Huberman,
Kreisler, Mutter, Oistrakh, Perlman, Shaham, and
Vengerov. Target Intervals (TIs) that contain
portamenti were extracted with computer software
from the first movement of Brahms, Lalo,
Mendelssohn, and Tchaikovsky concerti. The visual
images of portamento execution were generated
through analysis of selected TIs. Performers seemed
to continue to develop their performance styles,
using portamento as an identifiable trait in
multiple performances. The findings imply that the
use of technology may open up new possibilities for
both teaching strategies and scientific research
regarding musical performance.
of violin playing, portamento is very
individualistic in nature. No pedagogical sources
are available to generate critical thinking about
when, why, and how violinists might employ
portamento. This study provides an image record of
sound in time which allows this abstract phenomenon
to become more accessible for both technical inquiry
and instructional conversation. Portamento styles
were examined in performances by Heifetz, Huberman,
Kreisler, Mutter, Oistrakh, Perlman, Shaham, and
Vengerov. Target Intervals (TIs) that contain
portamenti were extracted with computer software
from the first movement of Brahms, Lalo,
Mendelssohn, and Tchaikovsky concerti. The visual
images of portamento execution were generated
through analysis of selected TIs. Performers seemed
to continue to develop their performance styles,
using portamento as an identifiable trait in
multiple performances. The findings imply that the
use of technology may open up new possibilities for
both teaching strategies and scientific research
regarding musical performance.
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