All Premium ❘ Debate articles
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Premium ❘ DebateOpinion: Solo exploring
There is so much more to the unaccompanied violin repertoire than the works of Bach, Paganini and Ysaÿe, writes James Dickenson
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Opinion: Music and insularity
Are the musical communities of France and Britain guilty of a lack of sharing and interaction, asks Charlotte Gardner
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Soundpost: Letters to The Strad
A selection of letters The Strad receives each month from its readers around the world: November 2019 issue
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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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Early vibrato was one aspect of a vastly different sound world
A response to Beverly Jerold’s article 'Did early string players use continuous vibrato?' by Kevin Class
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Sound 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
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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
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Should music tuition revolve around passing exams?
Toby Deller argues that young players should be inspired by fulfilling experiences
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Historically informed performance on modern instruments is misguided
Historically informed performance is all well and good, argues Julian Haylock, but continuing to play on modern instruments just results in the worst of both worlds
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Take 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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Dendrochronology should be more widely used to authenticate violins
Tree-ring dating, is one of the few scientific testing methods available to help authenticate violins, says John Dilworth
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Personality is no longer encouraged in musical performance
Not too long ago mass audiences and critics alike revered overtly personal performances, yet today superimposing one's personality over that of the composer is regarded as poor musicianship, writes Henry Roth
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String players can make the best orchestral conductors
There's a growing trend of string players turning to conducting – and as Andrew Mellor argues, it's the orchestras that stand to reap the benefits
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Why do so few string players start out learning the viola?
The UK may be producing some talented viola players, but violist Louise Lansdown cannot understand how, when the instrument is under-supported at grass-roots level
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An interesting and well-written biography is key to promoting yourself as a musician
String players shouldn't put up with badly written, out-of-date biographies put together by agents, argues Helen Michetschläger. Do it yourself and reap the rewards
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The skills we learn as musicians can counteract today's short attention spans
Are apps, tweets and status updates killing our minds? Ariane Todes argues that string players are uniquely placed to rise above the dangers of modern technology
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Museums must be allowed to display historic instruments to the public
Suggestions that instrumental care is too delicate a task for museums are dangerously wide of the mark, and pay scant regard to their educational objectives, argues Alex Robinson in this blog from 2014
