VIOLIN ARTISTS
THEIR SCHOOLS AND PEDAGOGICAL INFLUENCES IN HISTORICAL PERSPECTIVE
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This book was written in an effort to increaseawareness among violinists of the role and importanceof violin schools in present-day performance andpedagogy. Over time, the meaning and relevance of theterm school (as it applies to violin playing andteaching) has become increasingly ambiguous. Thepurpose of this work is three-fold: 1) to determinethe extent to which schools continue to affectprominent violin teachers/performers in the UnitedStates today, 2) to give an account of availableliterature addressing the various schools of violinplaying, and 3) to provide a useful reference to manyof th...
This book was written in an effort to increase
awareness among violinists of the role and importance
of violin schools in present-day performance and
pedagogy. Over time, the meaning and relevance of the
term school (as it applies to violin playing and
teaching) has become increasingly ambiguous. The
purpose of this work is three-fold: 1) to determine
the extent to which schools continue to affect
prominent violin teachers/performers in the United
States today, 2) to give an account of available
literature addressing the various schools of violin
playing, and 3) to provide a useful reference to many
of the more prominent teacher-student relationships,
the relationships of those teachers to the schools
where they were active, and some of the most
significant treatises on violin playing (see Chapter
Four: Tables). It is apparent from the interviews
that current perspectives and opinions pertaining to
the influence of schools vary quite widely, even
among renowned artists and teachers. However, one may
develop a discriminating sense of the importance of
various schools in the history of violin playing and
teaching by studying the interviews and the sources
relevant to this topic.
awareness among violinists of the role and importance
of violin schools in present-day performance and
pedagogy. Over time, the meaning and relevance of the
term school (as it applies to violin playing and
teaching) has become increasingly ambiguous. The
purpose of this work is three-fold: 1) to determine
the extent to which schools continue to affect
prominent violin teachers/performers in the United
States today, 2) to give an account of available
literature addressing the various schools of violin
playing, and 3) to provide a useful reference to many
of the more prominent teacher-student relationships,
the relationships of those teachers to the schools
where they were active, and some of the most
significant treatises on violin playing (see Chapter
Four: Tables). It is apparent from the interviews
that current perspectives and opinions pertaining to
the influence of schools vary quite widely, even
among renowned artists and teachers. However, one may
develop a discriminating sense of the importance of
various schools in the history of violin playing and
teaching by studying the interviews and the sources
relevant to this topic.
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