ABSTRACT

Teaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogy treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction.

Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. This book concludes with a section on application through comparative analysis of the historical methods and approaches.

With coverage from the eighteenth century to the present, this book will be invaluable for teachers and students of string pedagogy and general readers who wish to learn more about string pedagogy’s rich history, diverse content, and modern developments.

chapter |4 pages

Introduction

part I|218 pages

Violin and viola

chapter |13 pages

Prototype treatises

Geminiani, L. Mozart, L'Abbé le fils, and their contemporaries

chapter |13 pages

French violin school

Rode, Kreutzer, Baillot, and their disciples

chapter |7 pages

Old German violin school

Spohr and David

chapter |9 pages

Franco-Belgian violin school

De Bériot, Léonard, Massart, and the first modern virtuosi-composers

chapter |9 pages

Berlin violin school

Joachim and Moser

chapter |15 pages

Rational thinkers

Ševčík and Flesch

chapter |7 pages

Lonely star

Lucien Capet

chapter |6 pages

Toward artistic expertise

The Russian violin school

chapter |13 pages

The Soviet violin school

Stolyarski, Yampol'sky, Mostras, and Yankelevich

chapter |10 pages

The birth and rise of the American violin school

Galamian, DeLay, Gingold, and Bronstein

chapter |8 pages

Holistic approaches

Menuhin and Havas

chapter |7 pages

The science of expressive techniques

Demetrios Constantine Dounis

chapter |11 pages

A synthesizing mind

Simon Fischer

chapter |5 pages

Teaching as an art and science

Samuel Applebaum

chapter |4 pages

Whole instrument approach

George Bornoff

chapter |5 pages

Movement in action

Paul Rolland

chapter |4 pages

Every Child Can

Shinichi Suzuki

chapter |7 pages

Emerging string pedagogy approaches for beginning and intermediate students

Colourstrings, Milanov Method, Sassmannshaus Tradition, Wartberg, and Zweig

part II|102 pages

Cello

chapter |6 pages

The Paris Conservatoire Pedagogues

J. L. Duport, Bréval, Levasseur, Baudiot, Hus-Desforges, and Vaslin

chapter |7 pages

The Dresden School Pedagogues

Romberg, Dotzauer, Kummer, and Lee

chapter |5 pages

The Etude Composers

Piatti, Grützmacher, and Popper

chapter |8 pages

The First Endpin Pedagogues

Davidoff, de Swert, C. Schroeder, and van der Straeten

chapter |6 pages

The Influence of Physiology

Krall, Becker, and Mantel

chapter |5 pages

Paris Conservatoire Pedagogues of the Twentieth Century

Feuillard, Bazelaire, and Tortelier

chapter |7 pages

Disciples of Casals

Alexanian, Eisenberg, and Bunting

chapter |6 pages

Beyond National Schools

Stutschewsky, Silva, Matz, and Aronson

chapter |6 pages

Mind-body Approaches to Cello Pedagogy

Sazer, Mackie, Benedetti, and de Alcantara

chapter |8 pages

Lonely Stars—Cello

Pleeth, Jensen, and Chung

part III|70 pages

Double bass

chapter |7 pages

Moving beyond fisticuffs

Asioli, Rossi, Hause, Franke, Gouffé

chapter |6 pages

Italian school

Montanari, Bottesini, Caimmi, and Billè

chapter |8 pages

Prague school

Simandl, Warnecke, and Findeisen

chapter |7 pages

Paris Conservatoire

Labro, Verrimst, and Nanny

chapter |4 pages

English school

White, Lotter, and Cruft

chapter |9 pages

New directions

Montag, Streicher, and Rabbath

chapter |6 pages

American teaching

Influence of Billè and Simandl