Violin Pedagogy Research Articles

КИТАЙСКОЕ СКРИПИЧНОЕ ОБРАЗОВАНИЕ В МЕЖДУНАРОДНОЙ ПЕРСПЕКТИВЕ: СРАВНИТЕЛЬНОЕ ИССЛЕДОВАНИЕ

Since the introduction of violin art in China over a century ago, it has become an important component of Chinese musical education. Adopting advanced international experiences, Chinese violin education has developed a unique pedagogical system and talent training model, producing many outstanding performers and educators, and demonstrating competitiveness on the global stage. This article systematically analyzes the development trajectory and main characteristics of Chinese violin pedagogy at different stages from the perspective of comparative pedagogy. A comparative study is conducted with leading global powers in this field—Russia, the USA, and Germany—with the aim of summarizing their successful experiences. The achievements and problem areas of Chinese violin education are identified. Based on this analysis, recommendations are provided for its further reform and enhancement of international influence while preserving national identity.

Enhancing Young Violinists’ Musical Identities Using a Dialectical Approach Drawn from the Stanislavsky System

ABSTRACT This paper draws on the fields of music education and actor training. It describes the use of acting techniques based on the Stanislavsky system in music education as a means of facilitating the exploration of musical identity in young violinists. It also investigates how acting activities can enhance students’ development through the social interactions of group teaching, and how the power of language, storytelling, imagination, and fiction can trigger meaningful processes and influence behaviour by shaping and shifting young students’ beliefs about a performer’s musical identity. The focus of this article is on the application of approaches and activities, based on the Stanislavsky system, to music education, in the context of violin pedagogy.

The continuity of the didactic principle in teaching violin playing in China

The study of continuity between generations is the subject of interest for specialists working in various scientific fields, such as philosophy, cultural studies, pedagogy, psychology, art criticism and others. This problem attracts the attention of scientists and researchers who seek to understand how knowledge and values are transmitted and preserved in various spheres of human activity. Thanks to this interdisciplinary approach, we can gain a deeper understanding of the importance of the succession process in society and culture. In this article, the author addresses the topical issue of violin education in China, its main characteristics and problems of continuity. The issue of continuity in philosophy, cultural studies, pedagogy, psychology, and art criticism is considered from various points of view. The role of the didactic principle of continuity for the Russian violin school is emphasized. The author analyzes the state of modern violin education in China with an emphasis on the main problems and tasks of violin pedagogy. The article uses methods of comparative analysis, examines the history of violin art in Russia and China, describes the educational process in China, identifies the main problems and suggests ways to solve them. There is still very fierce competition in China for admission to professional music universities: according to statistics, out of the total population of the country, only about 15 students enter the conservatory in the violin specialty every year. Despite the fact that violin education in China is organized according to international standards, there are separate problems in the field of pedagogy and performance that need to be solved. Improving the methodology of teaching violin playing (from the very initial level), increasing the professionalism of teachers, expanding the staff of qualified personnel and creating pedagogical conditions – all this will help make the professional training of future violinists effective and strengthen the position of the Chinese violin school at the world level. To date, there is an obvious tendency to transform the foundations established in the educational methodology with a refocus on the individual qualities of the student and the development of his independence. Teachers select new repertoires, which include both classical works and outstanding works by contemporary authors.

Performance Perspectives in Jenő Hubay's Violin Concertos

AbstractJenő Hubay (1858–1937) attained his greatest stature as the founder of the Hungarian Violin School. Although Hubay's name is mostly mentioned in violin pedagogy, he was also a popular composer during his lifetime. He composed over 300 violin works, and his role as composer is underestimated unlike those of contemporaries such as Eugène Ysaÿe. The present paper focuses on the performance perspectives in Hubay's violin concertos, by examining the historical background of each concerto, followed by a systematic approach to violin and musical techniques. This includes guidelines for determining tempo, dynamics/dynamic planning, bowing/articulation, tempo rubato, and portamenti/vibrato to create a style of performance appropriate to Hubay's works.

