Teaching Violin, Viola, Cello, and Double Bass: Historical and Modern Pedagogical Practices

Contents

• Acknowledgements
• PART ONE: Violin and Viola
• Introduction
• Chapter 1: Historical Treatises and Approaches for Violin
• Essay 1: Prototype Treatises: Geminiani, L. Mozart, L’abbé le fils, and their Contemporaries
• Essay 2: French Violin School: Rode, Baillot, Kreutzer, and their Disciples
• Essay 3: Old German Violin School: Spohr and David
• Essay 4: Franco-Belgian Violin School: de Bériot, Léonard, Massart, and the First Modern Virtuosi
• Essay 5: Berlin Violin School: Joachim and Moser
• Essay 6: Rational Thinkers: Ševčík and Flesch
• Essay 7: Lonely Star: Lucien Capet
• Essay 8: Towards Artistic Expression: Russian Violin School and Auer
• Essay 9: The Soviet Violin School: Stolyarski, Yampol’sky, Mostras, and Yankelevich
• Essay 10: The Birth and Rise of the American Violin School: Galamian, DeLay, Gingold, and Bronstein
• Essay 11: Holistic Approaches: Yehudi Menuhin and Kató Havas
• Essay 12: The Science of Expressive Techniques: Demetrios Dounis
• Essay 13: A Synthesizing Mind: Simon Fischer
• Bibliography for Chapter 1
• Chapter 2: Historical Treatises and Approaches for Viola
• Essay 14: Cinderella No More: Lionel Tertis
• Essay 15: Virtuoso of the New Solo Instrument: William Primrose
• Essay 16: Teaching Physicality of Musicality: Karen Tuttle
• Bibliography for Chapter 2
• Chapter 3: Approaches and Methods for Beginning and Intermediate Students
• Essay 17: Teaching as an Art and Science: Samuel Applebaum
• Essay 18: Whole Instrument Approach: George Bornoff
• Essay 19: Movement in Action: Paul Rolland
• Essay 20: Every Child Can: Shinichi Suzuki
• Essay 21: Emerging String Pedagogy Approaches for Beginning and Intermediate Students: Colourstrings, Milanov Method, Sasshmannshaus Tradition, Wartberg, and Zweig
• Bibliography for Chapter 3
• Chapter 4: Applications to Modern Teaching
• Essay 22: Teaching Foundations: A Summary of Concepts and Pedagogical Practices
• Essay 23: Teaching Left-Hand Techniques: A Summary of Concepts and Pedagogical
• Practices
• Essay 24: Teaching Right-Hand Techniques: A Summary of Concepts and Pedagogical
• Practices
• Essay 25: Teaching Musical Expression and Interpretation: A Summary of Concepts and
• Pedagogical Practices
• Essay 26: Teaching How to Practice: A Summary of Pedagogical Practices
• Bibliography for Chapter 4
• PART TWO: Cello
• Chapter 5: Historical Treatises and Approaches for Cello
• Essay 27: The Paris Conservatoire Pedagogues: J. L. Duport, Bréval, Levasseur, Baudiot, Hus-Desforges, Vaslin
• Essay 28: The Dresden School Pedagogues: Romberg, Dotzauer, Kummer, Lee
• Essay 29: The Etude Composers: Piatti, Grützmacher, Popper
• Essay 30: The Endpin Pedagogues: Davidoff, de Swert, C. Schroeder, van der Straeten
• Essay 31: The Influence of Physiology: Krall, Becker, Mantel
• Essay 32: Paris Conservatoire Pedagogues of the Twentieth Century: Feuillard, Bazelaire, Tortelier
• Essay 33: Disciples of Casals: Alexanian, Eisenberg, Bunting
• Essay 34: Beyond National Schools: Stutschewsky, Silva, Matz, Aronson
• Essay 35: Mind-Body Approaches: Sazer, Mackie, Benedetti, de Alcantara
• Essay 36: Lonely Stars: Pleeth, Jensen, Chung
• Bibliography for Chapter 5
• Chapter 6: Approaches and Methods for Beginning and Intermediate Students
• Essay 37: Suzuki-Based Approaches for Beginning and Intermediate Players: Carey, Devenport
• Essay 38: American Approaches for Beginning and Intermediate Players: Rowell, Potter, Young, Watkins
• Bibliography for Chapter 6
• Chapter 7: Applications to Modern Teaching
• Essay 39: Teaching Foundations
• Essay 40: Teaching Left-Hand Techniques
• Essay 41: Teaching Right-Hand Techniques
• Essay 42: Teaching Practicing: Jensen, Mycyk, Mantel, Wilson, Hodges, Roettinger, Watkins, Feuillard, Lidström, Peled, Sherry, Whitcomb
• Bibliography for Chapter 7
• PART THREE: Double Bass
• Chapter 8: Historical Treatises and Approaches for Double Bass
• Essay 43: Moving Beyond Fisticuffs: Asioli, Rossi, Hause, Franke, Gouffé
• Essay 44: Italian School: Montanari, Bottesini, Caimmi, Billè
• Essay 45: Prague School: Simandl, Warnecke, Findeisen
• Essay 46: Paris Conservatoire: Labro, Verrimst, Nanny
• Essay 47: English School: White, Lotter, Cruft
• Essay 48: New Directions: Montag, Rabbath, Streicher
• Essay 49. American Teaching: Influence of Billè and Simandl
• Bibliography for Chapter 8
• Chapter 9: Approaches and Methods for Beginning and Intermediate Students
• Annotated Bibliography of Materials for Beginners and Intermediate Students
• Chapter 10: Applications to Modern Teaching
• Essay 50: Teaching Foundations
• Essay 51: Teaching Left-Hand Techniques
• Essay 52: Teaching Right-Hand Techniques
• Essay 53: Practicing
• Bibliography for Chapter 10
• Appendix A
• Selected Readings: Hidden Gems - Violin
• Selected Readings: Hidden Gems - Viola
• An Overview of National Schools - Violin
• Appendix B
• Selected Pedagogical Materials for Cello – Historical and Modern Approaches in Cello Pedagogy
• Selected Pedagogical Materials for Cello – Beginning and Intermediate Approaches in Cello Pedagogy
• Appendix C
• Selected Pedagogical Materials for Double Bass
• Index