All Debate articles
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Premium ❘ Focus‘The violin concerto lives again’ - Opinion
Are we witnessing a golden age for new violin concertos, or simply too much of a good thing?
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‘Cut the Stradivari cord’ - Opinion
Luthier Paris Andrew argues that, rather than copying Antonio Stradivari models, makers should study other beautiful instruments that exist
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Opinion: how chamber music develops communication and listening skills
Violist Rosalind Ventris shares her experience of the transformative power of playing chamber music
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Opinion: How teachers can help students deal with feelings of futility and despair
Neesa Sunar explores how teachers can call on their own experience to help pupils struggling with feelings of sadness or futility
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Opinion: Does an orchestra’s home hall define its sound?
Edwin Barker, principal double bass of the Boston Symphony, argues that an orchestra’s ‘home’ concert hall shapes the unique character of the ensemble
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Opinion: How learning a language can inform musical practice
Naomi Yandell’s efforts to learn a language using Duolingo have inspired her to rethink the way she teaches her own students, particularly with regard to repetitive practice
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Debate
Slow practice should be used only when needed as a learning tool
Are you wasting your time? As musicians we should be doing more to question the standard warm-up and practice regimes, writes violist Paul Neubauer
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Opinion: A teenage cellist on spreading the love for classical music
Megan Clarke, a 16-year-old cellist in the National Youth Orchestra, is on a mission to communicate her love of classical music to other young people
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Blogs
9 tips on playing the Ravel and Debussy quartets
Franck Chevalier, viola player of the Quatuor Diotima, gives advice on how to approach the most celebrated French additions to the quartet repertoire
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Opinion: Playing by numbers
In theory, it is possible for a student to gain their ABRSM Grade 8 having only learnt 24 pieces in their life. Davina Shum argues that such a quantified approach to learning is no way to become a rounded musician
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Opinion: The power of imagination
To enhance a pupil’s learning, it is useful to build a list of words and catchphrases that conjure images relating to different techniques. Jeffrey Howard introduces his own ‘violin vocabulary’
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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
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Opinion: A New Deal for Early Music
Covid-19 has highlighted the economic inequalities that divide musicians who perform on period instruments from the majority of today’s string players, says Andrew Mellor
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Focus
Opinion: Jedi Wisdom for string playing
In the second of his articles, mining the wisdom of the Star Wars universe, cellist Brian Hodges explains how the teachings of the Jedi can be applied to string playing
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Debate
Opinion: The Wisdom of Yoda
In the Star Wars universe, Jedi Master Yoda is the ultimate teacher – and his insights can be applied just as readily to string playing as to learning the ways of the Force, writes cellist Brian Hodges
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Focus
Opinion: Reset, refresh, restore
As teachers and pupils return to in-person lessons, cellist Naomi Yandell examines why it is more important than ever to re-examine students’ goals and priorities, and take nothing for granted
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Debate
Is sexism to blame for the scarcity of women in the violin making business?
German violin maker Ute Zahn asked why there are so few female luthiers in The Strad's March 2013 issue
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Focus
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. From October 2009
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Opinion: It takes three
As the Sitkovetsky Trio celebrates its 15th anniversary this year, lead violinist Alexander Sitkovetsky looks back at the lessons he and his colleagues have learnt
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Focus
Opinion: Live for the moment
Classical musicians and audiences can learn from stand-up comedy shows, where there’s a naturalness and immediacy of interaction between performers and the crowd, writes Rita Fernandes
