Violin

He centrado mi investigación en el estudio técnico y analítico de los principales métodos del siglo XX que han destinado una parte de sus tratados en la explicación y práctica de la sujeción del instrumento, así como los cambios de posición, ambas partes relacionadas dentro de una misma categoría de la técnica de mano izquierda. En concreto, he escogido para la realización de este estudio como eje central los dos principales métodos de violín del siglo XX: El arte de tocar el violín (Carl Flesch, 1923) e Interpretación y enseñanza del violín (Ivan Galamian, 1962).

This contribution represents a chapter in the volume "Sozialgeschichte der Musik des Barock", the sixth part of the "Handbuch der Musik des Barock", and deals with the status and function of bowed and plucked instruments in the Baroque period. During this era, musical instruments were generally closely linked to a specific social class. Although the same type of instrument may have sometimes been present among different social strata, its building technique varied substantially. I illustrate this by considering the following division: lower classes (beggars, marginalized groups, minstrels and village musicians), middle classes (civic and court musicians and amateurs) and upper classes (virtuosos and aristocrats). During the Baroque period, certain instruments also triggered social mobility: the violin, for instance, enabled the best players to generate considerable wealth as well as a title of nobility, whereas the viola da gamba gradually disappeared among professional musicians. In order to observe these musical-social strata and their potential crossings, we must attend to the specificities of region and gender dynamics.

This work explored how the perception of violin notes is influenced by the magnitude of the applied vibrato and by the level of damping of the violin resonance modes. Damping influences the "peakiness" of the frequency response, and vibrato interacts with this peakiness by producing fluctuations in spectral content as well as in frequency and amplitude. Initially, it was shown that thresholds for detecting a change in vibrato amplitude were independent of body damping, and thresholds for detecting a change in body damping were independent of vibrato amplitude. A study of perceptual similarity using triadic comparison showed that vibrato amplitude and damping were largely perceived as independent dimensions. A series of listening tests was conducted employing synthesized, recorded or live performance to probe perceptual responses in terms of "liveliness" and preference. The results do not support the conclusion that "liveliness" results from the combination of the use of vibrato and a "peaky" violin response. Judgments based on listening to single notes showed inconsistent patterns for liveliness, while preferences were highest for damping that was slightly less than for a reference (real) violin. In contrast, judgments by players based on many notes showed preference for damping close to the reference value.

The successive colonisation of Istria with culturally differentiated populations, and peripheral position of the peninsula regarding both the Latin and Slav worlds, has conditioned interesting phenomena which defines the traditional life of the province. On the spiritual level it is primarily reflected in two cultural dimensions: the language and traditional music.

Preface
Violin and cello have shared repertoires since their birth, and the 19th century was no exception. Not only have they played together in the well-known chamber music of the piano trio or string quartet, but they have also been regarded as mutually interchangeable instruments. Many violin sonatas were transcribed for cello –with more or less intervention by the composer–. Especially frequent in our programmes are Brahms' Op. 78, or Cesar Franck's Sonata, but the old catalogues all over Europe offered a large number of these arrangements: classical composers from the first half of the 18th century, or the complete violin sonatas of Mozart and Beethoven, as well as less performed but equally fascinating works such as Guillaume Lekeu's Sonata in G major. The reverse way was also explored. Some cello sonatas were arranged for violin: Beethoven and Grieg are just two of the examples with a special presence on the publishing market.
In parallel to this sonata repertoire, hundreds of short pieces –ballades, nocturnes, fantaisies, chansons sans paroles etc.–, often collected in volumes, presented on the cover the choice of being performed by a violinist or by a cellist with piano accompaniment.
As far as the conversion between concertos for soloist and orchestra was concerned, the situation was very diverse. A concerto includes, by definition, a great deal of virtuosic material, especially adapted to the characteristics of the instrument. In this sense, the difference of a fifth between the strings of the violin and the cello (even more than the difference of an octave) made the exchange of repertoires practically insurmountable. Other peculiarities such as the distribution of arpeggios or triple and quadruple string chords made the task even more challenging. The violin retained its concertos, and the cello its own.
Of particular interest for this edition, however, are a few isolated cases of arrangements of works with orchestra. Beethoven's Romanzas Op. 40 & 50 - transcribed by Friedrich Grützmacher - are a natural example, given the essentially melodic profile of both pieces. In the same vein, Robert Schumann's Cello Concerto Op. 129 was almost immediately arranged for violin by the composer in collaboration with the young Joachim. A remarkable but rare case was the transcription for cello of Beethoven's virtuosic Concerto Op. 61, published around 1870 by Robert Emile Bockmühl (1820-1881).
Mendelssohn's Concerto for violin and orchestra in E minor Op. 64 is undoubtedly one of the central works in the repertoire for its instrument. On the other hand, the early death of the composer prevented Felix from continuing to write for the cello. An instrument for which he left two sonatas, the Variations Op. 17, some single works; and which he knew at first hand through his brother Paul and the many soloists he came across during his intense musical life. We know at least of his contacts and joint performances with Julius Rietz, Mateusz Wielhorsky, Lisa Christiani and Robert Lindley, and no doubt there were many more.
The work is particularly suitable for a transcription for violoncello. The solid classical workmanship of the Concerto Op. 64 allows the necessary and unavoidable modifications to be traced naturally. On the other hand, the low register of the cello makes a notable addition to the solo line in some passages.
This cello arrangement of Mendelssohn's Concerto will be issued in two parallel editions: a 'simple version' and a 'full version'. As the names indicate, the 'full version' will make full use of the technical resources of the cello in the second half of the 19th century, with the aim of being as close to the original as possible. The 'simple version' presents a less demanding reading from this technical point of view, which will bring it closer to a larger number of performers.
The first edition of the work, from 1845, has been used as the principal source. However, in some passages, the author's manuscript version has been recovered, valuing the outcome in cello as more idiomatic. As the original key of E minor has been preserved, the accompaniment for orchestra or the reduction for piano is the same as for violin. This edition allows double-sided printing.

