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The purpose of this treatise is to connect violin music which contains onomatopoeic sounds with the development of techniques that successfully portray these effects. The focus is primarily on animal and nature onomatopoeia (e.g. birds, insects, dogs, cats, frogs, rain, storms, thunder, river, sea, sunrise, etc.). Another onomatopoeia shortly discussed is the physical onomatopoeia, imitating motion in nature (such as the fluttering of an insect’s wings, and others). The examples of these onomatopoeic representations are mostly found in the 17th and early 18th centuries, and in the 20th and 21st centuries. This is due to the musical and philosophical aesthetics of the 19th century and their disregard for imitation of the external world in music. The survey of the works is selected from the solo violin literature and smaller chamber repertoire, such as the string quartet. Besides providing a collection of works that contain nature onomatopoeia, the treatise is meant to draw a connection between the advancement of violin technique and the desire to authentically represent acoustical properties of sounds found in nature. Violin technique evolved through experimentation; new techniques pushed the limits of the technical vocabulary. With nature onomatopoeia, the composer (who was typically a violin virtuoso, in the earlier period) had the desired sound in mind and was not afraid to search for it, even if that meant employing unconventional means of sound production. Having this acoustical guidance in search of appropriate and authentic technical tools helped break from the idiomatic common practices and led to the establishment of new techniques when referring to specific onomatopoeias.