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Is repetitive practice a good or a bad thing?
A prolonged, sickening and monotonous repetition of a section of music or the legitimate means of mastering a difficult passage? Joseph O'Doherty weighs up the two sides.
Early vibrato was one aspect of a vastly different sound world
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
Why can't players get vibrato right?
Vibrating need not compromise purity of tone if it's done tastefully, says Tully Potter, who takes to task those who overplay, misplay or completely disown it
Historically informed performance on modern instruments is misguided
Historically informed performance is all well and good, argues Julian Haylock, but continuing to play on modern instruments just results in the worst of both worlds
Is repetitive practice a good or a bad thing?
A prolonged, sickening and monotonous repetition of a section of music or the legitimate means of mastering a difficult passage? Joseph O'Doherty weighs up the two sides.
Are 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
How 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
Sound quality should be the main focus of string teaching
Young students improve when they learn to listen to themselves, says Royal Northern College of Music senior lecturer in music education Philippa Bunting