El capítulo aborda el papel del destacado violista, compositor y pedagogo ruso Vadim V. Borisovsky en el desarrollo de la viola y la formación de la escuela ruso-soviética. Los primeros pasos en la investigación sobre el repertorio del instrumento, la composición y los arreglos, así como las primeras generaciones de violistas y sus aportes en el contexto interpretativo y pedagógico en el panorama musical internacional.

Resumo: Este artigo tem por objetivo discutir e refletir sobre a importância dos exercícios de respiração e aquecimento (estes últimos divididos em exercícios de flexibilidade e de alongamento) aliados ao conhecimento da consciência corporal para o estudo do violino e da viola, como elementos indispensáveis a uma prática livre de tensões. A temática da pesquisa poderá contribuir, em grande medida, para o bem-estar do músico, para que, assim, possa abordar o estudo de uma forma mais saudável, com um comprometimento muito além dos simples recursos da técnica instrumental. Dessa maneira, poder-se-á alcançar uma nova percepção a fim de melhor servir à arte do violino e da viola e, por conseguinte, à arte da música. Abstract: This study aims to discuss and thought on the importance of breathing and warm up exercises (the latter being divided into flexibility and stretching exercises) along the knowledge of body awareness to the practice of the violin/viola as key elements for a tension-free instrumental playing. This research can, in a large measure, benefit the musician in order to approach an instrument's practice and performance in a healthy way, committed far beyond the simple features of instrumental technique. Thus, it can achieve a new perception in order to better serve the art of violin and viola and, therefore, the art of music.

A concentração é a capacidade de um indivíduo abstrair-se num ponto, focar um alvo e mantê-lo pelo tempo que desejar. Por isso é uma tarefa muito difícil que exige muito controle mental.
A concentração revela-se especialmente importante no processo de ensino-aprendizagem do instrumento e no estudo individual. Manter o nível de atenção e concentração alto é essencial para um estudo meticuloso e com resultados positivos. Para que este se mantenha elevado, será necessário que o sujeito realize exercícios de relaxamento para o corpo pré-estudo; organize o seu estudo em sessões de curta duração, mas de alto rendimento, nas quais oriente a sua concentração para os aspetos específicos da técnica do violino e de cada peça; realize exercícios de alongamentos e prevenção de lesões no final de cada sessão de estudo; descanse, através de pausas regulares entre cada sessão; e mantenha, dentro do possível, um estilo de vida saudável, através de uma alimentação saudável, prática de exercício físico e horas de sono recomendadas.
Descreveram-se, assim, as necessidades mentais e físicas para um bom método de estudo.
Na iniciação ao ensino do violino, o professor tem que transmitir um conjunto de noções, conceitos e atividades motoras inerentes a uma boa execução e manipulação do instrumento.
A forma intuitiva de abordar os conceitos básicos no ensino do instrumento leva a que possam ser cometidos erros na formação inicial dos alunos, já que o saber fazer não implica saber transmitir esse conhecimento de uma forma correta. Isso faz com que, muitas vezes, seja preciso uma reeducação do movimento físico, sendo esta uma tarefa que exige conhecimentos específicos mas essenciais.
O estabelecer bons hábitos de postura e de manipulação do instrumento é fundamental para todo o desenvolvimento técnico subsequente.
Nas pesquisas realizadas sobre os principais pedagogos do século XX, constata-se uma vasta abordagem dos aspetos técnicos do violino. As obras de Carl Flesch, Galamian, Kato Havas, Yehudi Menuhin e Simon Fischer são fundamentais para a compreensão da técnica geral do instrumento, constituído um manancial de informação pertinente na moderna pedagogia do ensino das cordas incorporando informações importantes sobre fisiologia, psicologia, técnica e interpretação (Stowell,2008).
A partir do conhecimento das várias pedagogias e abordagens, cabe aos professores de instrumento a adaptação e aplicação, ou mesmo fusão, das diferentes ideias, consoante as características de cada aluno.