The Art of Musical Pedagogy (A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart and the Origins of Violin Teaching Methodology in Bulgaria)

Learning and improvement are impossible without teaching. Pedagogy exists to impart knowledge and skills as directly and rigorously as possible, but it is rather an art than a science, since art creates rules, while science obeys them. The only rule of art is that there are no rules, no absolute truth. Pedagogy works with personalities and individuals, which science cannot do although scientific rules are vital to the teaching process: know the rules, when to obey them, and when to break them. Thus, all teaching is connected across all cultures and traditions. Violin pedagogy is no exception. The earliest documentation of violin teaching in Bulgaria is found in the curricula of general educational institutions. This study traces the complex interconnections of common teaching principles between national and European violin pedagogy, specifically Leopold Mozart’s A Treatise on the Fundamental Principles of Violin Playing (Versuch einer gründlichen Violinschule, 1756), and late 19th- to early 20th-century Bulgarian teaching in the methods of Karel Machán, Dimitar Hadzhigeorgiev and Kamen Popdimitrov.

Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek

The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. These materials provide original solutions to challenges concerning individual elements of violin playing and the musical development of students. Therefore, they also represent an important contribution to the development of violin pedagogy and violin playing in Slovenia.

Traditions and innovations in violin pedagogy

Traditions and innovations in violin pedagogy

Harry Logwin as a symbol of the violin Dnepropetrovsk region

The purpose of the article is to study the creative person of Harry Logvin. He is the only Peopleʼs Artist of Ukraine, as a violinist, who lived and worked in our region. Garry Logvin was concertmaster of the Dnepropetrovsk Opera and Ballet Theater, teacher, co-founder of the private new chamber orchestra «Seasons». The scientific novelty of this article has the following vectors: approved the concept „accompanist of the orchestra of the Dnepropetrovsk Opera and Ballet Theater”, a study is being made of the relationship between internal and external form and how the master performed works for violin solo in the Dnepropetrovsk private chamber orchestra „Seasons”, in the vector about the pedagogical heritage of the teacher Garry Logvin, the structural periodization of the masterʼs performing heritage is being done, which is inseparably united with the evolution of the expressive means of the repertoire for orchestral works. To achieve the goal and solve the assigned tasks, the following research methods were used: historiographic – articles are analyzed where the facts of the violinistʼs creative biography are recorded; systemic – the author analyzes the art of violin in the Dnipropetrovsk region as a system of genres, which has a specific structure – an opera and ballet theater, violin pedagogy, a private chamber orchestra. Conclusions. The features of Harry Logvinʼs violin art are concentrated into amazing expression. They had their own specifics in multi-genre performances of the Dnepropetrovsk Opera and Ballet Theater, concerts of the private chamber orchestra „Seasons”. Sound is a means of expression, a part of the orchestral play being reproduced. The dramatic, technical, emotional, informational aspects of sounding had their own plots. The art of Harry Logvin is of great importance for the popularization of classical music in the Dnipropetrovsk region.

Grappling with Grappelli

The violin has been played in jazz from the beginning of the music's history, and yet ithas, until relatively recently, been somewhat neglected as a significant jazz instrumentin terms of both performance and education. One style of jazz in which the violin is significantis so-called 'gypsy jazz', which originated with the formation of Le Quintette duHot-club de France in the early 1930s featuring gypsy guitarist Django Reinhardt andviolinist Stéphane Grappelli. The success of this group led to Grappelli being consideredcentral to jazz violin and gypsy jazz, and the gypsy jazz style-initially a French phenomenon-being equated with jazz violin as the everyday aesthetic of jazz violin.The number of successful French jazz violinists following Grappelli (including Jean-LucPonty and Didier Lockwood) has led to the idea of a 'French school' of jazz violin, and anumber of recently published jazz violin tutor books base their approach on the premisethat the Grappelli swing style is central to jazz violin, despite many contemporaryjazz violinists choosing to play in more modern styles. The authors critically considerthe existence of a 'French school' of jazz violin and whether teaching the Grappelli styleis an effective approach to jazz violin pedagogy.

From Tone to Tune—Carl Stumpf and the Violin

This article investigates the work of philosopher and experimental psychologist Carl Stumpf with a focus on embedding his scientific perspective in a practice of musicianship. Stumpf wrote in an autobiographical essay from 1924 that he had considered becoming a professional violin player before taking up the study of philosophy. I claim that the practice of learning and playing this instrument sheds light on his concept of music, and at the same time signals its relevance for nineteenth-century musical aesthetics. To carve out the role of Stumpf's musicianship, I propose a “psychoanalytic” approach of tone psychology in the sense of Gaston Bachelard. For this I read through Stumpf's writings to trace the function and role of practices like analyzing tones and tunes, memorizing and notating pitch and melody, and using related tools and techniques like phonography. This is held against a reconstruction of his mentioning of the violin and of the context of violin pedagogy in the mid-nineteenth century. In so doing, I hope eventually to sharpen the notion of tone in Stumpf and thereby to contribute to a better understanding of his concept of complex qualities as opposed to the notion of Gestalt in the generation of his students.

