On the Development of String Playing

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


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

1981 ◽  
Vol 31 (1) ◽  
pp. 33-38 ◽  
Author(s):  
David L. Fray

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

Tempo ◽  
1973 ◽  
pp. 22-24
Author(s):  
Hans Keller

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 …


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

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

Author(s):  
Karel Butz

The chapter provides several exercises that aim to refine left-hand technique in the intermediate-advanced levels of string playing. These techniques include building better pitch accuracy, tuning double stops, executing trills, producing both natural and false harmonics, shifting, perfecting vibrato, and performing glissando. Right-hand bowing techniques that develop phrasing as well as various sound colors and advanced bowing styles are discussed. The author explains how incorporating western music history and theory concepts in rehearsals help students gain a deeper understanding about a piece’s purpose, musical form, harmonic structure, and rhythmic principles so that students can convey a powerful and emotional performance.


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