Pre-chinrest string playing

Early Music ◽  
2014 ◽  
Vol 42 (1) ◽  
pp. 128-129
Author(s):  
S. Jones
Keyword(s):  
String Playing

Flow Pedagogy for Strings Education

2020 ◽  
pp. 71-95
Keyword(s):  
Teaching And Learning ◽  
Learning Activities ◽  
Flow Experience ◽  
Pedagogical Practice ◽  
String Pedagogy ◽  
String Instruments ◽  
Older Learners ◽  
String Playing ◽  
Alternative Idea ◽  
The U.S

Chapter 4 addresses practical approaches of teaching and learning for string instruments to facilitate learners' flow experience throughout the learning activities. Contemporary string pedagogy is heavily reliant on traditional methods. In this chapter, the author proposes an alternative idea for teaching the basics of string playing (e.g., violin) by providing musical and teaching examples, environment, and episodes. The practice is constructed based upon observable flow experience of strings learners derived from the author's pedagogical practice both in the U.S. and in Japan. This chapter describes appropriate strings learning activities, content, and repertoire for children from ages 0 to 12 and can be easily adapted to suit older learners.

Kinesthetic Considerations in String Playing

1980 ◽  
Vol 30 (2) ◽  
pp. 22-22
Author(s):  
Emil Raab
Keyword(s):  
String Playing

Physiological Studies in String Playing

1981 ◽  
Vol 31 (1) ◽  
pp. 33-38 ◽  
Author(s):  
David L. Fray
Keyword(s):  
Physiological Studies ◽  
String Playing

Eye Dominance and String Playing: Does it Matter

2005 ◽  
Vol 55 (1) ◽  
pp. 56-59 ◽  
Author(s):  
Judy Weigert Bossuat
Keyword(s):  
Eye Dominance ◽  
String Playing

An Instrumental Problem in ‘Pulcinella’

Tempo ◽  
1973 ◽  
pp. 22-24
Author(s):  
Hans Keller
Keyword(s):  
String Quartets ◽  
The Third ◽  
Violin Concertos ◽  
Violin Technique ◽  
String Playing

Stravinsky knew little about violin technique. It happens in the best circles. Schumann, on the evidence of his highly substantial string quartets, knew as much about string playing as I know about the cimbalom. Brahms and Tchaikovsky wrote great violin concertos against the violin. And Mahler's auditioning of violinists was a joke: ‘He attached the greatest significance to the steadiest possible bowing in sustained notes’, Carl Flesch recounts,and therefore considered the beginning of the third act of Siegfried [Flesch means the beginning of Act III, Scene 3] a touchstone for the bowing technique of an orchestral violinist … He first asked me to play a Mozart Adagio, and then set the Siegfried passage in front of me. As my bow glided over the strings with the phlegmatic calm of a world-weary philosopher, he seemed greatly pleased, wanted to nail me down to the post of leader at once, and accompanied me himself to the administration building …

Physically Efficient String Playing

1989 ◽  
Vol 9 (02) ◽  
pp. 119-121
Author(s):  
Jeffrey Solow
Keyword(s):  
String Playing

On the Development of String Playing

1942 ◽  
Vol 28 (5) ◽  
pp. 60
Author(s):  
Emanuel Wishnow
Keyword(s):  
String Playing

String Playing by Way of the Brain: Left, Right and Center

1983 ◽  
Vol 33 (3) ◽  
pp. 46-48
Author(s):  
Dorothy Bales ◽  
Eric Rosenblith
Keyword(s):  
String Playing ◽  
The Brain
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