Application of Ivan Galamian Principles for Violin Learning through Malaysian Folk Tunes

Early instruction in music is connected with the understanding of one's own culture. Kodaly associates it with a sense of belonging or a so-called ‘mother-tongue’ language. In the modern world, the influence of media threatens the sustainability of folk music heritage. To counter the influx of foreign culture into Malaysian violin beginners’ instruction there must be books based on profound teaching systems using traditional tunes made available. The music preferences and taste acquisition of a violin beginner are formed under the influence of folklore and composed music, which is foreign to the Malaysian violin students whereas popular traditional tunes are not reflected in the violin repertoire of those method books. The product of the research conducted at Universiti Pendidikan Sultan Idris was aimed at meeting the demands of the Malaysian violin teachers in terms of techniques as well as to serve as an agent for the sustainability of Malaysian folk heritage. Galamian’s violin method made the biggest impact on modern violin pedagogy. This paper expounds on methods of applying Galamian’s approaches through the selection and utilization of Malaysian folk songs as resource materials for the mentioned methodology as well as the interdisciplinary process of creating a violin method book.

Bireysel Çalgı Keman Derslerinde Çevrilmiş Öğrenme Modelinin Uygulanması

This is a case study that the application of flipped learning on individual violin lessons. Flipped learning is a student-centered active learning model why created to increase in-class time quality. The main purpose of this study is determine what the student’s opinion about application of flipped learning model on individual violin lessons. It is also argued how to apply and create videos for flipped learning on violin lessons to built a basement for the study. Research on flipped learning has been mainly conducted on chemistry, physics and computer science classes. This is the first study which brings the model to music and violin pedagogy area and argued it within the framework of individual lessons instead of group class lesson. To investigate this aim the student who couldn’t join lessons because of health issues had been watched an instructional video about Turkish piece “Kırmızı Buğday” prepared by researcher. Data has collected making interview after practice time at class. Content analysis has showed that the use of flipped learning model on individual violin lessons had gained time, made instruction planned and comprehensive, made student feel ‘comfortable’ by decreasing performance anxiety in class, provided opportunity higher-up skill practice at class time.

Robert Klotman: A Life of Musical Leadership

When Robert was inducted into the Music Educators National Conference Hall of Fame in 2004, the nominating statement read, Klotman is best known for his extensive work in string pedagogy, his leadership in professional organizations, and his teaching at Indiana (1) By this time, his career had spanned decades, and he had been active across the whole spectrum of music education from K-12 through university levels. Because of his forceful personality, his leadership skills, and his ability to anticipate the impact of new teaching ideologies, significantly influenced how stringed instruments are taught in public schools in this country. Perhaps most importantly, he had the vision to reach out internationally and helped to bring Suzuki violin pedagogy to the United States. Given the impact of Klotman's work on string education, it is appropriate to look beyond the formal trajectory of his career at his childhood and education, the people and ideals that motivated him, and the major life experiences that shaped his career. For music educators it is appropriate to search out, in particular, the distinct issues that were important to and to consider how his advocacy for those issues shaped the path of music education in the United States during the last half of the twentieth century. Robert Howard was born in Cleveland, Ohio, on November 22, 1918. (2) His parents, Louis Harry and Pearl (Warshawksy) Kaplan were immigrants from Tetiev, a small town in the Ukraine located approximately seventy miles southwest of Kiev. (3) In the late 1800s, many Jewish families from that region came to the United States, often settling in the Cleveland area. Louis and Pearl married on December 16, 1917, but divorced when Robert was young. (4) Pearl raised her children on her salary as the owner of a beauty shop. began his musical studies at the age of nine. He remembers his father as being a very musical person who could pick up and play the violin without any instruction. In his family, it was just as natural to excel in music as it was to work hard in academic subjects. (5) Robert sang in the school choir in the third grade. However, when he sang he wanted to hear himself over the other children's voices, so he would sing louder than anyone else. His teacher said to him, I've got a special job for you, and made him the curtain puller. Disappointed, he went home to his mother who stated, Don't cry. You've always liked to play the violin. Thus, attributes the beginning of his violin career to his third-grade choir teacher. (6) His mother could not afford for him to take violin lessons, so she worked out an agreement with a local violinist named Hyman Schandler of the Cleveland Symphony Orchestra. Pearl would style the hair of Schandler's wife in exchange for a weekly lesson for her son. Klotman's mother was supportive of his music lessons, requiring him to practice daily. Later, she said that had she known he would become a professional musician, she would have made him practice three hours per day instead of only one hour. (7) During the years 1932-36, attended Glenville High School in Cleveland Heights, a suburb originally settled by northern European immigrants. After World War I and during the Great Depression, this area became an epicenter of Cleveland's Jewish population. (8) Ralph E. Rush (1903-65) was Klotman's high school orchestra teacher and an early mentor. (9) Rush became the band and orchestra teacher at the school in 1933 and immediately led the orchestra to first division honors at the national orchestra competition in Madison, Wisconsin. (10) says that Rush eventually became a father figure for him. Rush was likely Klotman's first real influence in his career choice and instilled in him the responsibility of belonging to a professional organization and serving the profession. (11) [ILLUSTRATION OMITTED] According to Klotman, people are often curious as to why he attended the Methodist school Ohio Northern University. …

