Teaching Violin, Viola, Cello, and Double Bass: Historical and Modern Pedagogical Practices

ISBN-13: 9780367724771 / Angielski

Dijana Ihas;Miranda Wilson;Gaelen McCormick

Opis

Teaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogical treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction. Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. The book concludes with a section on application through comparative analysis of the historical methods and approaches. With coverage from the eighteenth century to the present, this book will be invaluable for graduate and undergraduate students of string pedagogy, for string performance educators at all levels, and readers interested in the evolution of string pedagogy.

Spis treści

Acknowledgements

Introduction

PART ONE: Violin and viola

Chapter 1: Historical treatises and approaches for violin

Essay 1: Prototype treatises: Geminiani, L. Mozart, L’abbé le fils, and their contemporaries

Essay 2: French violin school: Rode, Kreutzer, Baillot, and their disciples

Essay 3: Old German violin school: Spohr and David

Essay 4: Franco-Belgian violin school: De Bériot, Léonard, Massart, and the first modern virtuosi-composers

Essay 5: Berlin violin school: Joachim and Moser

Essay 6: Rational thinkers: Ševčík and Flesch

Essay 7: Lonely star: Lucien Capet

Essay 8: Toward artistic expertise: The Russian violin school

Essay 9: The Soviet violin school: Stolyarski, Yampol’sky, Mostras, and Yankelevich    

Essay 10: The birth and rise of the American violin school: Galamian, DeLay, Gingold, and Bronstein

Essay 11: Holistic approaches: Menuhin and Havas

Essay 12: The science of expressive techniques: Demetrios Constantine Dounis

Essay 13: A synthesizing mind: Simon Fischer

Bibliography for Chapter 1

 

Chapter 2: Historical treatises and approaches for viola

Essay 14: Cinderella no more: Lionel Tertis

Essay 15: Virtuoso of the new solo instrument: William Primrose

Essay 16: Teaching the physicality of musicality: Karen Tuttle

Bibliography for Chapter 2

 

Chapter 3: Approaches and methods for beginning and intermediate students: Violin and Viola

Essay 17: Teaching as an art and science: Samuel Applebaum

Essay 18: Whole instrument approach: George Bornoff

Essay 19: Movement in action: Paul Rolland

Essay 20: Every Child Can: Shinichi Suzuki

Essay 21: Emerging string pedagogy approaches for beginning and intermediate students: Colourstrings, Milanov Method, Sassmannshaus Tradition, Wartberg, and Zweig

Bibliography for Chapter 3

 

Chapter 4: Applications to modern teaching: A summary of concepts and pedagogical practices

Essay 22: Teaching foundations

Essay 23: Teaching left-hand techniques

Essay 24: Teaching right-hand techniques:

Essay 25: Teaching musical expression and interpretation

Essay 26: Teaching how to practice

Bibliography for Chapter 4

 

PART TWO: Cello

 

Chapter 5: Historical treatises and approaches for cello

Essay 27: The Paris Conservatoire pedagogues: J. L. Duport, Bréval, Levasseur, Baudiot, Hus-Desforges, Vaslin

Essay 28: The Dresden School pedagogues: Romberg, Dotzauer, Kummer, and Lee

Essay 29: The etude composers: Piatti, Grützmacher, and Popper

Essay 30: The first endpin pedagogues: Davidoff, de Swert, C. Schroeder, and van der Straeten

Essay 31: The influence of physiology: Krall, Becker, and Mantel

Essay 32: Paris Conservatoire pedagogues of the twentieth century: Feuillard, Bazelaire, and Tortelier

Essay 33: Disciples of Casals: Alexanian, Eisenberg, and Bunting

Essay 34: Beyond national schools: Stutschewsky, Silva, Matz, and Aronson

Essay 35: Mind-body approaches to cello pedagogy: Sazer, Mackie, Benedetti, and de Alcantara

Essay 36: Lonely stars—cello: Pleeth, Jensen, and Chung

Bibliography for Chapter 5

                       

Chapter 6: Approaches and methods for beginning and intermediate students: Cello

Essay 37: Suzuki-based approaches for beginning and intermediate players: Carey and Devenport 

Essay 38: American approaches for beginning and intermediate players: Rowell, Potter, Young, and Watkins

Bibliography for Chapter 6

           

Chapter 7: Applications to modern teaching: Cello

Essay 39: Teaching foundations

Essay 40: Teaching left-hand techniques

Essay 41: Teaching right-hand techniques

Essay 42: Teaching practicing

Bibliography for Chapter 7

 

PART THREE: Double Bass

Chapter 8: Historical treatises and approaches for double bass

Essay 43: Moving beyond fisticuffs: Asioli, Rossi, Hause, Franke, and Gouffé

Essay 44: Italian school: Montanari, Bottesini, Caimmi, and Billè

Essay 45: Prague school: Simandl, Warnecke, and Findeisen

Essay 46: Paris Conservatoire: Labro, Verrimst, and Nanny

Essay 47: English school: White, Lotter, and Cruft

Essay 48: New directions: Montag, Streicher, and Rabbath

Essay 49. American teaching: Influence of Billè and Simandl

Bibliography for Chapter 8

 

Chapter 9: Approaches and methods for beginning and intermediate students: Double bass

 

Chapter 10: Applications to modern teaching: Double bass

Essay 50: Teaching foundations

Essay 51: Teaching left-hand techniques

Essay 52: Teaching right-hand techniques

Essay 53: Teaching practicing

Bibliography for Chapter 10

 

Appendix A An Overview of Historic National Schools - Violin

Selected Readings: Hidden Gems - Violin

Selected Readings: Hidden Gems - Viola

An Overview of National Schools - Violin

Appendix B Selected Pedagogical Materials: Historical and Modern Approaches in Cello Pedagogy

Selected Pedagogical Materials for Cello – Historical and Modern Approaches in Cello Pedagogy

Selected Pedagogical Materials for Cello – Beginning and Intermediate Approaches in Cello Pedagogy

Appendix C

Selected Pedagogical Materials for Double Bass

Index

O autorze

Dijana Ihas is Professor of Music Education at Pacific University, Oregon.

Miranda Wilson is Professor of Cello at the University of Idaho.

Gaelen McCormick is Instructor of Double Bass at the University of Rochester's Eastman Community Music School.