The present work aims to verify the Fingers Patterns System functionality as a strategy to optimize the left hand violin technique. In order to achieve this, characteristic elements of three different approaches were applied in a case study on an academic context. The three selected authors, which use this strategy as a methodological tool for teaching and practice were Primrose (1960), Gerle (1983) and Barber (2008). As 95% of the students had a positive result, it was concluded that the relation of the pattern and fingers combinations on the fingerboard may contribute strategically to the teaching and study of violin technique, thus intervening in the optimization of violinist musical performance.

The subject-matter of the work is a seventeenth-century Italian sonata for a violin solo and continuo, its form and the technique. For the needs of the work, all known and preserved old prints and manuscripts with the Italian violin sonatas of the discussed period have been analysed (altogether there are 220 compositions of thirty composers’ authorship, see: Wykaz I [Index I] and Aneks A [Appendix A]). Classified as Italian were the works of the Italian composers writing in Italy and at the Italianised European courts. The time frame chosen begins in 1617 with the first in history edition of solo sonatas from Biagio Marini’s Affetti musicali, Op. 1, and ends with the manuscript collection of Carlo Ambrogio Lonati, which was dated to the January of 1701, though, finding its concordances in the copies of Colombi from before 1694.

Regole / per arrivare a saper ben suonar il Violino, col vero / fondamento di saper sicuramente tutto quello, che si fa; buono ancora / a tutti quelli, ch’esercitano la Musica / siano / Cantanti, o Suonatori / date in luce dal celebre Sig.r / Giuseppe Tartini / per uso di chi avrà volontà di studiare / copiate da Giovanni Francesco Nicolai / suo Scolaro.

Se trata de una monografía de más de 500 páginas que no es una mera biografía de Sarasate, sino un estudio de carácter totalizador que aborda por primera vez de manera científica todas las facetas de la figura del compositor y del intérprete, muchas de ellas desconocidas o insuficientemente investigadas. A través del análisis de una exhaustiva documentación de primera mano, en buena parte inédita y dispersa por distintos archivos de Europa y América -cartas, artículos, notas de prensa, partituras- se ofrece un retrato completo del personaje y de su obra, situándolo en el contexto internacional. En el libro se analizan la vida y la personalidad de Sarasate, las razones de su calidad como intérprete, su relevancia internacional, su relación con personajes importantes de la época, sus composiciones y las obras que otros compositores escribieron para él. El trabajo incluye por primera vez un análisis completo de todas las obras de Sarasate, incluyendo algunas hasta ahora desconocidas, con la indicación de las fuentes que el compositor utilizó para componerlas, y se lleva a cabo un catálogo completo de sus obras y de las casi ochenta obras dedicadas a él por otros compositores.

“Memory of a dear place” is the title given to this collection of three enchanting pieces for violin and piano. The “place” in question was the country estate of Brailov that belonged to Tchaikovsky’s patron and friend Nadezhda von Meck. He stayed there in idyllic seclusion in May 1878 and completed this work. These pieces were composed very close in time to his Violin Concerto, and they too demonstrate Tchaikovsky’s matchless gifts as a Romantic master of melody. For this edition, the Russian Tchaikovsky specialist Alexander Komarov offers the highest degree of editorial precision, having drawn on all the relevant sources from both Russian and international archives. In the course of his work he has also been able to disprove beyond a doubt the view held up to now that the title Souvenir d’un lieu cher was only added after Tchaikovsky’s death.

