Mother tongues: Global Suzuki Method

©Jacques Nelles (16 of 60)

How can the Suzuki Method be relevant in places where children might never have heard of Twinkle? Peter Somerford speaks to teachers who have adapted their approach to cultures with their own strong musical traditions, or with differing expectations of parental involvement

I am watching a two-minute video of students and their instructors performing on stage. A large group of young violinists, the smallest of whom can only be about four, is joined by a gaggle of trumpeters and recorder players, several cellists, and a young pianist and a teacher teaming up on the piano. All the violinists are playing open strings…

Already subscribed? Please sign in

Subscribe to continue reading…

We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.

  • Free 7-day trial

    Not sure about subscribing? Sign up now to read this article in full and you’ll also receive unlimited access to premium online content, including the digital edition and online archive for 7 days.

    No strings attached – we won’t ask for your card details

  • Subscribe 

    No more paywalls. To enjoy the best in-depth features and analysis from The Strad’s latest and past issues, upgrade to a subscription now. You’ll also enjoy regular issues and special supplements* and access to an online archive of issues back to 2010.

 

* Issues and supplements are available as both print and digital editions. Online subscribers will only receive access to the digital versions.