VIOLIN ARTISTS

This book was written in an effort to increase
awareness among violinists of the role and importance
of violin schools in present-day performance and
pedagogy. Over time, the meaning and relevance of the
term school (as it applies to violin playing and
teaching) has become increasingly ambiguous. The
purpose of this work is three-fold: 1) to determine
the extent to which schools continue to affect
prominent violin teachers/performers in the United
States today, 2) to give an account of available
literature addressing the various schools of violin
playing, and 3) to provide a useful reference to many
of the more prominent teacher-student relationships,
the relationships of those teachers to the schools
where they were active, and some of the most
significant treatises on violin playing (see Chapter
Four: Tables). It is apparent from the interviews
that current perspectives and opinions pertaining to
the influence of schools vary quite widely, even
among renowned artists and teachers. However, one may
develop a discriminating sense of the importance of
various schools in the history of violin playing and
teaching by studying the interviews and the sources
relevant to this topic.

Autorentext
Christian M. Baker, DM: Member of the Arkansas Symphony and the Rockefeller String Quartet. Violin faculty, Hendrix College (Conway, AR). Studied violin at Brigham Young University (BM 1998) and at Florida State University (MM 2000, DM 2005). His most influential mentors include Nell Gotkovsky, Eliot Chapo, and Igor Gruppman.

Klappentext
This book was written in an effort to increase awareness among violinists of the role and importance of violin schools in present-day performance and pedagogy. Over time, the meaning and relevance of the term "school" (as it applies to violin playing and teaching) has become increasingly ambiguous. The purpose of this work is three-fold: 1) to determine the extent to which schools continue to affect prominent violin teachers/performers in the United States today, 2) to give an account of available literature addressing the various schools of violin playing, and 3) to provide a useful reference to many of the more prominent teacher-student relationships, the relationships of those teachers to the schools where they were active, and some of the most significant treatises on violin playing (see Chapter Four: Tables). It is apparent from the interviews that current perspectives and opinions pertaining to the influence of schools vary quite widely, even among renowned artists and teachers. However, one may develop a discriminating sense of the importance of various schools in the history of violin playing and teaching by studying the interviews and the sources relevant to this topic.