Alexander Komarov (Editor)

Klaus Schilde (Fingering)

Ingolf Turban (Fingering and bowing for Violin)

El Gavilán Tocuyano es una pieza canónica del repertorio de música tradicional venezolana para violín, compuesta por el músico larense Pablo Canela. Se ofrece aquí una transcripción a partir de de la grabación hecha por el propio compositor al violín, con el acompañamiento de cuatro puesto en cifrado. Algunos pasajes de la pieza hacen imitación del canto del gavilán.

A pedido de vários colegas envio mais um tema "clássico": Ode to Joy também conhecido por Hino da Alegria.
Escolhi uma obra que é muito conhecida e que pode ser tocada e/ou cantada facilmente por alunos iniciantes.
À semelhança de outros temas fiz pequenas alterações tanto a nível rítmico como melódico para facilitar a sua execução.
Desci um tom relativamente ao original (de Ré para Dó) para evitar notas acidentadas.
Faço algumas sugestões ao longo do vídeo relativamente aos executantes tendo em conta a dinâmica do tema.
Este pequeno excerto da Obra 9ª Sinfonia pode ser um pretexto para falar em assuntos como: música clássica; História da música e os seus grandes compositores; dinâmica (forte, piano, etc); mudança de andamento, etc...

Since their 19th-century rediscovery, Johann Sebastian Bach’s Sonatas and Partitas became a milestone both in the educational for violin and in virtuosos’ repertoires. This two-fold destination engendered a series of binary oppositions, which seem to have profoundly influenced the fortune of the collections.
This paper inquiries into the Italian reception of Sonatas and Partitas in the late 20th century, focusing on two specific oppositions. Firstly, the internal structure of Sonatas and Partitas let performers and organisers conceive them as a coherent collection, or as a series of distinct pieces suitable for showing performers’ technical and musical skills. Secondly, both collections could be oppositely considered as the latest violin masterwork of the Baroque era or as the first witness of modern instrumental technique.
The aim is to show how diverse premises entailed different reception-phenomena, in the complex web of Italian performers, concert life, and the ​broader discographic market.

Tema com um grau de dificuldade elevado devido ao andamento rápido e ao ritmo irregular. Alterei a tonalidade para evitar as notas acidentadas. Apesar de estar em ré menor (relativa menor de fá) e nesta escala existir o si bemol na armação de clave esta nota nunca aparece na melodia.

Violin playing is not an easy task and has continued evolving since the day the instrument was first invented. This paper will analyse the violin technique of Gravity – a more recent violin technique that is becoming more commonly used with the years. Is this technique truly healthier, and therefore better? Should the violin playing evolve in this direction because of this? To answer these questions, some older techniques, as well as this, will be analysed and compared. This technique is based on a natural way of playing; its central idea is that the violin player should use the force of gravity to play, making as little effort as possible and not resorting to using pressure. There is no need to tire the body and muscles, when there is an existing force that can be harnessed and utilized to perform the same task. The last chapter will discuss some subsidiary subjects concerning bodily health and what a musician can do to keep their body healthy and fit for practising. This will include discussion of and provide the reader with a basic understanding of Ortho-bionomy, Pilates, Qi Gong, Yoga and Alexander-technique.

Il presente studio, il cui campo d’azione sconfina nell’ambito degli studi musico-letterari, vuol fare luce sulle presenze letterarie riscontrabili nell’opera violinistica del compositore istriano Giuseppe Tartini (1692 – 1770), in particolar modo nelle poco note 26 Piccole Sonate per Violino Solo. La raccolta, composta a partire dalla metà del 1700, mostra una spiccata predilezione verso la ‘cantabilità’ e la semplificazione del linguaggio musicale rispetto alle opere del periodo precedente. È stata costruita, infatti, in stretta relazione con la poesia italiana coeva e non: per una migliore comprensione della questione, i riferimenti all’opera letteraria di Tasso, Petrarca, Metastasio e altri sono stati compresi in una apposita tabella. Dall’approfondimento di tali preziosi spunti letterari, dall’analisi di importanti suggerimenti che Tartini offre riguardo la tecnica violinistica (soprattutto sulla condotta dell’arco) e riguardo l’interpretazione degli abbellimenti in musica, nasce l’opportunità di evidenziare le moderne scelte operate dal compositore riguardo il sintomatico rapporto musica-natura. In ultima analisi, la concezione tartiniana della musica – straordinariamente attuale – sembra aprire la strada alla musica moderna, così come teorizzato dal maestro dell’avanguardia Anton Webern.
   