Vplivi na razvoj violinske pedagogike na Slovenskem v 19. stoletju in v prvi polovici 20. stoletja

V primerjavi z ostalimi razvitimi evropskimi narodi sta se violinska pedagogika in njena metodika začeli na Slovenskem evidentno razvijati šele v 19. stoletju. Največje vplive in zasluge za razvoj violinske pedagogike na Slovenskem sta imeli violinski šoli dunajskega in praškega konservatorija. Obe violinski šoli sta imeli svoj izvor v francoski violinski šoli z glavnim predstavnikom G. B. Viottijem. Največji pečat je na razvoj violinske pedagogike na Slovenskem vtisnila praška violinska šola. K temu je ogromno prispeval Otakar Ševčík, ki je s svojim delom Violinschule für Anfänger, op. 6 vplival tudi na nastanek slovenskih violinskih metodičnih del, ki so nastala šele v 20. stoletju.

Dorothy DeLay: 1917-2002

Dorothy DeLay died on March 24, 2002, and with her passing the world lost much more than a Master Teacher of violin. She was arguably the shaper not only of current violin solo playing, but also of a significant percentage of the playing of the violin sections of most of our major orchestras. Beyond their music, she had a profound influence on her students and on the rest of us who were lucky enough to be able to call her a friend. She was larger than life and is one of those people of influence whose passing is difficult to accept as final. It is hard to conjure up a Juilliard, or an Aspen Music School, or the world of violin pedagogy without Dottie.

Proximal Positioning: A Strategy of Practice in Violin Pedagogy

The research problem for this study was the identification and characterization of patterns of expert teaching practice as they occurred in context. The primary participant, renowned violin pedagogue Dorothy DeLay, was observed in the natural setting of her studio, and her teaching practices were documented through field notes, audiotapes, and contextual artifacts. The theory of proximal positioning represents a dominant theme within the educational environment Delay created. This pattern of teaching practice accounts for the adjustments that a pedagogue makes in order to assist students through zones of proximal development. Two categories of teaching strategies support this theory. Preparatory strategies are characterized by teacher actions that reveal the overall goals of instruction and processes for probing student frames of reference. Facilitative strategies are characterized in terms of lesson-goal development, cognitive magnification of performance details (an attention-directing tactic), the use of metaphor (a cognitive structuring strategy), and the creation of contextual regions of comfort and challenge.

The Colour Strings Method for the Young Violinist

Violinist Rebekah Ann Brown is director of the Columbus School of Music and the Violin School of Bloomington, Indiana. At Indiana University, she specializes in violin pedagogy. She conducts psychoacoustic research in measurements of expressive intonation by recording artists and performs comparative studies of holistic philosophies. She has studied Colour Strings in this country and in London and has a Suzuki certificate from Matsumoto, Japan. Brown has taught in private studios, public schools, and universities and has been a musical director of youth symphonies. Her expertise is sought in clinics and seminars and by artists-in-residence who are working with students and teachers. She uses both orchestral literature and American fiddle music with students for developing technique. She has also cataloged an extensive list of twentieth-century music for technical studies at all levels of proficiency.

A Personal Journey toward Teaching Success

Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the faculty of the Indiana University Summer String Academy, a member of the advisory board of the Seattle Young Artist Music Festival and the National Music Teachers Association Competition String Repertoire Committee, and string chair for the Washington State Music Teachers Association. She was named ASTA's 1994 Washington State Studio Teacher of the Year.

Some thoughts concerning Progressive Violin Pedagogy

Some thoughts concerning Progressive Violin Pedagogy