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Teaching
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
Premium ❘ Debate
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
FocusSightreading is a skill that should be taught early
A student’s earliest engagement with note reading is the right time to introduce sightreading, argues Naomi Yandell
FocusOpinion: Make ’em laugh
Humour can be a useful tool when teaching – especially online, argues Naomi Yandell
DebateOpinion: On the margins
Conservatoires should do more to make 17th-century music a fundamental part of the curriculum, writes Walter Reiter
DebateOpinion: Follow the science
A teacher can never rest on their laurels with a pupil – it’s important to keep observing how things are going and ask questions, says Naomi Yandell
DebateOpinion: Being conscious
Developing musical potential requires a real sense of critical awareness as students grow, writes cellist Cecilia Radic
DebateShould music tuition revolve around passing exams?
Toby Deller argues that young instrumental players should be inspired by fulfilling experiences
DebateOpinion: Wise words
Masterclasses should be special forums in which great artists impart the insight and knowledge they have acquired over a lifetime, writes double bassist Leon Bosch
DebateOpinion: A light touch
Learning to play harmonics early on has many potential benefits for beginner string players, as Naomi Yandell observes
DebateOpinion: Best of both worlds
If we work together and communicate effectively there is no reason why a student cannot benefit from lessons with more than one instrumental tutor, writes Celia Cobb
DebateOpinion: Mind the gap
For classical music students, bridging the divide between training and employment is often a case of being entrepreneurial, writes Jacqueline Vanasse
DebateOpinion: The long and short of it
Using short bows when teaching beginner string players is a useful practice that should be more widespread, writes cellist Naomi Yandell
ArticleOpinion: Managing a good ending
When a child wants to stop instrumental lessons, teachers have a duty to bring matters to a positive close, argues violin teacher Celia Cobb
Premium ❘ FeatureIs 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.
DebateAre 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
Premium ❘ DebateSound 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
DebateYoung students must learn to listen if they are to practise effectively
String students who struggle in the early stages of learning often don't know how to listen. Patiently help them to train their ears, says Peter Quantrill, and practice sessions will become ever more fulfilling
Premium ❘ DebateShould music tuition revolve around passing exams?
Toby Deller argues that young players should be inspired by fulfilling experiences
FocusFrom the archive: Technique or tone?
This article from The Strad, September 1954, argues that the trend among students of pursuing mechanical brilliance at the expense of beauty of tone is misguided
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
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
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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