This study – whose field exceeds in musico-poetics’ domain – is focus on literary presences in 26 Piccole Sonate per Violino solo. Composed by the Istrian violinist Giuseppe Tartini (1692 – 1770) since the middle of 1700’s, the collection of Sonatas shows a marked predilection towards the ‘singable aspect’ and towards the simplification of musical language, compared to another violin works of the previous period. The collection was built in close relationship with Italian poetry of the same years and of previous period. The references to works by Petrarca, Tasso, Metastasio and others, are highlighted in a special table for a better understanding of the issue. Through an in-depth analysis of the precious literary resonances and through interesting suggestions about violin technique (especially on ‘bowing’ and music embellishments), this study shows Tartini’s musical choices based on the relationship between ‘music’ and ‘nature’. Tartini's conception of music is extraordinarily up-to-date: it seems to open the way to ‘modern music’, as theorized by the avant-garde composer Anton Webern.

The " chop " is a percussive string instrument technique pioneered by bluegrass fiddler Richard Greene in the 1960s and adopted into contemporary string styles by Darol Anger in the 1980s. This article traces the diffusion of the chop through a number of North Atlantic fiddling traditions in the 1990s and 2000s. It also considers the circumstances and implications of musicians' decisions to adopt, adapt, or reject the chop. Drawing on both sociological research on the diffusion of innovations and genre theory, this article demonstrates that the diffusion trajectory of a musical innovation depends on the innovation itself, on the sites of transmission, and on the interplay of the lived and imagined musical worlds within which musicians play, work, and study. It concludes by suggesting that, when studying North Atlantic fiddling, both regional divisions and generational trends should be taken into consideration.

El violista y compositor ruso Vadim Borisovsky tuvo un rol único en la historia de la viola. Trabajó como compositor, arreglista e investigador ampliando el repertorio de la viola lo que permitió su desarrollo como instrumento solista y de cámara. Desarrolló la laudería del instrumento.  Fue un importante promotor cultural y artístico. Como pedagogo sentó las bases para el desarrollo de una escuela de interpretación, además de exponer los principios pedagógicos y desarrollar las bases técnicas de la interpretación. Fue el creador de la escuela rusa de la viola. En este trabajo se exponen los principios de su escuela y cómo abordar la interpretación de sus obras, arreglos y transcripciones.

Anselm Ernst hat einen sehr konkreten und für die Praxis anwendbaren Ansatz gefunden um den Instrumentalunterricht so lehrreich wie möglich zu gestalten. In seinem Buch Lehren und Lernen im Instrumentalunterricht – Ein pädagogisches Handbuch für die Praxis spricht er über die Lernfelder, die man im Instrumentalunterricht miteinbeziehen müsste. Diese didaktische Einheiten sind in zwei Kategorien aufgeteilt:
Im Komplex 1 befinden sich alle Lernfelder, die zur aktiven Formen der Musikausübung dienen. Diese sind das Zusammenspiel, die Interpretation, die Improvisation, das elementare Komponieren, das Blattspiel und das Auswendigspielen.
Im Komplex 2 befinden sich die Lernfelder, die die Voraussetzungen für das instrumentale Musizieren sind: Spieltechnik, Körperschulung, Musiktheorie, Werkanalyse, Hörerziehung und Musikgeschichte.
Nach Ernst sollte man im Instrumentalunterricht regelmäßig alle Lernfelder ansprechen und erarbeiten.
In wenigen Geigenschulen für Anfänger werden aber alle diese Lernfelder angesprochen oder behandelt.

Cette biographie offre à redécouvrir Eugène Ysaÿe (1858-1931), une personnalité emblématique de la vie musicale belge et internationale dès les années 1880 et durant cinq décennies. En s’appuyant sur un grand nombre de sources (manuscrits, lettres, presse), dont certaines inédites, elle retrace le parcours d’un artiste aux multiples facettes en même temps que le cheminement personnel d’un homme qui expérimente, aime, souffre et doute. Ce violoniste vedette, chef d’orchestre et organisateur de concerts côtoie les plus grands musiciens de son temps, tels que Bloch, Busoni, Casals, Cortot, Enesco, Grieg, Kreisler, Rachmaninov ou Rubinstein. Il propage et suscite d’une manière unique la création, défendant avec conviction la musique de Chausson, Debussy, Fauré, Franck, d’Indy, Jongen, Lekeu, Saint-Saëns et de beaucoup d’autres, en Europe, mais aussi en Russie et aux États-Unis. Il s’impose également en tant que compositeur, s’adonnant à l’écriture musicale dès ses débuts et jusqu’à son dernier souffle, et comme pédagogue, en aidant une multitude de jeunes violonistes à s’épanouir dans leur carrière d’interprète ou d’enseignant.
La présente publication, qui s’adresse tant aux spécialistes qu’aux mélomanes, est structurée chronologiquement en cinq chapitres agrémentés d’une riche iconographie et comprend deux annexes, la première détaillant les compositions, la seconde les élèves.

