All Debate articles – Page 7
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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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BlogsPlaying the violin places constant strain on the body, yet we leave posture to chance
A holistic approach to teaching should treat healthy body position as seriously as scales and etudes
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BlogsIf you want the industry to change, you have to be willing to enact a change yourself
The violinist and co-founder of the Manchester Collective on her musical philosophy and forging new ground in an increasingly conservative music world
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FocusYou can only diversify the audience by having a diverse group of people on stage
Half a century since the New York Phil hired its first black musician, the percentage of black and Latino players in US orchestras remains woefully low. But some organisations are taking action towards inclusivity
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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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FocusIt's the inside of the violin which governs its sound – how did we end up carving the outside arch first?
For almost two centuries luthiers have been copying instruments using the French method which, Torbjörn Zethelius argues, doesn’t give the interior carving of the violin the primacy it deserves – and crucially, that which it had in the hands of the original Italian makers
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BlogsTamsin Waley-Cohen: 7 tips for making a successful recording
Making a recording comes with its own special set of pressures, and moving from the stage to the studio isn’t the easiest transition for a musician to make. Here violinist Tamsin Waley-Cohen sets out her advice earned through experience
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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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BlogsUsing innovative programmes to stimulate innovative listening
Violinist Hugo Ticciati lays out the programming philosophy which governs his O/Modernt festival
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FocusHow to start approaching the dense scores of New Complexity composers
In the first of a two-part guide, Pwyll ap Siôn looks at the challenges presented in performing works by composers associated with the New Complexity movement – and offers tips on how to approach the extended techniques and rhythmic difficulties involved
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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
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BlogsBecoming a better and happier musician through mindfulness and yoga
Violinists Elena Urioste and Melissa White’s musical lives have been transformed by yoga, finding both body and mind freer and more resilient against the rigours of life as a professional musician
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BlogsVariations on fast-forward: the extraordinary density of Émile Sauret's 24 Études-Caprices
Nazrin Rashidova’s encounter with the 19th-century French violinist’s music led her down a rabbit-hole of virtuosity and research – from which has come a PhD and a four-part recording project for Naxos
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Focus‘I always go for bigger double bass sections’ - conductor Donald Runnicles
The Scottish conductor and music director of the Grand Teton Music Festival shares his preference for large double bass sections in his orchestras
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FocusBlind testing Strads and Guarneris misses a fundamental point
Researchers who seek to compare Old Italian instruments with modern ones under scientific conditions don’t appreciate that the potential of a Strad is intrinsically entwined with its player, writes Frank Almond
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Premium ❘ DebateTake the hostility out of string playing
Today's performers should remember that you don't need to be aggressive to make a searing point, argues Richard S. Ginell
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ArticleCan a flawed performance hold more meaning than a perfect one?
A recent flawed but exhilarating solo violin recital at London's Barbican Hall spoke a greater truth about the human experience because of its imperfections, says Charlotte Smith