All Debate articles – Page 3
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FocusOpinion: Reset, refresh, restore
As teachers and pupils return to in-person lessons, cellist Naomi Yandell examines why it is more important than ever to re-examine students’ goals and priorities, and take nothing for granted
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DebateIs sexism to blame for the scarcity of women in the violin making business?
German violin maker Ute Zahn asked why there are so few female luthiers in The Strad's March 2013 issue
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FocusWhy can't players get vibrato right?
Vibrating need not compromise purity of tone if it's done tastefully, says Tully Potter, who takes to task those who overplay, misplay or completely disown it. From October 2009
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Premium ❘ FocusOpinion: It takes three
As the Sitkovetsky Trio celebrates its 15th anniversary this year, lead violinist Alexander Sitkovetsky looks back at the lessons he and his colleagues have learnt
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FocusOpinion: Live for the moment
Classical musicians and audiences can learn from stand-up comedy shows, where there’s a naturalness and immediacy of interaction between performers and the crowd, writes Rita Fernandes
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FocusSightreading is a skill that should be taught early
A student’s earliest engagement with note reading is the right time to introduce sightreading, argues Naomi Yandell
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FocusOpinion: To speak plainly
Teaching a young student with Down’s syndrome has taught Jacqueline Vanasse the value of simple concepts and hands-on rewards
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FocusOpinion: Playing the game
In addition to technical mastery, musicians need to understand the ‘game rules’ of every performing tradition and musical culture, write Dudok Quartet Amsterdam musicians Judith van Driel and David Faber
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FocusOpinion: Dare to be different
When selecting repertoire for that crucial audition it’s an advantage to avoid predictable choices, writes Julian Lloyd Webber, who suggests alternatives for cellists
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FocusOpinion: Across the decades
Karen Gomyo revisits recordings by ‘golden age’ violinists, and explores why these performances are still so meaningful today
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FocusOpinion: Make ’em laugh
Humour can be a useful tool when teaching – especially online, argues Naomi Yandell
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FocusOpinion: Relaxed body, focused mind
The art of Chinese calligraphy has much to teach us about playing a stringed instrument, writes violist Hsin-Yun Huang
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DebateBeyond Bach: 12 tips for better Baroque playing
A thorough knowledge of Baroque repertoire apart from the works of Bach is so important if modern players are to gain a proper understanding of Classical and Romantic works, writes Adrian Butterfield
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Premium ❘ DebateOpinion: Solo exploring
There is so much more to the unaccompanied violin repertoire than the works of Bach, Paganini and Ysaÿe, writes James Dickenson
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DebateOpinion: An integrated whole
By divorcing technique from the music, we prevent the bow from becoming an extension of our right arm and hand, writes John Crawford
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DebateOpinion: On the margins
Conservatoires should do more to make 17th-century music a fundamental part of the curriculum, writes Walter Reiter
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DebateOpinion: Follow the science
A teacher can never rest on their laurels with a pupil – it’s important to keep observing how things are going and ask questions, says Naomi Yandell
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DebateOpinion: Touching a nerve
Although nervous energy can lead to inspired playing, it can also result in performance anxiety – unless we find ways to control it, writes cellist Laura van der Heijden
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DebateOpinion: A new light
Debussy’s Sonata for flute, viola and harp is just one of many works written for that combination, and is a prime example of how loosening fixed traditions can open new and exciting sound worlds, writes Toby Deller
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DebateBuilding an international profile for French violinists
In comparison with its array of top-level cellists and string quartets, France’s violin soloists seem in general to attract less media attention globally. Charlotte Gardner investigates the causes
