All Debate articles – Page 7
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DebateLet's acknowledge that not all musicians are natural performers
Performing for large audiences may seem inevitable for those who choose to pursue music as a career, but is this always the key to fulfilling our artistic potential, asks Toby Deller
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DebateHow to find time to practise as a busy music teacher
Performance coach Travis Baird recommends three key strategies for effective practice when everyday commitments seem to leave little time
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DebateIs playing a concerto really the ultimate test of musicianship?
Performing a concerto has long been regarded as the highest test of a string player's musical prowess. But what exactly do they prove, asks Toby Deller
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FocusTwo ♭ or not two ♭ – on the Adagio from Bach's Violin Sonata no.1
Excessive reverence for Bach’s manuscript is leading violinists to make a mistake early in the first sonata, writes Hagai Shaham
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DebateIn their focus on technical prowess, conservatoires neglect music theory
Instinct isn't enough for true musicality. Instead of simply drilling technique, performers should have a profound an understanding of music theory, argues cellist David Watkin
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DebatePerformance improves when exposed to audiences – even imaginary ones
Students and parents alike need to understand that a good performance has to be developed and nurtured from the earliest stages, argues Naomi Yandell
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DebateWith vibrato the question isn't just about more or less, but also about variety of sound
It is a wonderfully expressive tool when used sensitively, but soloists especially should take greater advantage of the various vibrato possibilities, writes violist Hartmut Rohde
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DebateIs playing the viola a different art from playing the violin?
Not so, according to Philip Dukes, who argues that the technical requirements of the instruments overlap considerably and players benefit from studying both
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BlogsPlaying the violin places constant strain on the body, yet we leave posture to chance
A holistic approach to teaching should treat healthy body position as seriously as scales and etudes
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BlogsIf you want the industry to change, you have to be willing to enact a change yourself
The violinist and co-founder of the Manchester Collective on her musical philosophy and forging new ground in an increasingly conservative music world
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FocusYou can only diversify the audience by having a diverse group of people on stage
Half a century since the New York Phil hired its first black musician, the percentage of black and Latino players in US orchestras remains woefully low. But some organisations are taking action towards inclusivity
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DebateWhat French television's classical talent show 'Prodiges' can teach us about elitism
The programme, a classical equivalent of The X Factor, has proven to be hugely popular. Does it matter that the young contestants are not exactly prodigies?
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DebateWhen it comes to education, we mustn't lose sight of music for music’s sake
It’s tempting to promote the wider educational benefits of studying music to those who would seek to marginalise it – but we should never be shy in endorsing the arts as important in their own right
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DebatePut yourself in your beginner students' shoes by trying to learn a new instrument from scratch
For most teachers the feeling of clumsiness associated with beginning an instrument from scratch is a distant memory. With the help of Grade1athons, however, it can all come flooding back, as violin tutor Naomi Yandell describes
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FocusIt's the inside of the violin which governs its sound – how did we end up carving the outside arch first?
For almost two centuries luthiers have been copying instruments using the French method which, Torbjörn Zethelius argues, doesn’t give the interior carving of the violin the primacy it deserves – and crucially, that which it had in the hands of the original Italian makers
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BlogsTamsin Waley-Cohen: 7 tips for making a successful recording
Making a recording comes with its own special set of pressures, and moving from the stage to the studio isn’t the easiest transition for a musician to make. Here violinist Tamsin Waley-Cohen sets out her advice earned through experience
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DebateMake lesser-known masterpieces part of your repertoire, but only if you have something to say
It is not enough to choose pieces just because nobody else plays them, writes Francesca Dego
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BlogsUsing innovative programmes to stimulate innovative listening
Violinist Hugo Ticciati lays out the programming philosophy which governs his O/Modernt festival
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FocusHow to start approaching the dense scores of New Complexity composers
In the first of a two-part guide, Pwyll ap Siôn looks at the challenges presented in performing works by composers associated with the New Complexity movement – and offers tips on how to approach the extended techniques and rhythmic difficulties involved
