Sokol, Casey2016-11-252016-11-252016-05-242016-11-25http://hdl.handle.net/10315/32669The violin has often been compared to the voice for its ability to connect with human emotions. Both violinists and vocalists have the ability to shape sound through pitch, timbre, dynamics and articulation, on a level as small as an individual note. Why then, despite these similarities, do so few musicians choose to play violin and sing at the same time? Difficulties often arise because the violin and the voice both demand a similar kind of attention from the performer. Through a series of exercises and compositions, this paper explores intonation, timbre, rhythm, harmony and improvisation as they relate to a violinist/singer. In its entirety, it forms a method, by which a performer can learn to play violin and sing simultaneously. Some of the materials developed address general musicianship and so may also be useful in a broader pedagogical context.enAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.AcousticsElectronic Thesis or Dissertation2016-11-25ViolinVoiceSingingSinger-songwriterSelf-accompanimentSelf accompanyingAccompanimentMusicianshipMusic studiesEtudesCompositionImprovisationDuetTrioString trioMusic educationCognitionAudiationPedagogyMusic pedagogyLearningIntonationTimbreMusical toneRhythmRhythmic exercisesVocal exercisesViolin exercisesStudies for violin and voiceMusic practiceMusic warm-upsCognitive scienceCognitive psychologyAcousticsFolk-songChoppingChopCounterpointExtended violin techniquesAccompaniment with violinBowing and breathBreath and singingPolyrhythmic exercisesRhythmic independenceMusical gamesAcceleration/deceleration musicVoice leadingAccompaniment patternsVocal onsetSinging with the violinIva BittovaAndrew BirdKarla KilstedtCassie NortonBruce MolskyIntonation exerciseRhythmic exerciseArticulationDynamicsChord shapes on violinImprovisation exercisesImprovisation games