All Debate articles – Page 3
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DebateAre France and Britain guilty of a lack of musical interaction?
Classical music should be a beacon of internationalism, yet each country’s scene appears to be stubbornly insular, writes Charlotte Gardner
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DebateWhy musicians should appeal against the ivory act
Benjamin Hebbert on the ethical tightrope of campaigning for exemptions to the Ivory Act while supporting its aim to put a stop to the slaughter of elephants
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DebateOpinion: How should a musician respond to a string breaking on stage?
Nobody can blame a musician for their string breaking on stage. But, says Charlotte Gardner, the way a performer responds is certainly within their grasp
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DebateVirtual reality: tool for audience engagement or passing fad?
Orchestras across the globe have been experimenting with enhancing the audience’s musical experience. What are the potential applications for VR technology, asks Peter Somerford
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DebateCan a music stand destroy a performance?
Naomi Yandell makes a plea to school music departments for a common-sense approach to performance ‘details’, such as the big black music stand
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DebateShould classical artists embrace music video singles?
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
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DebateOrchestral manoeuvres in the dark: classical music organisations prepare for Brexit
With the UK and EU no closer to finalising a Brexit deal, British orchestras are facing an uncertain future in Europe – and continental players have a right to be concerned, writes Peter Somerford
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DebateWhy do string players often sound so different on disc than live?
Too many string players are unable to take ownership of their recorded sound because they lack an external perspective, says Charlotte Gardner
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DebateLet's acknowledge that not all musicians are natural performers
Performing for large audiences may seem inevitable for those who choose to pursue music as a career, but is this always the key to fulfilling our artistic potential, asks Toby Deller
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DebateHow to find time to practise as a busy music teacher
Performance coach Travis Baird recommends three key strategies for effective practice when everyday commitments seem to leave little time
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DebateIs playing a concerto really the ultimate test of musicianship?
Performing a concerto has long been regarded as the highest test of a string player's musical prowess. But what exactly do they prove, asks Toby Deller
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DebateIn their focus on technical prowess, conservatoires neglect music theory
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
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DebatePerformance improves when exposed to audiences – even imaginary ones
Students and parents alike need to understand that a good performance has to be developed and nurtured from the earliest stages, argues Naomi Yandell
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DebateWith vibrato the question isn't just about more or less, but also about variety of sound
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
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DebateIs playing the viola a different art from playing the violin?
Not so, according to Philip Dukes, who argues that the technical requirements of the instruments overlap considerably and players benefit from studying both
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DebateWhat French television's classical talent show 'Prodiges' can teach us about elitism
The programme, a classical equivalent of The X Factor, has proven to be hugely popular. Does it matter that the young contestants are not exactly prodigies?
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DebateWhen it comes to education, we mustn't lose sight of music for music’s sake
It’s tempting to promote the wider educational benefits of studying music to those who would seek to marginalise it – but we should never be shy in endorsing the arts as important in their own right
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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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DebateMake lesser-known masterpieces part of your repertoire, but only if you have something to say
It is not enough to choose pieces just because nobody else plays them, writes Francesca Dego
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DebateIs an emphasis on competitiveness killing conservatoire students' joy in music making?
Are conservatoires fostering an atmosphere of joyful music making and generosity among peers? After attending two very contrasting concerts Charlotte Gardner believes more could be done to achieve this