Editor's pick
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Premium ❘ DebateHow should string teachers approach an advanced adult pupil?
Understanding the physique and psyche of a new adult pupil should not be taken lightly, writes Pauline Harding
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FocusThe fear of making mistakes stops violinists from playing with resonance and character – Nicola Benedetti
The British violinist speaks to Peter Somerford about launching her mass education project for string players of all ages
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Article‘He taught me how to stand up for what I believed in’ - Midori remembers Isaac Stern
Midori shares her memories of her mentor Stern, in honour of the great violinist’s 100th anniversary
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FeatureHow knowledge of physics can improve your sound
Understanding the basic physics of string movement can help us produce a richer, more ringing tone, says professor of violin Wendy Case
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DebateAre conservatoires preparing young string players for the music world?
Violinist and professor Rodney Friend argues that music colleges are admitting too many students in the first place
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FeatureAre masterclasses an essential part of a musician’s training?
Are they more likely to inspire or confuse? Teachers from around the world give their opinions
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FocusShould string teachers use fingerboard stickers for beginners?
Three string teachers debate the age-old question: should stickers be used on the fingerboard when teaching a beginner pupil?
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FocusPaul Rolland's tension-free philosophy
Pioneering pedagogue Paul Rolland formulated a groundbreaking approach to string teaching through his University of Illinois String Research Project in the late 1960s. Charlotte Smith investigates the legacy of his findings, 40 years after his death
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Blogs6 mindfulness techniques for music teachers
Mindfulness is an invaluable tool for teaching students how to concentrate on-stage, improve awareness in the practice room, play pain-free, and move on from disappointing auditions or performance experiences, writes Dr. Travis Baird
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FocusAsk the Experts: buying a student's first full-size violin
What should parents think about when it comes to buying their child a full-sized instrument? As three seasoned tutors attest, there are many things to consider
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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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ArticleFlying high: an El Sistema inspired music education programme in China
Inspired by Venezuela’s El Sistema, China’s Wings of Music aims to bring dignity and self-belief to some of the country’s most deprived children. Nancy Pellegrini reports in this article from 2013
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FocusHow much should instrumental teachers push genuinely talented youngsters?
For Royal Northern College of Music senior lecturer in education Philippa Bunting, there’s a delicate balance to be struck
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DebateToo often, performance presentation skills are left in the lap of the gods
It is desirable for music teachers to take stage presentation skills seriously from the very start, argues Naomi Yandell
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FocusAsk the Experts: how to teach a group of violin students
Strad readers submit their problems and queries about string playing, teaching or making to our experts
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Premium ❘ FocusCellist Timothy Eddy on the teaching styles of Bernard Greenhouse and Pablo Casals
The Orion String Quartet founder learnt the importance of the link between language and music from the two legendary cellists
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FocusViolist Tabea Zimmermann on technique, teaching and competitions
The German violist talks to Carlos María Solare about her teaching philosophies and the role of competitions in the development of young musicians
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FocusI discourage my students from using a shoulder rest, says violinist Aaron Rosand
Only without a shoulder rest can one develop a personal sound that is identifiable, insists the Curtis Institute and Mannes College professor
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Premium ❘ FeaturePlaying chamber music is the best way for children to learn an instrument
Group activities and chamber music making are the best ways for young players to develop confidence – and enjoy learning, as pedagogue Sheila Nelson argues
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DebateSources of inspiration
If players and teachers were less cagey about where they discovered their ideas, Philippa Bunting argues, it would be more interesting for audiences and more valuable for their peers
