All Debate articles – Page 6
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ArticleCompetition juries: is dropping teachers and publishing scores the answer?
Publishing the jurors’ scores in their entirety is the latest move for music competitions to prove their transparency – but is it a trend that’s likely to catch on, asks Peter Somerford
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BlogsLynn Harrell's eureka moment on the opening of Beethoven's A major cello sonata (no.3)
In this micro blog, the American cellist shares his recent inspiration regarding the first two bars of a piece he has been playing for decades
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FocusIs own-label recording the right choice if you're not already established?
Creating your debut CD is only the first step on the road to success, as the subsequent marketing process can be just as difficult. Peter Somerford gathers some expert advice
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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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FocusDo string players who refuse to embrace popular music face extinction?
String players must embrace the vernacular of today’s popular music or risk being consigned to a bygone era, writes electric violinist Tracy Silverman
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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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Focus'My father hated competitions': David Stern at the Shanghai Isaac Stern Competition
David Stern, joint chair of the Shanghai Isaac Stern International Violin Competition – currently in its final round – tells The Strad about protecting his father’s legacy and enforcing ‘radical clarity’ on the jury
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FocusWhy are female composers still markedly behind in terms of prominence?
Are quotas the solution, or do public attitudes still need to change, asks Peter Somerford
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FocusNurturing limb-differences in students
The benefits of accommodating and encouraging limb-different string students far outweigh the challenges for teachers, says University of North Texas lecturer Elizabeth Chappell
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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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FocusJoshua Bell: Don't impose bowings and fingerings on your students
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
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BlogsPutting students and professors in chamber music groups together is invigorating for both
In the run-up to the Guildhall School’s first chamber music festival, cello professor Ursula Smith reflects on the mutual benefits of its unique approach
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BlogsLayale Chaker on the violin as cultural chameleon
The Lebanese composer and violinist discusses the ease with which the violin can drift between genres – and why she has devoted her creative life to doing just that
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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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FocusTwo ♭ or not two ♭ – on the Adagio from Bach's Violin Sonata no.1
Excessive reverence for Bach’s manuscript is leading violinists to make a mistake early in the first sonata, writes Hagai Shaham
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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