Ce travail contient une description et vision de l'auteur de comme l'enseignement du violon se passait à Bahia (Brésil) en 2015. Pour cela, l'enseignement chez le projet social/musical appelé  "Neojibá" (inspiré de "El Sistema" venezuelan)  a été choisi comme référence. Le travail traite de son structure pédagogique, style des cours, profil des professeurs, méthodes utilisés, entre autres. L'auteur présente sa vision critique et aussi des propositions aux problèmes trouvés.

En un mundo donde la ciencia y la tecnología denotan un acelerado avance, la enseñanza de la música se convierte en un desafío para los docentes instrumentistas que, en su ejercicio profesional, buscan lograr la armonía entre lo cognitivo, lo afectivo, lo técnico, lo histórico, la teoría, lo tecnológico y la didáctica del instrumento musical, a lo que se une la observación de las particularidades de los diversos instrumentos, en este caso, del violín y la viola.

Nota Ed: Magar que se trate del mesmu instrumentu, nesti trabayu l'autora estrema'l vigulín «clásicu», al que llama violín, del popular o tradicional que noma cola pallabra patrimonial asturiana vigulín. Daqué asemeyao a lo que faen n'Irlanda y Escocia estremando el violin, instrumentu clásicu, del tradicional al que-y llamen fiddle. «Músicos callejeros», grabáu de José Cuevas de la serie «Tipos populares de Asturias». La Ilustración Gallega y Asturiana (1881) «Los pobres en el mercado», grabáu de José Cuevas de la serie «Tipos y costumbres de Asturias». La Ilustración Gallega y Asturiana

first& historical& evidence& about& the& investigation& of& combination& tones& dates& from& 1714 1 .&The&violinist&and&composer&Giuseppe&Tartini&stated&that&two&musical&tones&played& simultaneously,&either&on&one&single&or&on&two&different&instruments,&generated&a&third& sound,& in& his& words& a& 'terzo' suono' 2 .& Tartini& emphasised& that& the& terzo' suono' has& a& physical& existence:& "it& is& physically& certain& that,& when& two& simultaneous& sounds& are& played& loudly& and& in& a& prolonged& way,& [...]& a& third& simultaneous& tone& can& be& heard,& different&from&the&given&two&sounds." 3 & By& and& by,& the& phenomenon& has& been& studied& by& music& theorists,& instrument& makers,& acousticians&and&physiologists.&The&term&'combination&tone'&was&introduced&by&Gerhard& Vieth&in&1805.&Before,&the&phenomenon&was&named&"third&tone&(or&third&sound)",&"grave& harmonic& tone& (or& grave& harmonic& sound)",& "grave& harmonic",& "resultant& tone"& and& sometimes& "Tartini& tone".& Soon,& the& complexity& of& the& subject& became& evident.& Controversy&arose&over&the&"subjective"&or&"objective"&nature&of&combination&tones.& Current& research& reveals& that& combination& tones& are& still& a& challenging& field& including& physical,& physiological& and& psychological& aspects.& The& interactions& of& capacities,& sensation,& focus& and& consciousness& of& the& hearing& individual& turn& the& research& about& combination& tones& into& a& complex& undertaking.& New& findings& show& that& combination& tones& can& originate& from& different& places.& Either& they& are& generated& in& an& instrument& (extraOaural) 4 ,&or&in&the&human&auditory&system&(intraOaural).&Moreover,&in&most&cases,& not& only& one& single& combination& tone& is& generated& from& two& simultaneous& sounds,& but& many.& This& was& first& described& by& the& organist& Andreas& Sorge& in& 1744 5 & and& by& the& physicist& Thomas& Young& in& 1800 6 .& Furthermore,& another& neuronal& phenomenon& "the& virtual&pitch" 7 &should&be&taken&into&consideration&as&well. 8 & Over& the& past& three& centuries,& various& theories& about& the& origin& and& nature& of& combination& tones& have& been& developed.& Some& of& them& have& been& rejected,& some& of& them& have& been& developed& further.& Considering& these& continuous& changes,& it& is& remarkable&that&at&the&latest&with&Gustav&Hällström's&publications,&one&particular&insight&