More core classical artists these days are mimicking their contemporaries in the pop world by releasing music video singles to accompany their albums. Charlotte Gardner asks whether this is a positive development
String players must embrace the vernacular of today’s popular music or risk being consigned to a bygone era, writes electric violinist Tracy Silverman
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
Once upon a time, violinists just wanted to get as close to Heifetz's sound as they possibly could. But now that golden standard no longer applies, Jessica Duchen asks, how do the stars of today mark themselves out as special?
This article from The Strad, September 1954, argues that the trend among students of pursuing mechanical brilliance at the expense of beauty of tone is misguided
The benefits of accommodating and encouraging limb-different string students far outweigh the challenges for teachers, says University of North Texas lecturer Elizabeth Chappell
There is no ‘one size fits all’, argues the American violinist. It is important to discuss why students chose their fingerings and why there may be better alternatives
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